MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup: Magician: Orson Welles, The Confession and more

In the stage and cinema works of Rainer Werner Fassbinder, it wasn’t always easy for postwar German audiences to differentiate between social satire, parody and provocation. The same holds true for his legacy on film, outside Germany. In a career that lasted 16 years, he was responsible for writing, directing and acting in nearly 50 movies, shorts and TV mini-series, as well as continuing to create Brechtian theater pieces. After beginning his career in the late 1960s making films that ranged from experimental to difficult, Fassbinder would turn to the Hollywood melodramas of German émigré Douglas Sirk for creative inspiration.

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The DVD Wrapup: Leviathan, Lovesick, Before I Disappear, Blue Room and more

Instead of being iron-fisted by Communist Party functionaries, however, the populace is ruled by an increasingly militaristic government and bullied by plutocrats, gangsters, small-minded politicians and conservative leaders of the ascendant Russian Orthodox Church. That much, at least, can be inferred in Andrey Zvyagintsev’s overtly allegorical drama, Leviathan, which ironically was inspired by the story of a Colorado man whose beef with city officials eventually led him to armor-plate a bulldozer and use it as a battering ram against bureaucratic intransigence.

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The DVD Wrapup: 50 Shades, Selma, Mr. Turner, The Nun, Snuff and more

Although some of the lovemaking is inarguably sensual, the contract-negotiating scene is the only one that rivals the best passages choreographed by Adrian Lyne in 9½ Weeks or in such classics of the sub-genre as Belle du Jour, Secretary, Crash, The Story of O or The Image. As difficult as it is to take potshots at a picture that’s made more than a half-billion dollars in worldwide distribution or might match that in DVD/VOD/Blu-ray revenues, I still think we have a long way to go before mainstream audiences are allowed a real taste of non-generic eroticism,

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The DVD Wrapup: The Gambler, Wedding Ringer, Boy Next Door, Paddington, Eddie Coyle, Wolf Hall and more

Bennett isn’t as much a degenerate gambler as one who refuses to win, even when he’s holding a pat hand. No matter how much he’s up, everyone from the pit bosses to viewers knows he’s going to give it all back and borrow even more money to keep losing. When he convinces his beleaguered mother (Jessica Lange) to give him a small fortune in cash to pay off the debts, everyone, including Mom, knows he’s going to piss it away.

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Dretzka

Quote Unquotesee all »

“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas