Z
MCN Columnists
Kim Voynar

Voynaristic By Kim VoynarVoynar@moviecitynews.com

Defending Jennifer’s Body

Spoiler Warning: This column contains spoilers about the film Jennifer’s Body. Consider yourself forewarned and forearmed. Is Jennifer’s Body really as bad as some critics say, or are some folks just lime-green Jell-O over anything that has Diablo Cody‘s name attached? I thoroughly enjoyed this film from start to finish, in part because I thought I was…

Read the full article »

Cloudy with a Chance of Mediocrity

I realize I’m in the critical minority on this, but I wasn’t all that crazy about Cloudy with a Chance of Meatballs. Yes, yes, the animation was bright! And colorful! And the cheeseburgers and scoops of ice cream and giant pancakes and meatballs practically popped off the screen. It was all very exciting, I suppose. I…

Read the full article »

To Absent Friends

Today I’m thinking a lot about 1984 — the year, not the Orwell novel. September 8, 1984 was a life-altering day that altered the course of my life; on September 8, 1984, my best friend, Monica, committed suicide at the age of 16. I can still recall, with achingly perfect clarity, where I was when…

Read the full article »

Of Love, Life and Loss

What’s the meaning of a life, and a loss? Earlier today, MCN Headlines Editor Ray Pride posted a particularly tragic headline to the front page of MCN about the murders of Filipino-Canadian film critic Alexis Tioseco and his partner, Slovenian critic and programmer Nika Bohinc, in what seems to be a random house robbery. The murders have hit…

Read the full article »

Quote Unquotesee all »

Tsangari: With my next film, White Knuckles, it comes with a budget — it’s going to be a huge new world for me. As always when I enter into a new thing, don’t you wonder how it’s going to be and how much of yourself you are going to have to sacrifice? The ballet of all of this. I’m already imaging the choreography — not of the camera, but the choreography of actually bringing it to life. It is as fascinating as the shooting itself. I find the producing as exciting as the directing. The one informs the other. There is this producer-director hat that I constantly wear. I’ve been thinking about these early auteurs, like Howard Hawks and John Ford and Preston Sturges—all of these guys basically were hired by the studio, and I doubt they had final cut, and somehow they had films that now we can say they had their signatures.  There are different ways of being creative within the parameters and limitations of production. The only thing you cannot negotiate is stupidity.
Filmmaker: And unfortunately, there is an abundance of that in the world.
Tsangari: This is the only big risk: stupidity. Everything else is completely worked out in the end.
~ Chevalier‘s Rachel Athina Tsangari

“The middle-range movies that I was doing have largely either stopped being made, or they’ve moved to television, now that television is a go-to medium for directors who can’t get work in theatricals, because there are so few theatricals being made. But also with the new miniseries concept, you can tell a long story in detail without having to cram it all into 90 minutes. You don’t have to cut the characters and take out the secondary people. You can actually put them all on a big canvas. And it is a big canvas, because people have bigger screens now, so there’s no aesthetic difference between the way you shoot a movie and the way you shoot a TV show.

“Which is all for the good. But what’s happened in the interim is that theatrical movies being a spectacle business are now either giant blockbuster movies that run three hours—even superhero movies run three hours, they used to run like 58 minutes!—and the others, which are dysfunctional family independent movies or the slob comedy or the kiddie movie, and those are all low-budget. So the middle ground of movies that were about things, they’re just gone. Or else they’re on HBO. Like the Bryan Cranston LBJ movie, which years ago would’ve been made for theaters.

“You’ve got people like Paul Schrader and Walter Hill who can’t get their movies theatrically distributed because there’s no market for it. So they end up going to VOD, and VOD is a model from which no one makes any money, because most of the time, as soon as they get on the site, they’re pirated. So the whole model of the system right now is completely broken. And whether or not anybody’s going to try to fix, or if it even can be fixed, I don’t know. But it’s certainly not the same business that I got into in the ’70s.”
~ Joe Dante

Z Weekend Report