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MCN Columnists
Kim Voynar

Voynaristic By Kim VoynarVoynar@moviecitynews.com

O Christmas Tree

Published under 1,000 Monkeys. I love everything about the Christmas season, from the decorations to the Christmas music piped in to all the stores to the lights brightening up all the houses. I love planning what to get each of the kids, baking Christmas cookies, and listening non-stop to Christmas music on the radio until…

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Of Indie Film and Insularity

This Thanksgiving weekend, as I ponder my abundant blessings, one of the things I’m most thankful for is having a job that allows me not only to watch a lot of movies, but to see many of them at film festivals far and wide. As I write this, over the past couple years we’ve seen…

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Home is Where My Heart Is

Published under 1,000 Monkeys. Why 1,000 Monkeys? David and I spent a lot of time talking back and forth about a new name for this more philosophical, life-stuff column. One day in frustration, I said to David, “If you put 1,000 monkeys at 1,000 typewriters, they could never write the craziness that is my life…

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Memory Lane

Published under 1,000 Monkeys. Why 1,000 Monkeys? David and I spent a lot of time talking back and forth about a new name for this more philosophical, life-stuff column. One day in frustration, I said to David, “If you put 1,000 monkeys at 1,000 typewriters, they could never write the craziness that is my life…

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Precious Things

Back at Sundance last year, when Precious: Based on the Novel Push by Sapphire was first unveiled for critics with little fanfare but high hopes, quite a few folks thought it would never see the light of day off the fest circuit. Too dark, too depressing, too tragic … with little redemption or justice to buoy…

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The Vampire as Moral Compass

These days, it seems vampires are the new black — but they aren’t quite as black as they used to be. Today’s vampires have more than just gloomy good looks and great fashion sense; they come complete with a moral compass. If art and literature reflect the world in which they are created, what does…

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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

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