DP/30 Archive for January, 2009

Wall- E, Andrew Stanton

Read the full article » 1 Comment »

Tom Tykwer: The International

Read the full article »

Coraline – Henry Selick

Read the full article »

Ron Howard: dir. Frost/Nixon

Read the full article »

An Education dir Lone Scherfig

Read the full article »

An Education star Carey Mulligan

Read the full article »

Sundance ’09: Adam

Actors Peter Gallagher & Rose Byrne and writer/director Max Mayer

Read the full article »

Sundance ’09: Adventureland

Kristin Wiig & Bill Hader, writer/director Greg Mottola, and Jesse Eisenberg & Kristen Stewart

Read the full article »

Sundance ’09: Ashton Kutcher, Spread

Read the full article »

Sundance ’09: James Toback: Tyson

Read the full article »

Sundance ’09: Humpday

Read the full article »

Sundance ’09: Mary & Max

Read the full article »

Doubt: Viola Davis

Read the full article »

Doubt: John Patrick Shanley

Read the full article » 1 Comment »

Frost/Nixon: Peter Morgan

Read the full article »

DP/30

Quote Unquotesee all »

“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch