DP/30 Archive for February, 2011

DP/30 Industry Legends: editor Michael Kahn

mp3 of the conversation

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DP/30: The Social Network, editors Angus Wall, Kirk Baxter

mp3 of the conversation

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DP/30: Unstoppable, sound editor Mark P. Stoeckinger

The Oscar nominee talks about the film and his work.

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DP/30: Salt, sound mixer Greg Russell

The Oscar nominee talks about the film and his work.

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In A Better World, co-writer/director Susanne Bier

The Oscar nominated foreign film, In A Better World, is Susanne Bier’s second trip to the Academy Awards and already won her the Golden Globe.

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DP/30 @ Sundance: Reagan, Eugene Jarecki

Being released just in time for Ronald Reagan’s 100th birthday, political documentarian Eugene Jarecki (The Trials Of Henry Kissinger/Why We Fight) delivers a powerful film covering the life, politics, and ideas of Ronald Reagan. We talked about the work at Sundance.

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DP/30 @ Sundance: Being Elmo, director Constance Marks

The remarkable story of Kevin Clash’s passionate dream come true, brought to the screen by director Constance Marks.

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DP/30

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“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