DP/30 Archive for December, 2011

DP/30: Tyrannosaur, actor Olivia Colman

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DP/30: I Tawt I Taw a Puddy Tat

Director Matthew O’Callaghan, Voice Talent (and living legend) June Foray, and Exec Producer Sam Register.

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DP/30: Drive, actor Albert Brooks

We are thrilled to be able to bring you a half hour chat with the legendary Albert Brooks. We shot this just yesterday, post-SAG, pre-Globes. The chat may be less often funny than you’d expect, but the man of ideas has always been there behind the laughs, which is why we all remember so much of what he’s written and said over these last 40 years.

Other recent interviews include the director of Drive, Nicolas Winding Refn, a pair of animated directors (Kung Fu Panda 2 and Rio), almost a full hour with the director and the writer of Tinker Tailor Soldier Spy, plus The Brothers Dardennes, whose The Kid With The Bike is grabbing awards and nominations all over the country.

But start with the Albert… you’ll be glad you did.

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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