Movie City Indie Archive for April, 2009

The sound of Antwerp

Indie is recuperating


No comment: Where film criticism belongs

The randomness that is the internets provides this student emanation on “Where Film Criticism Belongs by Sam Watermeier of the Carmel High School HiLite, Indiana. Sounds like the run-of-the-mill blog to me: “Film critics rarely if ever actually make a significant impact on any one film or filmmaker. People need to realize this. Like I was saying earlier, people try too hard to attach a sense of purpose to film criticism. Film hatefilmcritics.jpgcriticism is not supposed to change or influence film. It’s not even really supposed to influence readers because it is not the critic’s job to market films. A lot of critics don’t realize this. Like Peter Travers, they think they are supposed to “sell” films to their readers. Film criticism should be viewed as simply another form of personal expression like poetry or painting. It is ideally meant to be an extremely personal, uncompromising, intimate form of art, yet many critics try too hard to form a relationship with their audience and take on a conversational stlye [sic]. They care too much about other people’s movie tastes and focus on what the audience may or may not like. They don’t own their opinion and these days, their reviews are not introspective enough. Now, I’m not saying I hate film critics. They are my heroes. There are many I admire: Roger Ebert of course, Owen Gleiberman from Entertainment Weekly, Adam Kempenaar and Matty Robinson from the radio show, Filmspotting. However, they are the only critics that really say something with their reviews. They are the kinds of critics I can only dream of being. I worry though that with all these shallow critics around these days and their unfortunately pedestrian views, the field of work I dream of being involved in may be slowly fading away and losing the integrity it once had.”

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Forebears: who's Seth Rogen channeling in Observe and Report?


Tetro times 2: Gallo on fathers; Coppola on boys

Francis calls in the rocking chair.

Fox's statement about the Wolverine situation

“Last night, a stolen, incomplete and early version of X-Men Origins: Wolverine was posted illegally on a website. It was without many effects, had missing and unedited scenes and temporary sound and music. We immediately xx242-x-men_wolverine_007.jpgcontacted the appropriate legal authorities and had it removed. We forensically mark our content so we can identify sources that make it available or download it. The source of the initial leak and any subsequent postings will be prosecuted to the fullest extent of the law – the courts have handed down significant criminal sentences for such acts in the past. The FBI and the MPAA also are actively investigating this crime. We are encouraged by the support of fansites condemning this illegal posting and pointing out that such theft undermines the enormous efforts of the filmmakers and actors, and above all, hurts the fans of the film.”

Fifth Third Ballpark Burger ought to be a hoax; isn't

Movie City Indie

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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