“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
~ James Gray
The Hot Blog Archive for January, 2006
Today is the day that people who don
This is the kind of stat that I don’t really believe in, but…
When was the last time a film won Best Picture without being nominated for Best Editing?
25 years ago, Ordinary People did it.
Yes, every film that won Best Picture, even Driving Miss Daisy, got an editing nomination since then
BAFTA missed Munich
Brokeback Mountain 8 nominations
Crash 6 nominations
Good Night, And Good Luck 6 nominations
Memoirs of a Geisha 6 nominations
Capote 5 nominations
Munich 5 nominations
Walk the Line 5 nominations
The Constant Gardener 4 nominations
King Kong 4 nominations
Pride & Prejudice 4 nominations
Brokeback Mountain – Focus Features
Capote – Sony Pictures Classics
Crash – Lions Gate
Good Night, & Good Luck – WIP
Munich – Universal
Munich gets 5 noms, in spite of no acting gets.
Star Wars: Episode III shockingly shut out except for Make-Up
Terrence Howard gets the big Hustle & Flow nomination
Documentary category limited to big release titles
I’m not saying that there weren’t plenty of whores on every corner of Main Street for those who wished to indulge in irrelevancy. But to this set of eyes, it seemed that the ferocity was cut pretty much in half from last year. Really… half.
The response, of course, is now that there wasn’t enough sparkle… that the swag wasn’t very good this year… that the parties were a bit flat. To misquote Hee Haw, “If it weren’t for bad news, we’d make up no news at all… woe, despair and agony on me.”
Really, the two most interesting women’s performances I saw at Sundance this year were JR Valentin as Maximo Oliveros in The Blossoming of Maximo Oliveros and Chiwetel Ojiofor as Lola in Kinky Boots. Ironically, the two women who show up on screen with penises are the only two who are given subtle, complex, unexpected notes to play, though Ojiofor’s drag queen is a bit more in the Hollywood-By-Way-Of-The-Full-Monty than the remarkable intimacy of Maximo Oliveros.
The AFP wire headline on th SAG Awards manages to both give short shrift to Crash, Capote, Walk The Line and other winners while continuing to obsess, however less than complimentarily, on Brokeback Mountain.
Hollywood actors snub Oscars favourite ‘Brokeback Mountain’
Let’s see how they spin this…
And I don’t just mean at 2929 or Magnolia. The media outlets that have invested enormous space and support for Steven Soderbergh’s Bubble have a lot of ‘splainin’ to do.
Klady estimates $72,300 on 32 screens or a $2260 per screen average. That is the worst per-screen of any of the ten new releases this weekend… by more than 50% in the closest case.
And I didn’t see 1/20th the media attention to Roving Mars or even Tristam Shandy.
The question that now has to be asked – ironic as hell – is why the investors wasted money releasing the film in theaters at all. The $40,000 in rentals could not have covered the print ads, much less anything else.
There is nothing wrong with a small movie or the notion of a direct-to-DVD qualiy, big name film. The only good reasons for Bubble to be in theaters this weekend were hype and ego.
But I am expecting a more clever response than that. Bring on that Pirates of The Caribbean 2 day and date release!!!!
… is that TNT gets away with keeping its bug in the corner of the screen throughout and has not acknowledged the networks involved with each of the nominee’s shows. If I were ABC or Fox or whomever, I would be seriously pissed.
Of course, how many people watching this show on TNT are not already obsessed enough to know where every show plays? But still, there is something oddly inequitable about it all… at least to me.
Added 6:08p – The next most interesting thing is that it is over an hour in and they have only given out one movie acting award. This bias is not unexpected, but amongst actors, shouldn’t it be downplayed?
My first thought is that movie actors should give teh TV awards and TV actors should give the movie awards. It seems to me that it would send the right message for actors and no one is going to turn off their TV based on who presents what.
Update – Sunday Estimate by klady
3-Day Estimates / Weekend / % Change / Cume
Big Momma’s House / 27.4 / – / 37.4
Nanny McPhee / 14 / – / 14
Underworld: Evolution / 10.8 / -60% / 44
Annapolis / 7.5 / – / 7.5
Hoodwinked / 7.3 / -30% / 37.6
Brokeback Mountain / 6.3 / -16% / 50.7
Glory Road / 5.1 / -42% / 34.7
Last Holiday / 4.9 / -44% / 32.7
Chronicles of Narnia / 4.3 / -31% / 277.7
Fun with Dick & Jane / 3.6 / -37% / 106.3
Why is it that MAtrin Lawrence with breasts is so eternally funny? Well, Fox did the right thing here. The bathing suit campaign took an old idea that people liked and made it look fun again.
Nanny McPhee smelled bigger to me, though the limited advertsising probbaly assured otherwise. It we be interesting to see what kind of legs the old girl has.
You do the rest… my computer battery is running out.
Big Momma’s House 2 / 7.7 / – / 3261 / 7.7
Nanny McPhee / 3.6 / – / 1995 / 3.6
Underworld: Evolution / 3.4 / -66% / 3207 / 36.6
Annapolis / 2.6 / – / 1605 / 2.6
Brokeback Mountain / 1.8 / -16% / 1654 / 46.3
Hoodwinked / 1.6 / -24% / 3020 / 31.9
Glory Road / 1.5 / -41% / 2397 / 31.1
Last Holiday / 1.4 / -42% / 2442 / 29.2
Fun with Dick & Jane / 1.1 / -37% / 2132 / 103.8
Chronicles of Narnia / 1 / -27% / 2170 / 274.4
The Matador / 1 / 789% / 885 / 2.6
Hello all –
I’ll try to get the numbers up here at a reasonable hour on Saturday, but if not, chat here.
Today’s Sundance screenings included the very pleasant and soon to be very marketed Wordplay, the mediocre but Chiwetel Olijofor driven Kinky Boots, and the overrated mediocrity that is A Guide To Recognizing Your Saints.
The end of Revolution Studios is old, old news, so it’s hard for me to pretend that I didn’t announce it a year ago and notice that it was a lock the day that Patrick Goldstein wrote a love letter to Joe Roth’s artistic intentions. Is anyone actually surprised?
James Frey should never have lied about his process to Oprah… but the book is so great, do I really need to give a damn? It’s not like someone lied in the pages of the New York Times or something? (To give credit where credit is due, the NYT front page story today included a TV Review that was pretty reasonable.)
Ok… time for bed…
I always kinda like these last few days when the town empties out a bit and you can eat, go to movies, and think like a human being for a while.
The streets of Park City are literally melting today, after a night of snow and a morning of sun. It really is beautiful. And the locals don’t have that “Don’t fuck with me, muthafucker” look in their eyes.
This is also the part of the festival when good movies that are premiering late simply get forgotten by the buyers. Keep those eyes open, folks. There is gold in them thar’ hills… and it is not as overpriced as most of the other product that’s sold so far. (Beware stories that leave out the limited number of territories that WIP got for $6 million on The Science of Sleep or sure bet predictions on the ability to make a profit on a $10 million and 10% of gross deal on Little Miss Sunshine, which is going to have to be worked carefully to not become the next Happy, Tx. Nancy Utley can make it work, but it is not a downhill slide.)
For a few hours last night, I was actually quite happy here. There have been other fun moments. Jonathan Demme is a great guy and Neil Young is a hoot. But nine days in, it feels a little like actually being somewhere. Nice.
I know that most of you haven’t seen Kirby Dick Doc, This Movie Has Not Yet Been Rated, but where do you think the ratings system is today?
Does the NC-17 bother you?
Can you distinguish an R from a PG-13?
Do you care?
As I wrote in today MCN Sundance column, I have a few issues with Kirby Dick’s new documentary on the MPAA rating system, This Film Is Not Yet Rated.
A couple more things occured to me.
A film that was balanced would not simply have made fun about how many times the word “shit” can now be used in a PG-13 movie, but it would actually consider whether that should be of concern to parents. As in other issues in the doc, the assumption is that no one needs to be protected from the word “shit,” so it can be reduced to a punchline. I am no great moralist, but it is a curiosity to me. It is also a great curiosity how the “Shit Episode” of South Park has run over and over with no FCC attention and in fact, the hard R South Park: Longer, Bigger & Uncut has run after 10 on Comedy Central uncensored many times… and again, no major protest. There is another side – similarly inexplicable at times – to this story.
Also, I am not entirely sure – this could be a lapse in my memory – but I don’t recall the film pointing out that Gunner Palace won its appeal for a PG-13. Even if it was mentioned, the emphasis on that part of the film was that the MPAA was hiding reality from kids while pushing unreality. Personally, I am still shocked that Gunner Palace got the PG-13 in appeal because even though I support every teen seeing this movie, it does fit the R standard to a tee. Still, for Palm Pictures and first time filmmakers Tucker & Epperson to win an appeal kind of flies in the face of the Super Size Me tone of Dick’s flick.
I will still be the first person to want to see what Kirby and his producer Eddie Schmidt do next. They are, to me, very important voices in a documentary community that is a little to anxious to become more commercial. But…
(Edit 1:49p – Forgot another point… Where is Kirby’s Bob Flanagan: Supermasochist in this film? Isn’t that a film that should have an NC-17? Wouldn’t that be an interesting perspective?)
Slamdance co-founder Dan Mirvish is in a wheelchair these days after an accident back in L.A. So Tuesday night, after an event in near-to-Park-City Kimball Junction, Dan was a little hungry and when finding the local Wendy’s closed, he wheeled his chair into the drive-thru lane.
But they wouldn’t serve him since he was not in a car. But he was, he pointed out, in a wheeled vehicle.. Feeling the challenge to both his hunger and to the handicapped (although Wendy’s and monst fast food restaurants have strict rules about serving only car-driving patrons in the drive-thru), Dan went back to the party and brought a video crew, a wire Image photgrapher, and an extravagantly dressed lesbian band back to the drive-thru. Still, no luck.
(Edit 1:53p – Forgot part of the story) Then the police showed up and bullhorned, “You in the wheelchair… pull over!” They kept Dan and his rollicking crew out in the cold for 30 minutes before finally allowing them to wheel away
But Dan, not one to quit anything (he fought the Academy last year to try to get a Musical category reinstated with hopes of a nomination for his film Open House), actually spoke to Wnedy’s corporate this morning. The drive-thru rule is no walk-ups and no one on bicycles. There is not notation about wheelchairs.
Expect to hear more about this from Dan and the media in the days to come.