The Hot Blog Archive for July, 2007

MCN-A-Go-Go

We’ve had a bunch of original content on MCN this week…
There are two pieces on This Is England, first by Gary Dretzka, the second by Noah Forrest.
Larry Gross’ appreciation of Ingmar Bergman will soon be followed by Ray Pride’s.

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A Clever Idea

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And by the way… the first of what are sure to be many Dreamgirls sing-a-longs took place a couple fo weeks ago, at an outdoor theater at Outfest.
And next, the grunt-a-long version of 300.

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What The HELL?!?!?!

Ingmar Bergman.
Tom Snyder.
Bill Walsh.
Michel Serrault.
Ulrich M

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De Duva

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Behind The Superbad Wall

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Once again, they are looking for name, birthdate, and zip code. Good luck, foreigners!
All three clips are from the first 20 minutes of the film or so, though they also contain some of the great dialogue runs that define the film.
The site…

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Shoot 'Em Up… Don't Stop 'Til You Get Enough

Shoot ‘Em Up is the grindhouse movie that Harvey Weinstein seemed to think he was going to get when he gave free reign to Tarantino and Rodriguez. As B movie thrill rides go, the screenplay by Michael Davis kicks Grindhouse ass.
Now don’t get me wrong. As a director, Michael Davis is not in the class of Tarantino, Rodriguez, Bay, or even Wiseman at this point in his directing career (the very start). He had a bigger budget for this film than for any of his direct-to-DVD features that he previously knocked out … but still nothing in comparison to any of the other directors. Would the extra money have helped? Who knows how much or how little?
However, Davis as screenwriter – with a hand from producers Murphy, Montford, and Benattar and, of course, veteran make-it-work editor Peter Amundson – doesn’t let us look at his directing limitations for very long. Usually when people say a movie is wall-to-wall action, they are engaged in hyperbole. Not this time.

The rest…

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Watchmen Poster

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The ComicCon Movie Poster
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Original Covers

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Bergman Dies

Antonius Block: I want knowledge! Not faith, not assumptions, but knowledge. I want God to stretch out His hand, uncover His face and speak to me.
Death: But He remains silent.
Antonius Block: I call out to Him in the darkness. But it’s as if no one was there.
Death: Perhaps there isn’t anyone.
Antonius Block: Then life is a preposterous horror. No man can live faced with Death, knowing everything’s nothingness.
Death: Most people think neither of death nor nothingness.
Antonius Block: But one day you stand at the edge of life and face darkness.
Death: That day.
Antonius Block: I understand what you mean.

For me, I will start with the Billie August directed The Best Intentions, which was Bergman’s pre-birth and then post-birth look at his parents, where they and then he came from… the beginning of his tale. Then we can jump right into Smiles of a Summer Night, his breakthrough here, now 52 years old… and on…

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Stat O' The Day

For those of you wondering…
Ove the first 90 days of Summer, 2007 is once again the Best Summer Ever
2007 – $2.87b
2006

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Sunday Estimates by Klady – July 27

The Simpsons reminds us, yet again, at how silly it is for all of us/any of us to be throwing around OPT (Other People

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Friday Estimates by Klady… Simpsonize

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Box Office Hell – 7/27

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(Updated @ 2:19p to include late, post-east coast matinee, post-BO Hell posting entries by La Fnke.)

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Sweeney Todd Teaser Poster

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(a close-up after the jump)

Read the full article »

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DreamaParaConAmount

There was little new or news to chew on at the Paramount event at ComicCon.
But before they got started was the “hello” from the ComicCon staff. And with that came some new rules. As has been noted before, we are now in the error/era of the PG-13 ComicCon. But they have also decided to censor the question and answer process, pointing out that on top of vetting your questions and expecting you to stick to the script, they expect the audience to be completely respectful of the talent

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The Hot Blog

Quote Unquotesee all »

“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

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas