Awards Archive for October, 2008


There is little question, the studios are a bit tighter this year with throwing around the expensive awards season ad buys.
Ironically, Peter Bart, whose Variety ad sales team has done its best to undercut everyone else selling advertising in the awards season world, is the first – and likely only – ad seller to publicly whine about what he sees as “significantly reduced support” in this season.
In his very best McCain, he spins what are surely reduced revenues at the on-the-selling-block Variety into some kind of failure on the part of the studios to support the talent involved with movies. Bzzzt! Reality Check: The belt tightening finally caught up to Variety, in spite of coming close to killing off The Hollywood Reporter and even with the advantage of studios that are being very tight with other outlets still buying at the Gray Drag Queen of Movie Journalism (it works hard to look a certain way from the outside… it is something very different if you look under its journalistic skirt).
Perhaps Mr. Bart feels particularly bend out of shape by the round rejection of his blog as a central hub of $15,000 a month Oscar insight… of course, on top of the ad prices for the rest of Variety and
More likely, Variety is slightly down for the season, as compared to last year, in ad sales, in spite of price hikes across the board.
There should be some relief for Pete & Co. as a few last minute players jump in the water. But this whole public moaning is very dangerous because it may well stick the whole ad buy idea in the faces of the bosses who could wonder aloud,


The Gothams Deal The Joker

A few things struck me as I looked at the Gotham Awards nominations (which by the way, seem to have been successfully embargoed on the web and elsewhere until this morning


Quote Unquotesee all »

“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima