BYOB Archive for January, 2008

BYOB – Jan 31

It’s yet another travel day… here is some room to roam…


BYOB – Jan 29

Before I leave it to you, a couple quickies…
1. All this talk about the WGA talks being tied to Oscar is ticking me off. Does anyone really think that The Oscars are more important to The Writers than that little thing called, “going back to work?” I have said repeatedly that “Hollywood” will not stand for Oscar being shuttered. But it feels almost as though this is yet another effort by Gil Cates to make the negotiation appear to be bigger than the Negotiating Committee. It is not. Had the AMPTP put this deal on the table in October, this strike would likely have never happened. And this leads to the real question… how much did AMPTP really want the strike to happen so they could force majeur the decks clear?
2. I happened to chat with Anjelica Huston the day of the Oscar nods. There was no coyness about who Daniel Day-Lewis is channeling in his performance. See her here.
3. Juno, which just crossed $100 million, will be amongst the 10 most profitable films of 2007, along with 300, Knocked Up, Superbad, The Simpsons, and Ratatouille.
Now, your turn…


BYOB – Weekender

The return to LA is about to begin. I am looking forward to sitting down, without the mania around me, and considering the fullness of this last 10 days. There are movies to discuss (Hamlet 2, Man On Wire, In Prison All My Life, Choke, Momma’s Man, and others), business to consider, and the future of indie to think about.
Meanwhile, discussions about strike discussions are fruitless. The deal will soon be done, barring insanity on either side. The deal will be, as it always was going to be, what the studio side was willing to do. The difficult question of whether the strike was necessary will forever be conjecture. (There are pressures brought to bear that go beyond deal points. “How profitable was the strike to the AMPTP side?” is a story that will be hard to write.) But we all need perspective, not inflamatory gossip, right now.
In any case, I have miles and miles to go before I stop drivng. Box office stuff should be up on MCN soon. Have at it all…


BYOB – January 24

I know… many of you are bored with Sundance coverage… or frustrated that I haven’t had enough time to write in more depth.
Either way, roll your own here…


BYOB – January 18

I know… some of you are already bored with Sundance coverage and want to discuss how badly 27 Dresses will cannibalize Cloverfield and why both these powerfully marketed niche films are opening on the same day, forcing the teens and 20s to decide whether she is going to be dutiful or if he is going to get laid on Saturday night.
Cloverfield will win the weekend, but I think 27 Dresses, which I hadn’t taken into account in my previous guess that the monster mess will crack the January record, will cost it at least $10 million this weekend. And the lizard lump will have legs much like the movie monster’s… short in comparison to the overall body.
And it will be interesting to see how the expansion of There Will Be Blood, smartly held until after Oscar noms closed, will do.
But hey… discuss whatever you like. It doesn’t have to be box office. I am on the run and will try to check in… but until then, the floor is yours…


BYOB – Sundance

A space for your stuff.


BYOB – Travelling

I’m on the road to Park City all day, so be nice to each other and I’ll see you on the other side.


BYOB – Jan 9

Can you smell the quiet?




Quote Unquotesee all »

“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

“They’re still talking about the ‘cathedral of cinema,’ the ‘communal experience,’ blah blah. The experiences I’ve had recently in the theatre have not been good. There’s commercials, noise, cellphones. I was watching Colette at the Varsity, and halfway through red flashes came up at the bottom of the frame. A woman came out and said, ‘We’re going to have to reboot, so take fifteen minutes and come back.’ Then they rebooted it from the beginning, and she had to ask the audience to tell her how far to go. You tell me, is that a great experience? I generally don’t watch movies in a cinema at all. Netflix is the future. It’s the present. But the whole paradigm of a series, binge-watching, it’s quite different. My first reaction is that it’s more novelistic, because if you have an eight-hour season, you can get into complex, intricate things. You can let it breathe and the audience expectations are such that they will let you, where before they wouldn’t have the patience. I think only the surface has been touched with experimenting with that.”
~ David Cronenberg