Press Releases Archive for October, 2007

A Catered Affair in San Diego

October 17, 2007 The horror, of course, is that the sheer energy of crap like Legally Blonde and a single thematic song – in that case “Oh My God” – can drive a show to a lot of audience for a long time. And something much more ambitious and thoughtful, like A Catered Affair, will…

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Young Frankenstein In Seattle – Detailed, Spoiler Notes

August 29, 2007 This is the follow-up to Monday’s spoiler-free review column on Young Frankenstein, now out-of-towning in Seattle. Don’t read a word if you want to maintain a show surprise, though most of it is set by the movie we all know so well. ACT ONE Scene 1: A Village In Transylvania, 1934 “Frankenstein…

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Young Frankenstein In Seattle – Spoiler Free

August 27, 2007 The thrill and the horror of Young Frankenstein is that it, unlike The Producers, has the feel of the giant machine shows that have been hitting Broadway in recent years. For instance, the current Grease revival – generated not by the need for a revival, but as a guaranteed pre-sale based on…

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Not So Under The Sea

Sept 5, 2007 There is no drama like theater people throwing gossip around about the latest show they hope goes down the drain. When shows fail, the gossip is “I told you so.” When the gossiped about shows hit, they suddenly forget that there was any fuss at all. The latest show to get bashed…

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Hairspray: The Musical Movie

July 13, 2007 I first saw it in a slightly premature screening – New Line was thrilled with what was delivered – and the show was so charming and sweet that it was pretty irresistible. Still, there were flaws that stuck out, the most frustrating being that Adam Shankman is a better choreographer than a…

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The Unexpected Pleasure Of Xanadu

June 29, 2007 I saw the biggest new hit to land Off-Broadway in years. Unfortunately for the show, it’s opening on Broadway next Tuesday. Xanadu, which I bought tickets for after a half-price opportunity showed up in the e-mail and have been apologizing for since whenever answering “what are you seeing in New York?,” turns…

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Press Releases

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch