The News

Sensible Future For Festivals

Braden King: The virus “has caused me to reflect more and more deeply on the fact that we have to think harder and much more honestly about the ethical viability of our entire industry—filmmaking, festivals, all of it—in the face of global climate change. Set waste, production travel and transportation are all problematic, to put it mildly. Promotional travel is problematic.Gathering 120,000 people in Park City, 280,000 people in Austin and 480,000 people in Toronto every year (to name three destinations and numbers from a quick Google Search) seems like a practice we can’t responsibly continue. Shooting guidelines are great and all but we need to have much more difficult conversations about what it means—and what it may look like—to do what we do responsibly and ethically as we stare down an exponentially larger global crisis.”
Jamaica Knauer: “True, but places like Park City count on the film festivals to survive. What can people do to support them or are all people going to have to move to large cities to pay their bills? City living isn’t for everyone. Never any easy answers, sadly.”
Craig Zobel: “Issue is: there are a lot of people in Park City, Austin and (kinda) Toronto, who are counting on those visitors to make the money from the Eggs Benedict that they need to pay health insurance and all the complicated things that get in the way of climate change discussions. Not that I disagree with your larger point! Just complicated…”

No Responses to “Sensible Future For Festivals”

Comments are closed.

MCN Commentary & Analysis See All

THB #93: The Batman (no spoilers)

David Poland | March 6, 2022

THB #76: 9 Weeks To Oscar

David Poland | January 26, 2022

THB #73: Netflix Is Chilled

David Poland | January 24, 2022

The News Curated by Ray Pride See All

-30-

May 1, 2022

The New York Times

"Netflix, the great disrupter whose algorithms and direct-to-consumer platform have forced powerful media incumbents to rethink their economic models, now seems to need a big strategy change itself. It got me thinking about the simple idea that my film and TV production company Blumhouse is built on: If you give artists a lot of creative freedom and a little money upfront but a big stake in the movie’s or TV show’s commercial success, more often than not the result will be both commercial (the filmmakers are incentivized to make films that will resonate with audiences) and artistically interesting (creative freedom!). This approach has yielded movies as varied as Get Out (made for $4.5 million, with worldwide box office receipts of more than $250 million), Whiplash (made for $3.3 million, winner of three Academy Awards), The Invisible Man (made for $7 million, earned more than $140 million) and Paranormal Activity (made for $15,000, grossed more than $190 million).From the beginning, the most important strategy I used to persuade artists to work with me was to make radically transparent deals: We usually paid the artists (“participants” in Hollywood lingo) the absolute minimum allowable by union contracts upfront, with the promise of healthy bonuses based on actual box office results—instead of the opaque 'percentage points' that artists are usually offered. Anyone can see box office results immediately, so creators don’t quarrel with the payouts. In fact, when it comes time for an artist to collect a bonus based on box office receipts, I email a video clip of myself dropping the check off at FedEx to the recipient."
Jason Blum Sees Room For "Scrappier" Netflix

The New York Times | April 30, 2022

"As a critic Gavin was entertaining, wry, questioning, sensitive, perceptive"
Critic-Filmmaker Gavin Millar Was 84; Films Include Cream In My Coffee, Dreamchild

April 29, 2022

The New York Times

Disney Executive Geoff Morrell Out After Less Than Four Months

The New York Times | April 29, 2022

The Video Section See All

Mike Mills, C’mon C’mon

David Poland | January 24, 2022

The Podcast Section See All