| March 6, 2022
David Poland: “The Academy Awards are an annual promotional popularity contest between fewer than 40 feature films which raises tens of millions with a TV show, thus allowing The Academy to do nice things in the name of cinema. Now, however well-intended, it wants to lead by fiat.
“I have no disagreement with the idea of the rules The Academy wishes to impose. But I have a strong disagreement with the idea that The Academy is in a position to make such demands. And unintentionally, it continues to cede power to those who seek to manipulate the system.
“We believe these inclusion standards will be a catalyst for long-lasting, essential change in our industry.” It won’t. But the industry may be close enough to their vague demands to qualify without doing anymore than it is now doing. So you can look like you did something.”
Rex Pickett: “Enforcement is going to be a nightmare. I personally know people in AMPAS and this is performative public relations at its zenith. Try as they might, they will never be able to undo the century of exclusion.”
NYT’s Kyle Buchanan: “The more I look at this, the more I see that Standards C and D are so easy to meet — studios simply need a [strong] internship program and a marketing department that’s relatively diverse — that the films those studios distribute could remain pretty homogeneous and still qualify.”
| March 6, 2022
| January 26, 2022
| January 24, 2022
May 1, 2022
"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
| 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
| April 29, 2022
| December 13, 2019
| December 4, 2019
| December 4, 2019