THB #93: The Batman (no spoilers)
| March 6, 2022
“We do feel we have to safeguard that film experience. I talk to my friends at streamers all the time to remind them. And Netflix and Amazon are very cognizant of preserving theatrical, especially for the filmmakers they want to work with.”
“It’s important to see what the horizon looks like for screen media, yet there’s a danger in casting that net too widely. But every time there’s handwringing about the death of movies, great movies come out to prove that wrong, and we’re here to support those artists. Films are the core of who we are as an organization.”
“One thing on a lot of festival directors’ minds for a while has been that the traditional arthouse audience — where a lot of the audience for festivals comes from — is aging. They’re trying to entice younger audiences.”
Gregg Goldstein Garners Visions Of The Future Of Film Fests From Current Bosses Of Sundance, Telluride, Toronto, SXSW and Tribeca
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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
| January 24, 2022
DP/30 Audio: Bombshell, Jay Roach
| December 13, 2019
DP/30 Audio: The Last Black Man in San Francisco, Jonathan Majors
| December 4, 2019
DP/30 Audio: The Mustang, Laure de Clermont-Tonnerre
| December 4, 2019
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