THB #93: The Batman (no spoilers)
| March 6, 2022
IN-PERSON SUNDANCE CANCELLED
“We have been looking forward to our first fully hybrid Sundance Film Festival and our teams have spent a year planning a festival like no other. But despite the most ambitious protocols, the Omicron variant with its unexpectedly high transmissibility rates is pushing the limits of health safety, travel and other infrastructures across the country. And so, the Festival’s in-person Utah elements will be moving online this year. While it is a deep loss not to have the in-person experience in Utah, we do not believe it is safe nor feasible to gather thousands of artists, audiences, employees, volunteers and partners from around the world, for an eleven-day festival while overwhelmed communities are already struggling to provide essential services. As a nonprofit, our Sundance spirit is in making something work against the odds. But with case numbers forecasted to peak in our host community the week of the festival we cannot knowingly put our staff and community at risk. The undue stress to Summit County’s health services and our more than 1,500 staff and volunteers would be irresponsible in this climate. It has become increasingly clear over the last few days that this is the right decision to make for the care and well-being of all of our community.”
-30-
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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