Earlier this week, an under two-minute short film hit YouTube that takes the humble snowball fight and amps it up to 11. It should not surprise anyone that this is directed by an action film veteran, David Leitch, whose name may be familiar to those who’ve seen John Wick (he was the uncredited co-director). He’s gone on to direct additional action movies and he brings substantial experience as a stunt performer and coordinator to those…
Last month, I wrote about how accomplished filmmaker Martin Scorsese termed the many, many Marvel films as “not cinema.” His colleague Francis Ford Coppola joined in, going further in calling the films “despicable.” Superhero fandom has not been kind. (Thankfully, some superhero actors keep on being superheroic, so there’s that). On Monday, Martin Scorsese wrote an opinion piece in the New York Times about the interview that kicked this all off — and where he…
Francis Ford Coppola has joined his colleague Martin Scorsese in dismissing superhero films in general and Marvel in particular, calling them “despicable.” Rosy Cordero covers it in Entertainment Weekly and David Crow has a nice contextual take over at Den of Geek. Sigh. Much like Bugs Bunny, superhero films might not be considered “high art,” but they’re not going away anytime soon. Besides which, Kareem Abdul-Jabbar already covered this: he’s not wrong, but he’s not…
Just last month I was musing about how, even in the face of “nerddom’s” ascension in all aspects of pop culture, people still feel the need to belittle or otherwise distance themselves and their work from science fiction as if the genre itself was wildly radioactive. Now, in the face of a more meditative and gritty look at the origins of Joker –with more than a few homages to Martin Scorsese’s films– Scorsese himself felt…
Well, technically, it’s a 96-minute press conference moderated by film historian, author, and critic Richard Schickel. However, it really is a bit of a masterclass as Alfred Hitchcock, quite confident in what he does and doesn’t do, gives pronouncements about how he goes about things. Note that you may want to watch Family Plot, his last film, before watching this as that’s the reason for the press conference. You may also find that he’s rather…
One of my favorite episodes of the original Star Trek and, I would argue, one of their best overall episodes, was the action-packed season two entry, “The Doomsday Machine.” A significant factor on why I believe it should be ranked so highly is because of the episode-specific music composed by Sol Kaplan. Viewers may recall the original series re-used a lot of music cues as a cost-cutting technique. The fact that they don’t do so…
Continuing on the topic of producing films from Monday’s post on film budgets, what do you do when you –miracle of miracles– finish the film? Well, you want to get it distributed, of course! And, just as I want more than theoretical notions and generalizations for distribution, I want to know who likes to acquire what — and as much of their terms and conditions can be shared. So over at the site Dear Producer,…
One wonky thing I’m endlessly fascinated by is film budgets. When you realize that an hour of modern “prestige” TV can top $10 million, yet the average Hollywood blockbuster is over $100 million, you know certain choices are being made and risks accepted. And yes, I know traditional theatrical distribution and traditional network and cable distribution have business models that can inform and support these widely disparate budgets. However, I lap up little tidbits from…
I will leave it to you to determine whether I am one of the sharks or am merely swimming with sharks, but I will be at a “Shark Tank for Filmmakers” event this Saturday out in the wilds of Northern Virginia, where the passenger jets roam. The event is organized by fellow filmmaker Ron Newcomb, who has been tirelessly working on building the narrative film community in the DC region pretty much since I’ve known…
Ah, film festivals. Getting into one is always gives a good sense of validation to a filmmaker — and the best are a delight to attend as both filmmaker and audience member. But what if your film doesn’t make it in? I’ve known Jon Gann for most of this century and I know all the work he’s done in creating, improving, and advising film festivals. So when I saw he wrote a pair of articles about why films don’t get…