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Archive for the ‘Webcasts’ Category

Garrett McNamara rides 90 Foot Wave — New World Record

Friday, May 11th, 2012

Click here, or on the image above, to see this astounding clip.

This post has nothing to do with cinema, other than the fact that this amazing footage exists, and reminds me of Bruce Brown’s classic surfing film, The Endless Summer.

It seems that Garrett McNamara just broke the world record for largest wave surfed by successfully navigating this 90-foot wall of watery death in Nazaré, Portugal. The previous record—77 feet—was set by Mike Parsons in 2008. The instrumental on the soundtrack is entitled Ricochet by David Michael & Lee Pomeroy. Incredible footage- enjoy.

Hollywood Moves to The Web

Sunday, February 26th, 2012

Hollywood’s theatrical fortunes continue to decline, as the ever-reliable Brooks Barnes reports in The New York Times, but it seems they have a fix on how to move to the web, and make it pay.

As Barnes reports, “Movie attendance hit a 16-year low in 2011. Star wattage continues to dim. DVD sales keep plunging. Almost none of the films being honored at Sunday’s Academy Awards have struck a mainstream nerve.
Yet Hollywood has a noticeable spring in its step. After all, it’s not the music business.

Instead of Hollywood suffering its own Napster moment — the kind of digital death trap that decimated music labels first through the illegal downloading of files and then by a migration to legal downloads almost solely through iTunes — several deals announced this month have it feeling more in control.

While studios still consider piracy a huge problem and feel stymied by Silicon Valley (and Washington politics), they nevertheless control their content. And now the Web is coming to them.

Google is developing a home entertainment device and several media companies have announced plans for new online streaming services. Taken together, the moves mean no supplier will have a monopoly over the distribution of films and television on the Internet. With more buyers comes leverage, and higher prices for content

‘The mood has shifted from,”Oh, my God, our business models are broken and we’re going to be cannibalized” to something resembling euphoria,’ said Peter Guber, a former chairman of Columbia Pictures who is now chief executive of the Mandalay Entertainment Group, which has interests in movies, TV and sports. ‘Studios see a robust, accelerating online market.’”

It makes sense; with admissions at a 16 year low, the viewers have to be somewhere, and unlike the music business, it seems that Hollywood has figured this out in time for a variety of reasons.

Read the whole piece here; more evidence of the ever changing landscape of cinema.

Five Directors: “How Do You Know If You’re Any Good?”

Wednesday, January 25th, 2012

Here’s a great little clip from the Los Angeles Times‘ Envelope Directors Roundtable series, in which five directors discuss how they evaluate their work on a daily basis, and also what they think of criticism of their work, as moderated by Oliver Gettell.

The directors are Martin Scorsese (Hugo), Michel Hazanavicius (The Artist), Alexander Payne (The Descendants), George Clooney (The Ides of March) and Stephen Daldry (Extremely Loud & Incredibly Close).

Daldry seemingly doesn’t even know how to approach the question; Clooney talks about the difference between being an actor, and being a director, and observes that of reviews, if you get fifty positive notices and one negative one, you’re going to forget all about the praise and focus only on the lone dissenter; Alexander Payne says that he lives with perpetual bi-polarism (“Some days I am Orson Welles. Other days I am the worst loser, impostor, know-nothing, wannabe filmmaker in the world. I believe both with equal conviction”); Hazanavicius thinks that you really can’t judge your work objectively on the set, because who knows what it’s going to look like “four months later in an editing room”; and Scorsese views the whole thing with a certain air of Olympian detachment, observing that “If you read the good [reviews], you might believe those, and if you read the bad ones, you certainly believe those. At a certain point, you’ve got to work.”

You can see the whole clip from the interview– it’s only about 4 minutes long — by clicking here, or on the image above.

The Art of the Modern Movie Trailer on NPR

Sunday, January 15th, 2012

Click here, or on the image above, to read the whole transcript of the story on NPR.

Brent Baughman of NPR interviewed me recently, along with some other folks who work in the industry making what are known as “trailers” or “coming attractions” for films about to be released. It’s both a science and an art, blending marketing and creativity to get people out of their houses and into the theaters, which is proving increasingly hard to do in the era of pads. cellphones, and laptops; even television is outmoded.

People would rather stay at home and stream a film instead of going out to the movies; this is why only the most mainstream films now get a national release. The more thoughtful films get a “select cities” release in New York, Los Angeles, and other major markets; at the same time, the film is unceremoniously dumped into video on demand, either on television or the web, at sites such as Amazon, Netflix, and numerous other locations.

All of which makes getting people to actually “go to the movies” all the more important for major studio releases, which cost upwards of $80 – 100 million to make on average, and another $12-25 million or so to market. Here’s an excerpt from our conversation:

“[The] trailer for the 1938 version of A Christmas Carol features the actor Lionel Barrymore (Drew’s great-uncle), speaking directly into the camera about this charming new film. Leatherbound book? Check. Pipe? Check. Armchair by the fire? Check. The whole thing is so clearly not the savvy, heavily focus-grouped work of a modern trailer house that it’s hard to imagine it ever worked.

Early trailers, says film historian Wheeler Winston Dixon, were all like this. Very comfortable — and often full of over-the-top superlatives, like the trailer for Gone With the Wind. “‘Never so tremendous!’” Dixon says by way of example. “‘The screen’s greatest achievement!’ One critic at the time said it was the supreme example of writing so as never to be believed.”

Compare that with something like last year’s trailer for The Dark Knight Rises, which set a record for downloads in 2011. “The shots are shorter and shorter and shorter, and more fragmented,” Dixon says. “There have been a number of studies that demonstrate that the average length of a shot in a film have been shrinking every single year, because audiences absorb information faster — and there’s also a sense that you don’t want to bore them.”

You can read the entire interview, and see the trailers as well, by clicking here, or on the image above.

Michel Gondry’s 2 Minute Remake of “Taxi Driver”

Sunday, January 15th, 2012

There’s been a lot of talk lately about a possible remake of Martin Scorsese’s masterpiece Taxi Driver (1976). Lars von Trier was attached for a while, then Scorsese even floated the idea of doing a 3-D remake, perhaps just as a whim; but in the meantime, director Michel Gondry has stripped the whole project down to a two minute bare-bones recap, which is at once brilliant and also very funny.

You can view it by clicking here, or on the image above.

Netflix Rebounds: 2 Billion Hours Streamed in 4th Quarter of 2011

Thursday, January 5th, 2012

As Nancy Tartaglione-Moore reports in Hollywood Wiretap, after a rough third and fourth quarter of 2011, Netflix has come back strong, with streaming video downloads as opposed to DVDs leading the way. Clearly, streaming has become the new distribution mode, and as we look to the future, it’s poised to become the dominant method of film and video distribution.

As people in Hollywood ask themselves what the new distribution model will be, it seems that the answer is staring them in the face. It’s streaming. There has to be some new kind of interface between theatrical and streaming, but clearly, these are the emerging as the two key release platforms for 2012 and beyond.

As Tartaglione-Moore reports,”After a fallow few months, Netflix stock soared Wednesday amid renewed speculation it could be acquired by Yahoo after unveiling new viewership stats that said subscribers watched more than 2 billion hours of its streaming TV shows and movies in the fourth quarter of 2011. The shares shot up 11.36%, or $8.21, to close at $80.45. BTIG analyst Richard Greenfield said the news would make Netflix the 15th most watched network.

[In Deadline Hollywood], Greenfield wrote: “With Netflix viewing at these levels, it simply CANNOT be all incremental” – meaning that some of it comes from people who spend less time with traditional TV. Meanwhile, The Hollywood Reporter, citing a new Deloitte State of the Media Democracy survey, said that watching a movie via a subscription service like Netflix is rapidly gaining on DVD and Blu-ray as the preferred method of at-home viewing. According to the survey, 42% of Americans ages 14-75 have streamed a movie online, up from 28% in 2009.”

Read the entire story, with additional links, here.

Web TV Reruns Change Television Syndication

Monday, January 2nd, 2012

Want to see your favorite sitcom or hour long drama in reruns? Don’t touch that TV remote; head for the web instead. Of course, this isn’t news to many of you, but it seems that television producers themselves are just becoming aware of the fact that they can make significant amounts of cash by licensing their programming to the web, rather than following the usual route of television-only syndication.

As Meg James reports in the Los Angeles Times, “Television production studio executives long have been wary of Hulu and other forms of Internet distribution, fearing they would lead to increased piracy and destroy lucrative secondary markets, including syndication and DVD sales. But video streaming services offered by Netflix, Hulu and Amazon.com are becoming an unexpected boon to the TV syndication market. By writing checks to license library content from networks, the Internet services are injecting new revenue into the TV business and breathing new life into middling shows.”

You can read the entire article by clicking here, or on the image above.

Force of Evil (1948)

Monday, November 28th, 2011

Abraham Polonsky’s Force of Evil is one of the greatest, and bleakest of all noirs. Made in 1948, just before Polonsky became yet another victim of the HUAC Blacklist, Force of Evil boasts a stellar cast, including veteran heavy Thomas Gomez, the always dependable Roy Roberts, noir specialist Marie Windsor, and is toplined by John Garfield in one of his most memorable roles, as a mouthpiece for the numbers racket who tries to make a quick killing, while keeping his brother, who runs a small time policy office, out of the way of the big boys. Based on the novel Tucker’s People by Ira Wolfert, and immaculately photographed by George Barnes, this is one of the most intelligent, thoughtful, and ultimately horrific tales of greed, deception and betrayal ever brought to the screen. And it’s only 78 minutes long.

You can see the entire film by clicking here, on or the image above.

YouTube Rolls Out 100 Channels of Commercial Programming

Saturday, October 29th, 2011

YouTube is moving beyond an amateur programming venue into the realm of being a professional content provider, which means the end of the site as a truly democratic shared space for images on the web. What made YouTube so interesting was all of the amateur material uploaded by users, and the sheer size and depth of it. Now, YouTube no longer wants you to “Broadcast Yourself.” They want to become a conventional broadcast network, on the web, with roughly 100 commercial channels, featuring established “stars.” This is not a good idea.

As Amir Efrati and Lauren A.E. Schuker describe in the Wall Street Journal:

“Google Inc. on Friday announced the creation of around 100 online video “channels” on its YouTube website that will have new original programming involving celebrities such as such as singer Madonna, rapper Jay-Z, actor Ashton Kutcher and former NBA star Shaquille O’Neal.

The venture, in partnership with dozens of media companies, Hollywood production companies, and online-video creators, will generate about 25 hours of new, original programming a day on YouTube. The majority of the roughly 100 channels will launch next year [. . .]

Also involved in the venture are wellness guru Deepak Chopra, skateboarding legend Tony Hawk, Rainn Wilson of “The Office,” who will be featured in a comedy channel, and a Hispanic channel featuring Sofia Vergara of “Modern Family.” The celebrities will partner with various production companies to produce the content [ . . .]

Google is hoping to turn YouTube into a next-generation video provider that oversees free online channels with professional-grade shows. YouTube is expected to give some content creators 55% of the resulting ad revenue after YouTube recoups the cash advances it paid them, some of the people said. In Hollywood, such a split is considered to be generous.

YouTube is paying more than $100 million in advances to content partners, people familiar with the matter have said.”

Adds Sharon Waxman of The Wrap,

“Lionsgate is the only movie and television studio among nearly 100 content partners.  CSI creator Antony Zuiker will be creating content for Black Box TV on one channel; Sofia Vergara is involved in an Hispanic pop culture channel.

In touting its plans, the site posted notice that it would be offering channels created “by well-known personalities and content producers as well as some of the most innovative up-and-coming media companies and some of YouTube’ own existing partners.”

The initiative is intended to be a challenge to cable television, and is part of Google’s strategy of becoming a next-generation television provider.  YouTube has been the number one global site for video, but until now has failed to find a viable monetization strategy with user-generated content [. . .]

Among the dozens of channels debuting are:

*Awesomeness, from Brian Robbins, the producer of “Smallville.”

*Car and Driver Television

*”Life and Times,” from the rap star Jay-Z

*A pop culture channel from producer Ben Silverman featuring Nicole Richie and Justin Long

*”Smart Girls at the Party” with Amy Poehler, Meredith Walker and Amy Miles

*”Thrash Lab” from Ashton Kutcher

*Madonna was reportedly planning to launch a dance channel

You can see the splash page for the channels here.

The new channels provide the long-missing monetization piece for YouTube, providing content against which the Google-owned site can sell advertising.”

Sounds like the same old stuff you get on TV to me. I don’t want to see any of this content, myself; it’s more boring celebrity junk. But don’t worry; if YouTube turns into CelebTube, something else will come along to take its place. It’s the same thing with Facebook; everyone thinks it’s here to stay, and unassailable.

I say it’s only as permanent as user demand, which can be very fickle indeed. The moment that YouTube becomes something other than what it set out do in its original mission statement — “broadcast yourself” — is the moment people will start fleeing, as with Netflix, to a more responsive, and open, platform.

Julien Neel — The One Man Quartet

Wednesday, October 12th, 2011

Above is Julien Neel, a young man with an excellent voice, who likes to create sharp, smart little videos in which he sings in close harmony — all four parts — in this case the old romantic chestnut Let Me Call You Sweetheart. It’s simple, unadorned, and a refreshing respite from the rest of the commercialism that inhabits the web. Nothing complex here; just a very, very old song, and a nice rendition of it. Click on the image above to hear the Neel’s version of the tune.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of numerous books and more than 70 articles on film and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu.

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In The National News

National media outlets featured and cited Wheeler Winston Dixon on a number of topics in the past month. Find out more on the website http://newsroom.unl.edu/inthenews/