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Netflix Steps Into Feature Films

October 3rd, 2014

Netflix plans to make feature films that bypass traditional theatrical exhibition entirely.

As Gregg Kilday writes in The Hollywood Reporter, “Netflix chief content officer Ted Sarandos shook up the Hollywood status quo twice this week with a couple of announcements signaling that the streaming video service is out to up-end the existing movie business just as it’s challenged the television industry. On Sept. 29, he announced a deal with the Weinstein Co. to finance the sequel Crouching Tiger, Hidden Dragon: The Green Legend, which will premiere on Netflix and in Imax theaters on Aug. 28. In a backlash from theater owners, exhibition giants Regal, AMC Theatres and Cinemark said they wouldn’t show the film on their own Imax screens.

Then, the following day, Sarandos announced an even more ambitious pact:  a deal to make four movies starring and produced by Adam Sandler (who also retains a non-exclusive, first-look deal at Sony). All four movies will debut exclusively on Netflix. Having dropped those two bombshells, Sarandos explains how Netflix’s growing global imprint has influenced the decision to begin producing original movies, why Sandler was willing to forego theatrical releases for the films and how exhibitors, resisting change, have all reacted ‘in lockstep.’”

This is a real game changer – you can read the entire story by clicking here, or on the image above.

Creative Tips from Legendary Directors

October 3rd, 2014

The website Film School Rejects has an excellent series of “tips” on the creative process in cinema.

Landon Palmer and Scott Beggs of the website Film School Rejects have assembled an excellent series of maxims and advice from key filmmakers around the world; everyone from David Lynch to Shirley Clarke to William Greaves to James Gunn to Jim Jarmusch to Alain Resnais to Abbas Kiarostami and all the stops inbetween, and archived it here – at this website. This is a really valuable resource not only for filmmakers, but also for those who want to understand the creative process in filmmaking, as outlined by the top practitioners, past and present, in the field. If there’s one theme running through all these condensed interviews, it’s to be true to yourself. As David Lynch put it, “there were very bad reviews [of Twin Peaks: Fire Walk with Me]. I was under a bad cloud during that time and it just didn’t go well. But I loved the film and when you do something you believe in and it doesn’t go well it’s okay. If you sell out like I did in Dune and it doesn’t go, well, then you really die.”

Lots of food for thought here; click here, or on the image above, to read more.

William Brown’s En attendant Godard (2010) – Zero Budget Feature Filmmaking

September 29th, 2014

No money? No problem! William Brown’s brilliant feature film was shot digitally on almost nothing at all.

Even in the era of lightweight digital cinema, I constantly hear the complaint that “I’d just make a movie if I had the money,” or “you can’t make a movie without any money” or words to that effect, but in fact, you really can. All it requires is a decent quality digital camera, some friends as actors, and an intelligent scenario shot on location, and – providing you know what you’re doing, can come up with an original concept, and that everyone involved knows that there’s going be no money for anything – very 1960s underground filmmaking – then you’ll be OK. Think of Ron Rice’s The Flower Thief, one of my favorite films, or Jack Smith’s Flaming Creatures, both shot in the early 1960s on non-existent budgets on 16mm film. Now, with digital video, you don’t even need that. You do, however, need a vision, and once you have that, you have it all.

When En attendant Godard was screened at the CPH PIX film festival in Copenhagen in 2010, the program notes commented that “one has to pay close attention if one hopes to capture the many references to the new wave icon Jean-Luc Godard in William Brown’s humorous tribute to the French film director, who already in 1967 declared that film was dead – and who has since continued undauntedly to revolutionize its formal language from the margins. And even if some knowledge about the French director would not be a disadvantage, it is far from obligatory.

Like a tour de force through the French director’s collected works, Brown has created a story, which is as hard-boiled as it is unrestrained, about the loners Alex and Annie, who set out to find Godard, and suddenly have a double homicide and a ménage à trois on their conscience. En attendant Godard is a funny tribute to one of the biggest geniuses of film history, and it also shows how one can make use film as film criticism – without in any way needing to be hyper-intellectual. ‘All you need is a girl and a gun’, Godard famously said about making films. With his impressive zero budget debut William Brown both pays tribute to and corrects his master – and subtly underlines what we perhaps already knew from the beginning, that all we really need is a girl and Godard.”

Critic Jonathan Rosenbaum agreed, citing En attendant Godard as one of the Top Five Films of 2009 in Sight and Sound magazine – alongside films by Abbas Kiarostami and Alain Resnais. Pretty impressive for a film made for practically nothing at all — just raw talent, determination, and the desire to make a feature film that isn’t a genre film, or another horror film, but rather something that’s both intellectually stimulating and adventurous – something that moves outside the boundaries of the known into a realm of endless possibilities.

Best of all, you can see the film right here, right now, by clicking here, or on the image above.

The Oldest Single Screen Movie House in New Orleans

September 28th, 2014

René Brunet, at 93, runs the extremely successful Prytania movie theater in New Orleans.

As Matt Higgins reports, “it may seem incongruous that a one-screen neighborhood movie theater is thriving in the multiplex era. Or that a 93-year-old is still in charge of the place. But the 100-year-old Prytania Theater and its nonagenarian owner, Rene Brunet, seem happy enough as exceptions to the rules. Since 1996, Brunet and his son Robert have kept the Prytania in business at Prytania and Leontine streets with a canny mix of low-cost, throwback movie selections and cutting-edge technology.

In one sense, it’s a reminder of a time when dozens of similar theaters operated all over New Orleans — and every other U.S. city. Yet in other ways, the Prytania feels right at home in 2014, an era when young college graduates are leaving suburbs for cities and ‘walkability’ has become a watchword of urban development.

In fact, while it may be too soon to declare a revival of the neighborhood theater, at least one would-be imitator may appear soon, with a historic building in the 600 block of North Broad Street slated to be converted into a four-screen theater in the coming months. Robert Brunet admits he was against his father buying the Prytania, which he reopened in 1997 just a month before the AMC Palace opened in Elmwood with 20 screens. ‘We struggled in the beginning,’ he said, ‘but my dad’s passion was the single-screen theater. He grew up in it.’

Which is not to say the Brunets are strictly about nostalgia. In 2006, they invested $850,000 in a major renovation, installing the equipment necessary to show digital movies rather than film. In fact, Brunet claims the Prytania was the first theater in New Orleans to do so. Industry experts like Wheeler Winston Dixon, a professor of film studies at the University of Nebraska, say there is really no way to continue operating at this point without having made that transition. Studios no longer even provide new movies in any other format. ‘Film is dead,’ he said. ‘It’s digital all the way.’

Older films, combined with new releases and selections with a local flavor, such as The Curious Case of Benjamin Button and Beasts of the Southern Wild, attract an audience that a multiple-screen suburban theater would not, the Prytania’s owners say. ‘We cater to our neighborhood,’ Brunet said. ‘Our films are similar to Uptown. It’s a good cross-section.’ And then there are the less-tangible things about the place that let you know you’re in New Orleans. ‘Here, you can come five minutes late,’ he said. ‘You can walk in with a cocktail, and we’re not going to throw you out. It truly is a neighborhood experience.’”

See? If you do right, you can still fill the house night after night – thank goodness!

Bill Murray – Be Here Now

September 27th, 2014

Bill Murray on how to be present in the moment – good stuff from Vulture.

“I think if I’m gonna answer that question, because it is a hard question, I’d like to suggest that we all answer that question right now, while I’m talking. I’ll continue. Believe me, I won’t shut up. I have a microphone. But let’s all ask ourselves that question right now. What does it feel like to be you? What does it feel like to be you? Yeah. It feels good to be you, doesn’t it? It feels good, because there’s one thing that you are — you’re the only one that’s you, right?. So you’re the only one that’s you, and we get confused sometimes — or I do, I think everyone does — you try to compete.

You think, Dammit, someone else is trying to be me. Someone else is trying to be me. But I don’t have to armor myself against those people; I don’t have to armor myself against that idea if I can really just relax and feel content in this way and this regard. If I can just feel, just think now: How much do you weigh? This is a thing I like to do with myself when I get lost and I get feeling funny. How much do you weigh? Think about how much each person here weighs and try to feel that weight in your seat right now, in your bottom right now. Parts in your feet and parts in your bum. Just try to feel your own weight, in your own seat, in your own feet. Okay?

So if you can feel that weight in your body, if you can come back into the most personal identification, a very personal identification, which is: I am. This is me now. Here I am, right now. This is me now. Then you don’t feel like you have to leave, and be over there, or look over there. You don’t feel like you have to rush off and be somewhere. There’s just a wonderful sense of well-being that begins to circulate up and down, from your top to your bottom. Up and down from your top to your spine. And you feel something that makes you almost want to smile, that makes you want to feel good, that makes you want to feel like you could embrace yourself.

So what’s it like to be me? You can ask yourself, What’s it like to be me? You know, the only way we’ll ever know what it’s like to be you is if you work your best at being you as often as you can, and keep reminding yourself: That’s where home is.”

You can read the entire article by Jada Yuan by clicking here.

John Carpenter Interview in Vulture

September 26th, 2014

John Carpenter (left) on the set of The Thing in 1981.

Vulture has a great interview with director John Carpenter conducted by Simon Abrams, who notes that “horror filmmaker John Carpenter’s body of work is atypical in that his films often seem to have been made by an uncompromisingly intuitive commercial artist. Never content just to take a check, Carpenter abandoned the Halloween franchise after co-writing and producing the series’ first two unsuccessful sequels and took on bold projects, such as Big Trouble in Little China and Prince of Darkness that suggested he knew how to make movies without giving in to creative pressure to make palatable pablum. Vulture talked to Carpenter about how he resolved key conflicts on projects that defined his career, particularly The Thing, his Halloween sequels, and others.”

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

Atom Egoyan’s Chloe

September 26th, 2014

Atom Egoyan’s Chloe is a remake of a film by Anne Fontaine; in many ways, it’s much better than the original.

As Egoyan notes of the overall theme of the film, “First and foremost, Chloe deals with the nature of intimacy. But I think the film is ultimately about what we look for in a relationship – to see someone else as we would like ourselves to be seen, and the idea of protecting someone else’s right to be alone, or to protect solitude. As Rilke wrote, it is one’s role as a partner to protect the other’s solitude, and yet there’s this balance between doing that and losing someone. That to me is what the film is about – how to be allowed to imagine ourselves and integrate that into a relationship.

In any love relationship, you have to protect yourself, but it you’re not aware of the explicit agenda of the other person, the skew can become really dangerous, even explosive. This is the terrain the film deals with – how to be allowed to imagine ourselves and integrate that in a relationship. And in some ways, the film is about the necessity and danger of creative interpretation of the self. Ultimately, we all need to believe in certain stories or narratives about ourselves. We all need to feel we have some control over how that narrative evolves. However, we have no control over the variables we can’t anticipate – all of the other emotional factors that come into play.

There’s always a variable when dealing with human beings. We are incredibly complex sensitive souls, and no matter how you think a relationship is defined by parameters, those can always evolve, so we need to be invested in other people. We need to fall in love and we need to go to those places, but we also need to equip ourselves in understanding how fragile other people are. If we don’t, there’s bound to be consequences.”

You can read more about this interesting, often unsettling film by clicking here.

Joseph Lawson, Genre Director – An Interview

September 22nd, 2014

I have an interview out this morning with Joseph Lawson, director of the forthcoming film Ardennes Fury.

As I note in my introduction to the interview, “Joseph Lawson is an American filmmaker who is an unabashed special effects fan, action movie enthusiast, and utterly pragmatic about how films get made today in a rapaciously competitive environment. He’s a commercial filmmaker, working in Hollywood, making films as entertainment. Along the way, he’s getting more and more of his own vision into his work, even as he struggles against tight deadlines and tighter budgets.

We first made contact when I wrote an article for Film International that was sharply critical of The Asylum, the company Lawson works for. Lawson responded in the comments section without the slightest bit of rancor, and suggested that we correspond about the production of his latest film, just wrapped a few days ago, Ardennes Fury. It’s his fifth film as a director.

Yes, Ardennes Fury is indebted to David Ayers’ big budget film Fury coming out later this Fall from Columbia Pictures; yes, you could call this another “tie-in” film from The Asylum, but at the same time, Lawson is absolutely sincere about what he’s doing, and all that the films really share is a similar title; they’re really two absolutely different projects.

Like American International Pictures in the 1950s and 60s, The Asylum makes commercial films for a price, and as Lawson makes clear, they don’t use interns or students – they just can’t stand the pace at the studio. Like it or not, The Asylum has a vision all its own. So what’s it like to make films in the Hollywood trenches today? Here’s a chance to find out, first hand.”

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

William Cameron Menzies’ The Maze (1953)

September 21st, 2014

William Cameron Menzies’ The Maze (1953) has to be seen – in 3D - to be believed.

With everyone talking about The Maze Runner, a pallid rehash of Lord of The Flies, I thought I would highlight this little-seen gem from 1953, which is the subject of a thoughtful essay by Jeff Kuykendall, which begins by noting that “if you’ve ever seen the Douglas Fairbanks version of The Thief of Bagdad (1924), then you love and respect William Cameron Menzies. In the 1920′s Menzies quickly established himself as a first-rate art director, and the Fairbanks vehicle was enlivened considerably by Menzies’ sets, which resembled the exaggerated illustrations of a child’s Arabian Nights storybook, while Fairbanks hopped, skipped, and swashbuckled through every inch of them.

In 1929 Menzies won the first Oscar ever awarded for art direction (for The Dove and The Tempest), and he quickly graduated to directing his own films, his first solo directing effort being the visually stunning (if dramatically lacking) H.G. Wells adaptation Things to Come (1936). David O. Selznick put him in charge of Gone with the Wind‘s art direction, for which he won another Oscar, but in the subsequent decades Menzies never quite established himself as a director of note. His best-regarded film is Invaders from Mars (1953), a dream-like, dread-filled science fiction yarn tailored for the Cold War. Less remembered is the film’s companion-piece, 1953′s The Maze. Shot in 3-D, it’s even more surreal than Invaders.”

Check out the trailer for the film here, and the rest of Jeff Kuykendall’s essay here, with a number of excellent frame grabs; like Kuykendall, I, too, am a Menzies fan (as who isn’t, I might ask?) and when watching The Maze Runner, I kept wondering what Menzies would have done with the material from a visual standpoint, especially given CGI and green screen capabilities which he, of course, didn’t have the advantage of using back in the 20s through the 50s. But I’m sure he would have jumped at the chance to design The Maze Runner; in the meantime, check out this moody Gothic from Menzies, and see what you think.

The Maze is a completely bizarre and deeply original film; well worth watching.

The Most Prolific Director in American Film History

September 18th, 2014

This unassuming man made more films during the classical Hollywood era than any other director.

As I wrote about Sam Newfield a number of years ago in Senses of Cinema, “Sam Newfield is, in all probability, the most prolific director in American sound-film history, but very little archival material survives on his career. The director of more than 250 feature films, as well as numerous shorts and television series episodes, in a career that spanned four decades, from 1923 to 1958, Newfield leaves behind him only his work on the set; next to nothing is known of his personal life. However, using conversations with Sigmund Neufeld, Jr., and Stanley Neufeld, the sons of Sam Newfield (born Neufeld)’s brother Sigmund Neufeld (all quotes from them in this essay are from these interviews), as well as materials from the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences in Los Angeles, I was able to piece together a rough sketch of the man behind such a torrential output of work.

Comedies, musicals, westerns, horror films, jungle pictures, crime dramas, espionage thrillers – Sam Newfield did them all, often on budgets of less than $20,000 per feature, and shooting schedules of as little as three days. But, as Martin Scorsese notes, watching Newfield’s work is hard, because he often seems absolutely detached from the images that appear on the screen, as if he is an observer rather than a participant. Then, too, the conditions of extreme economy that Newfield labored under created a pressure-cooker environment in which the ultimate goal of all his films was simply to get them done on time and under budget. Nevertheless, as arguably the most prolific auteur in American motion-picture history, Newfield deserves mention and brief examination as one of the key ’second-rung’ directors of 1940s Hollywood, Newfield’s most productive era.”

Since then, Neil Roughley has compiled a staggeringly complete filmography; check it out here.

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 thirty books and more than 100 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. Visit him at his website wheelerwinstondixon.com.

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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/