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Posts Tagged ‘Film Business’

Some Final Thoughts on Reviewing Godzilla (2014)

Sunday, May 18th, 2014

This image of the Hollywood sign in collapse seems sadly appropriate for this post.

My review of the new Godzilla film seems to have sparked some real response, and in the comments section, I added these thoughts, which I think should be repeated here. In response to a number of people agreeing with my assessment of the film, and some people disagreeing, I added these final comments on both the film, and on reviewing films that I’m not fond of – something I don’t enjoy doing.

“I took no particular pleasure in doling out a bad review of the film — and I really went in expecting a genuine return to the roots of Godzilla, so to speak. But we have to keep these things in perspective. On one level, the whole thing is ridiculous – I mean, who really cares if a Godzilla reboot works? On the other, the original film was such a serious and potent metaphor for the nuclear decimation of Japan in 1945 that to see the whole concept turn into just another monster movie is a real betrayal of the 1954 original.

Pop thought it may be, the first Gojira had depth, which this film lacks; then again, I wish Edwards would go back to smaller, more thoughtful projects, but now that Hollywood has him in its grasp, there’s little likelihood of that. The 2014 Godzilla reminded me most strongly of Ataque de Pánico! (Panic Attack!; 2009), a short film made by another spfx wizard, Fede Alvarez on a dimestore budget, which also led to another Hollywood deal.

So it’s like this; make one good film with no money, then Hollywood snaps you up, and you make one bad film after another which is totally compromised by studio/exec interference, but they’re still hits because the studios have sunk so much money into them that they can’t afford to let them die, so they promote the hell out of them, and thus they become ’successes,’ and so you do another.

So I’m waiting for Manoel de Oliveira’s next film, which will have no money, lots of ideas, and will no doubt challenge and engage me more than this — but circling around all of this for me is my conviction that the 1954 Gojira and Oliveira’s The Strange Case of Angelica (2011) are roughly approximate in seriousness of intent, and that a stronger case needs to be made for Ishirō Honda in the first film. The genre really doesn’t matter here; it’s seriousness of intent.” As Honda himself famously noted, “monsters are born too tall, too strong, too heavy—that is their tragedy,” and that’s the tragedy of this film, too.

And that’s more than enough on that topic.

Streaming Directly from the Cloud to Your Brain

Thursday, July 11th, 2013

I have a new interview in Moving Image Archive News on my recent book, Streaming.

As I note in the interview, “I’ve watched film change and morph for more than half a century. As I grew up, everything was being shown in theaters in 35mm, and at colleges, universities and libraries in 16mm, and there was, of course, no such thing as home video, VHS or DVD. Films screened on television were really ’streaming’ – they were broadcast at a certain date and time, and you had to be present at that time to see them.

I remember vividly setting my alarm clock for 1 a.m. or later to see films on WCBS TV’s The Late Show, and then The Late, Late Show, and even The Late, Late, Late Show, which is how I saw most of the classics growing up. I would also haunt revival theaters in New York City, such as the Thalia and the New Yorker, to see the classics projected in their proper format.

Video, of course, has been around since the early 1950s, but I don’t think anyone, even professional archivists, ever thought it would completely replace film, but it has. 16mm is completely defunct as a production medium, except in the case of Super 16mm which is used sometimes in features (such as The Hurt Locker) to save costs, but then blown up to 35mm, or now, skipping that step entirely and moving straight to a DCP.

Film is finished. It’s simply a fact. 35mm and 16mm projection are now a completely rarity, and screenings on actual film are becoming ‘events,’ rather than the norm. This is simply a platform shift, and it comes with various problems, mainly archiving the digital image, which is much more unstable than film.

But with the image quality of RED cameras for production, and digital projection taking over, it’s an inescapable fact that shooting on film is now the moving image equivalent of stone lithography. So now, my own viewing habits have moved to DVD and Blu-Ray, and I have a ridiculously large collection of DVDs in my home library, some 10,000 or more.

I have to have them in this format, because I can’t count on the quality of streaming videos from Netflix, Amazon, or other online sources. Blu-Ray, in particular, yields a truly remarkable image. So that’s how I watch films now, and in any event, the revival houses, even in major cities, are all now pretty much a thing of the past.”

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

Frame by Frame Video: Commercials in Movie Theaters

Tuesday, June 12th, 2012

I have a new video today, directed and edited by Curt Bright, on advertisements in movie theaters. You can see it by clicking here, or on the image above.

I’m not at all sure that the image above is appropriate in this regard; these people seem to be enjoying what’s on the screen, which isn’t often the case with commercials. As the profit margin for theatrical presentation of films continues to drop, however, and even concession stands profits don’t really make that much difference, commercials at the movies have become a necessity if movie theaters are going to continue to survive.

This video offers a brief explanation of the problem; thanks again to Curt Bright for an excellent job on the direction and editorial supervision of this piece.

1,000 Small Theaters Can’t Convert to Digital

Friday, February 24th, 2012

Everyone seems to be talking about this piece in Indiewire today, and with good reason.

It’s written by Michael Hurley, who owns the Colonial Theatre in Belfast, Maine as well as the Temple Theatre in Houlton, Maine, and knows precisely whereof he speaks. As he notes, “‘Convert or die.’ This is how John Fithian, CEO and president of the National Association of Theatre Owners, has repeatedly set the terms. It’s crude, but at least we knew where we stood. The conversion stampede was on.

Many theaters that never thought they’d go digital are now adopting at a fast pace. One of my theaters, The Colonial Theatre, will be 100 years old in April. We’re in the midst of conversion; I accept and embrace that day. Every time I see platter scratches, or receive a scratched and dirty print, or deal with a particularly odd projectionist, I look forward to it more and more.

But it hasn’t happened fast enough. At the end of 2011, Fox announced they’d no longer release product in 35mm “sometime in the next year or two.” Also ending soon: The VPF, or virtual print fee. Since 2009, film distributors have paid VPFs to exhibitors. Based on the difference between the cost of a celluloid print and digital delivery, it’s designed to help theater owners offset the cost of a digital cinema retrofit, which costs about $65,000 at the low end. (A new projector, by comparison, was about $20,000 — but that was before you’d pay people to take them away.)

The VPF has helped some, but not all. As a result, NATO recently estimated that up to 20% of theaters in North America, representing up to 10,000 screens, would not convert and would probably close. ‘Convert or die,’ indeed. And that’s from someone representing theater owners.”

But there really is no choice. 35mm prints, as Hurley notes, are simply going to cease to exist. 35mm raw film stock is also increasingly hard to come by; nearly everything today is shot in digital format. Theaters that don’t convert will simply have no product to run, except for older, archival films, which would be great, but most people simply stream these classic titles, or buy or rent the DVD.

I’ve seen this coming for more than a decade, and I predicted in a lecture in Stockholm, Sweden in 2000 or so that this would happen within ten years, and also in an NPR interview in the late 1990s. In Stockholm, one of the members of the audience, a young woman, looked at me with great concern, and said “what you’re talking about is happening only in one small theater in New York, while there are literally millions of 35mm prints of films in existence, and tens of thousands of theaters all over the world equipped for 35mm projection. The technology has been with us for nearly a century. It can’t possibly go away.”

“Well,” I responded, “The Jazz Singer originally opened in just one theater in New York . . .” — and now the same thing is happening with digital cinema. There simply will be no 35mm prints, outside of museums and archives, to project. More than that, parts and supplies for 35mm projection equipment are already becoming difficult to get, as well as service for the machines. 35mm is done; digital is the new standard. As brutal as John Fithian’s statement is, it’s just the simple truth. There is no 35mm anymore. It’s digital, all the way.

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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