“Is PBS unaware that there’s more to art in America than Kristin Chenoweth, Melissa Etheridge and Michael Feinstein? Or does it simply not care? I hate to have to ask that question yet again, but not knowing the answer troubles me even more—and I suspect it’s also troubling at least some of the people who write the checks that keep PBS afloat. If it isn’t, it should.”
“The movie, directed by Bong Joon-ho, made $3.8 million in its first two weeks of VOD release, compared with $3.9 million from five weeks in theaters.”
“Faced with the possible extinction of the material that made Hollywood famous, a coalition of studios is close to a deal to keep Eastman Kodak Co. in the business of producing movie film. The negotiations … [should] result in an arrangement where studios promise to buy a set quantity of film for the next several years, even though most movies and television shows these days are shot on digital video.”
David Mermelstein surveys the ways in which The War to End All Wars has been portrayed on screen, and how each era’s preoccupations affected the stories those films told.
“In the past year, the volume of DVR playback viewing that occurs during primetime hours has reached the point where the DVR now ranks as the No. 1 network. The ratings generated by viewers opting to watch time-shifted programs — from across the television dial — are equivalent to the averages of the Big Four networks combined.”
“College-radio fans say the deals threaten rock innovation and experimentation. Many fledging bands still get their start on college radio, where the lack of profit constraints allows the stations to experiment with music and expand listeners’ horizons, they say.”
“At their current rate – anywhere between 10 and 13 new cinemas a day – China will have 60,000 screens in 10 to 15 years. The centre of gravity is shifting so rapidly to China and Asia – not just the market but also the money and capital for American movies – that their opinions are going to matter much more. Ultimately, China is going to be not just the biggest market but also the arbiter of what can get made and will get made.”
The government’s argument is that selling ad spots would change the nature of public TV. An executive from another public TV station, WGBH-TV in Boston, testified that were they allowed to start selling ad time like commercial stations do, funding from federal and state government sources, as well as foundations and not profits, would be “jeopardized.”
“How is it that in a film whose premise rests on the idea of reimagining the past, present and future, we still end up with a blonde white woman with flashing blue eyes as the stand-in for what personifies evolution and supremely fulfilled human potential?”
“Cash-strapped universities are discovering that their student stations are lucrative assets. They are finding eager partners in public-radio stations and religious broadcasters. The public and religious radio channels are looking to own the equivalent of beach-front property on the FM dial,.”
The director – who called the project off in a fit of anger after the script was leaked – confirmed the news at, of all places, San Diego Comic-Con.
“To preserve film as a work of art, one has to preserve ‘not just (but also) the strip, not just (but also) the apparatus, not just (but also) the screening space; what needs to be transmitted into the future is the set of relations between them while they are in performance—the working system.’”
“The audience is encouraged to yell out possible settings, actor names and even car models — anything that might help identify the film.”
A deep (very, very deep) dive into the writing, making, directing, editing and producing of “Drop Dead Gorgeous,” a film that bombed at the box office but (despite its lack of streaming or even a DVD) became a cult classic.
“Whereas in Spain, Germany and the UK the proportion of domestically produced movies varies between 10% and 20%, in Italy last year it was 31%.”
“Ballet took £2.1 million, classical music £900,000, popular music £500,000 and comedy £100,000. The other two non-theatrical categories were film documentaries, which generated £2.2 million, and museum exhibitions, which took £900,000.”
“If you look at shows that appear to lack diversity, they actually look dated because “America doesn’t look like that anymore.”
“Serkis, whose resume includes playing some of the least likely critical favorites of all time – Gollum, King Kong, and Godzilla – seems like an ideal spokesman for motion-capture if it wants high-brow cred. … [Yet] the singular focus on him in some ways clashes with the collaborative, chameleonic spirit of motion-capture, a field that has a long and glorious tradition of eschewing thespian concerns entirely.”
“Television has been growing here like kudzu in recent years, but this time around it seems to have finally blocked out the light for much of anything else to be noticed.”
The Odessa International Film Festival “almost didn’t happen [this year], after the annexation of Crimea in March, and the events of 2 May, when 43 pro-Russian activists died in Odessa in a fire started in unclear circumstances. The festival was, however, eventually given the go-ahead, albeit on a drastically reduced budget, and helped by a crowdfunding campaign.”
“The show is exactly what the title says. A narrator … gets very, very drunk, on camera. As she downs her whiskeys or fancy cocktails, she delivers a historical account … It is ridiculous – and very funny. The surprising part is that it’s also a perversely effective way to deliver historical information.”
There is “an expanding cadre of high-level physicists, engineers and other scientists, including many former NASA employees, who have left careers in aerospace and academia to work in the movie business. Demand for their services has grown as animated movies, once created by hand, push the boundaries of what can be created on a computer screen.”
“In its nearly 80-year history, the Cinecittà film studio lured the world’s greatest directors and biggest movie stars to this Italian capital, earning it the title of Hollywood on the Tiber. Now the studio, its fortunes in decline and its edges fraying, is hoping to attract some less famous visitors when Cinecittà World, a new theme park dedicated to its golden era, opens on Thursday.”
“The move gives shareholders – and 21st Century Fox – fewer avenues to press the company into a potential deal with Fox, which recently made an unsolicited $80 billion offer to combine the companies.”
“Special effects, key components of what historically made movies magical, have lost most of their magic because they have become so realistic and commonplace.”
“If everyone who wants to see your movie is part of the pool of people who gave you money online and you were able to raise $1 million or $2 million, that’s a fantastic story. But if those are the only people who are interested in your movie, that’s a big disaster.”
“The company said revenue from its streaming content service rose nearly 50% to $1.2bn, compared to $837m a year earlier. Netflix said it added 1.69 million users during the period from March to June. The streaming video firm now has 50 million users in over 40 countries.”
“The current way TV is packaged, divided into hours and half-hours and series (or as we now call them “seasons”), is a product of the linear channel age. Online delivery opens the way for exploring new forms of TV.”
“So as we try to make sense of Mandatory Fun, Al’s fourteenth studio album – and as we round into the fourth decade of his career – it’s becoming clear that his old-school/new-school media business playbook is a little genius. In many corners of the English-language Internet, this week has been Al-saturated, his new music videos and songs unavoidable. How does he do it? Where will it lead? And will this be his media strategy forever?”
“The BBC spent £6 million less on talent in 2013/14, the Corporation’s latest annual report claims, with a £194 million bill for its star presenters and performers representing a 15% fall in wages over the past five years.”