4 items from 2016
"This film should be played loud!" It's a cliché now, a concert-movie disclaimer that's become the equivalent of that hippie-dippy tagline from those Freedom Rock compilation ads ("Well, turn it up, maaaaan.") But in the late Seventies, when it first flashed onscreen in all white font against a stark black background before the credits of The Last Waltz, you knew it meant business. Keep moving that volume knob clockwise, folks. Let the needle swing into the red.
And then we begin at the end, with the weary members of the »
I was very happy to read Laura Barton’s lovely piece on the dual 40th anniversaries of The Last Waltz and Jim Szalapski’s Heartworn Highways (G2, 16 September). However, when I came to the paragraphs devoted to my old friend and producer Jonathan Taplin, I could feel my eyebrows furrowing: slightly, but furrowing nonetheless. I owe Jonathan a great deal: if it weren’t for him, I would never have been able to make either Mean Streets or The Last Waltz. Yet, it seems our recollections of the shoot on the latter film differ on one important point.
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Producer Daniela Taplin Lundberg is a product of a Hollywood upbringing. Her father Jonathan Taplin is a veteran producer (“Mean Streets”) and her mother Rosana DeSoto is a character actress. When Taplin Lundberg was doing the awards season push for her feature “Beasts of No Nation” last winter, she recalls her parents’ colleagues approaching her. “I’d love to have a meeting with you,” they’d say. “I can’t figure out the business model.”
That’s the problem she’ll be grappling with at her new company, Stay Gold Features. The kinds of films Taplin Lundberg makes — edgy, adult-oriented movies with nary a comic-book hero in sight — have become dinosaurs. Just ask Harvey Weinstein, who has been slowly gravitating away from producing films like “Pulp Fiction” and into television.
To navigate these choppy waters, Taplin Lundberg will rely on her reputation, honed at the New York-based Red Crown Prods. »
- Ramin Setoodeh
Schedule a meeting with Sean Parker at, say, 10 a.m., and the tech guru will likely take hours to show up. People who work with the visionary entrepreneur, whose peripatetic career has taken him from Napster to Facebook to Spotify, refer to it as Sean Parker Time. It’s the cost of doing business with one of the boldest minds of the Internet Age.
“He has his finger on the Zeitgeist,” said Arianna Huffington, founder of the Huffington Post, and a friend. “He’s incredibly convincing about where the world is going.”
When it comes to movies, Parker believes that the future is a couch-based one, but that view has its detractors. Theaters have resisted efforts to shrink the time between a film’s debut on the big screen and its launch on home entertainment platforms. That resolve could crack, after news broke in Variety that Parker and partner Prem »
- Brent Lang and James Rainey
4 items from 2016
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