8 items from 2016
In a business where accounting disclosures are often preceded by massive lawsuits, indie distributor The Orchard has gone the other way: Their filmmakers now receive detailed and interactive reports of all expenditures and revenue streams — current and future.
However, this isn’t an altruistic gesture. Paul Davidson, The Orchard’s executive VP film & TV, said the move reflects nothing more than good business. In the turbulent world of indie film distribution, it’s the only way to tap into one of the company’s most valuable marketing assets: The filmmakers themselves.
“I’d rather filmmakers know that $30,000 was the cost of the trailer and in general how much money we are actually spending on publicity and advertising,” he said. “Distribution is not an exact science. For example, I don’t know if releasing our highest-grossing film ever [“Hunt for the Wilderpeople”] exclusively on iTunes is the right move, but I’d rather the filmmakers »
- Chris O'Falt
For more than a decade, Austin-based producers Sarah Green and Nicolas Gonda have helped Terrence Malick to achieve his far-flung filmmaking ambitions. Oscar-nominated “The Tree of Life,” starring Brad Pitt, has come and gone, as well as “Knight of Cups,” starring Christian Bale, and now arrives the 40-years-in-the-making documentary “Voyage of Time,” which actually started shooting in 2003 when renowned nature cinematographer Paul Atkins (who shot second unit on “The Tree of Life”) alerted the filmmakers that volcanoes were erupting in Hawaii.
So, they sent him off to capture some of the most extraordinary shots in the film, as molten lava bursts up under the ocean. One cameraman took the IMAX camera so close to exploding magma that his boots melted.
Backed by an original National Geographic Society grant, IMAX, foreign sales company Wild Bunch and indie distributor Broad Green (which began financing and releasing Malick’s films in 2014) the movie takes two forms. »
- Anne Thompson
Music plays a big role in “Morris From America,” the story of a 13-year-old African-American boy who moves to Heidelberg, Germany. While unable to make friends at his new school, Morris has a ’90s rap-loving dad (Craig Robinson) who tries to be his friend. Ultimately, Morris takes his frustration out in the music he writes.
Read More: ‘Morris From America’ Puts a Fresh Spin on Familiar Ingredients
“The idea was to always have the music we made for the film feel authentic but not distracting,” wrote Hartigan. “It could be from today, it could be from the ’90s, but really just existed in our movie. Same with the Edm and party music. It was very important to Keegan and I that both these »
- Chris O'Falt
In 1982 there really wasn’t an established American indie scene. It was a few years before Jim Jarmusch’s “Stranger Than Paradise” and Spike Lee’s “She’s Gotta Have It,” and seven years before Steven Soderbergh’s “Sex, Lies and Videotape” opened the doors to the ’90s indie boom. There was no real model for Wayne Wang to make “Chan Is Missing.”
“I just wanted to make it, my hope was that it’d play on college campuses and festivals,” Wang told IndieWire in a recent interview. “It came from that ‘rob a bank if necessary’ mentality I think is somewhat missing today.”
Read More: Filmmaker Toolkit Podcast: How HBO’s ‘The Night Of’ Found Amazing NYC Shooting Locations (Episode 5)
Armed with a $20,000 Nea grant, Wang and his friends marshalled their resources — including an editing room where one of them was cutting porn movies — and made an offbeat black »
- Chris O'Falt
Chan Is Missing has long been considered a benchmark in Asian-American cinema — some would say that, unfortunately, it’s by default the benchmark — but, 34 years later, writer-director Wayne Wang mostly has other things on his mind. Speaking to him on the occasion of that film’s Metrograph run, Wang was more keen to talk about what he’d wished to do with the movie, other movies in his filmography, and what’s happening elsewhere.
The film absolutely deserves your time and attention, and Wang’s attitude is more telling of where his career has gone: many places, and, more importantly, where he’s wanted to take it. Read my discussion with him below.
The Film Stage: After so much time, has Chan Is Missing ceased to yield anything new? Or do you still discover new things?
Wayne Wang: Well, you know, everything about the Chinese-American community has changed. Filmmaking has changed. »
- Nick Newman
Nobody owns Oliver Stone. I’ve talked with this filmmaker for decades, and he’s consistent to a fault. The Oscar-winning writer-director (“Platoon,” “JFK,” “Wall Street”) has always gone his own way. If there’s an impediment, he’ll find a way around it. Hell, he’ll even con the El Salvador government to give him army soldiers for a movie critical of El Salvador.
Which is one reason why Stone met with Nsa whistleblower Edward Snowden in Moscow, not once, or twice, but nine times. Stone will tell you: You can’t trust the United States government. You can’t trust the Nsa, CIA, or FBI. You can’t trust the Hollywood studios, because those are corporations run by lawyers. And you certainly can’t trust the media.
So who does he trust? His wife and kids. »
- Anne Thompson
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Chan Is Missing returns to theaters on a 35mm print; Visconti‘s Sandra screens on Sunday, as does the Disney documentary Bears. »
- Nick Newman
Welcome back to the Weekend Warrior, your weekly look at the new movies hitting theaters this weekend, as well as other cool events and things to check out.
This Past Weekend:
As expected, Labor Day weekend wasn’t good for the two new wide releases at all, although the romantic drama The Light Between Oceans (DreamWorks), starring Michael Fassbender and Alicia Vikander, ended up doing far better of the two. Also as expected, Fede Alvarez’s Don’t Breathe (Screen Gems) won the weekend with a four-day total of $19.7 million, a little less than I predicted. The Light Between Oceans ended up with slightly over $6 million, roughly the same as my original prediction but 20th Century Fox’s thriller Morgan, starring Kate Mara, bomb-bomb-bombed with a ridiculously bad four-day opening of just $2.5 million in its first four days. The Mexican comedy No Manches Frida (Lionsgate/Pantelion) ended up faring better in just 362 theaters, »
- Edward Douglas
8 items from 2016
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners