Monthly Archives: October 2008

New World Distribution

Interesting article about ‘new world distribution’, where the film maker (or any producer really) can use the new fangled thing we call the internet to directly capture an audience.. (i know it sounds so very 2001, but its a good read…)

Many filmmakers are emigrating from the Old World, where they have little chance of succeeding. They are attracted by unprecedented opportunities and the freedom to shape their own destiny. Life in the New World requires them to work harder, be more tenacious, and take more risks. There are daunting challenges and no guarantees of success. But this hasn’t stopped more and more intrepid filmmakers from exploring uncharted territory and staking claims.

Guys Who Get it Part 3 – Vincent D’Onofrio

Add Vincent D’Onofrio to the list of people who ‘get it’. The accomplished actor made a short(ish) film about Orson Welles, which is well worth the watch.Let me tell you how i found this film. I was watching the excellent Mad Men, and couldn’t stop thinking that the actor that plays Paul Kinsey (Michael Gladis) looks remarkably like Orson Welles. I popped over to his IMDB profile to see whether he had ever played Orson on screen, and saw in the threads someone else had gone to his profile for the same resaon. (i heart the internet). Another film geek mentioned he had a remarkable resemblance to Vincent D’Onofrio, who “had played Orson Welles twice”… I only knew of one of these performances, his brilliant portrayal of Mr. Welles in Ed Wood. So, in searching his profile i noticed the title 5 Minutes Mr. Welles, which lead me to Youtube. (again, i heart the internet). So why does Vincent D’Onofrio ‘get it’? Becuase this film was uploaded by the actor himself, who wanted more people to see the work ‘he’s quite proud of’. No take down notices, no bullshit, he actually uploaded it! He even has a l337 Youtube username. We are through the looking glass here people. Also, that story of how i found the clip explains why i never, ever get any work done when I have a decent internet connection nearby.

Guys Who Get It Part 2: The Guardian Newspaper

Justin recently wrote one of the best posts on this here site about dudes who get it… Although this isn’t film related, today I’m equally inspired by The Guardian Newspaper . The first newspaper in the world to offer full articles in their RSS feed.Dear ABC, Fairfax, etc… I now suck in all ‘print’ knowledge purely via RSS, and only to feeds with full articles. Sadly this means i really don’t know what the hell is happening in the world outside of Tech News, Mac News, Film News, and LolCats. Thanks to The Guardian, i realise we’re still at war, which is a shame, and that there’s been a spot of bother with the economy lately. Thanks Guardian, for realising it is 2008.

Why I Love Twitter #7,430,683 – Or, the Blogs I’m reading now

Ok, i really need more links than this to justify this post, but I’ve recently fallen in love with 2 blogs from my fellow twitterers… First of all, Amoir is fucking hilarious. Tell me you can’t read this post without subscribing to this blog. Second, R*YAN, a fascinating dude who writes as only i wish i could. Actually, I’ll stretch out this post a little by mentioning blogs I’ve loved for a long time: Mattro – I love this man so much.Hey Internet – One of those groovy Tumblr blogs… Lots of fun stuff for your RSS Reader. TV Tonight – Reminds me what non-geeks without media centres are watching on Telly. Expertly written. ProLost – I’ve mentioned it on the podcast before, but its worthwhile pimping in text. If you dig indie film making, subscribe. EditBlog – Ok, this is getting too technical, but if you be digging the editing, dig this blog. Plus the usual stuff like Boing Boing, Cinematical, Slashfilm, Icanhascheesburger, etc etc… If you have a kickarse blog i havent read, let me know.

Guys Who Get It Part One: Roger Ebert

Okay – before I begin with the ranting, let me just apologise for my long and lazy absence. One thing about this whole blogging malarkey that I never fully realised before paid me the big bucks to write here is that it’s actually quite tough. And I never realised just how bad my grammar and spelling is until I had to start caring about it.For example, you may have noticed a tingly sensation just now as a million English teachers suddenly cried out, and there was suddenly silence, because I just started a sentence with a conjunction. Additionally, there is a factual error in my poorly written copy: I don’t get paid shit, nobody here does. Actually, Pete beats us with a clapperboard until content comes out, then the sweatshop children clean off the blood and tears and present it to you here.But I should stop. If Pete finds out what I’m telling you, he might make me watch Meet the Spartans or something. So on with the rant!Roger Ebert has been at the center of film criticism in the US forever, but I never realised until this week just how much he gets it. When I say he gets it, I quite arrogantly mean that he agrees with my late-night drunken rants about the many problems of modern blockbuster filmmaking. That particular rant has been going for a good twenty years now and is still showing no signs of concluding (I believe it’s currently up to “Shoot the Glass Part Eighty Seven – Seriously, How Fucking Cool is That Line?”), but Ebert really hones in on one of the big ones: too often, so damn often, the craft of filmmaking is lost because CGI becomes an easy crutch.One of Spielberg’s finest moments is the air traffic control scene in Close Encounters. It’s full of impenetrable jargon and radar-screens you need to be a trained expert to understand, but it works because it relies on good filmmaking – the understated urgency of calm and professional voices, the growing tension of the increasing number of onlookers, the overlapping conversations, the very opaqueness of the actual situation… you’re a fly on the wall at a real event. It’s a three-minute scene in one set with a few set-ups and some cutaways – they probably banged it out in a day.Compare that to the whiz-bang of the defense of Zion sequence from the final act of Matrix Revolutions – full of brilliant CG and virtual set-design, thousands of hours of work, but you just don’t care. The place, the characters, the situation are all so manifestly constructed and clumsily presented that you’re just waiting down the time to find out if they have a Rage song playing over the credits.And Ebert gets it!

Forgetting Judd Apatow

This episode should have been up a week ago, but thanks to craptacular intertron connections it wasn’t. Sorry about that. In this episode we discuss Forgetting Sarah Marshall, the new HBO drama True Blood, the Old Testament, the Daily Show,  the Fifth Element, and many other things…It was a very odd show… Twitter us for more info.

John Flowers is a very attractive man.

We’re all blushing like school girls and grinning like idiots because the kids over at That Media Show mentioned us in their latest episode. While it’s true we’re feverishly printing business cards emblazoned with quotes which may or may not actually relate to us, we’d like to reassure our vast audience that we won’t let this go to our heads.In an unrelated note, the site content will now be generated by our newly hired interns – we’re off to hollywood to pitch the biopics we’ve just written about three unsung heroes of the inter-bloggy-thingy-whatsit.