Buzz

Gooood afternoon finger lickers! It has been a while. Life has been manic, and day after day has slipped away from me until, here we are, a topical comment site with out-of-date comment. In the interest of complete self-indulgence, today’s post focuses on Kevin Smith’s latest project Zack and Miri Make a Porno. As a long-term Smith-fanboy, while blogging for this site, I have often touched upon Smith’s indie film impact as well as his influences upon my own screenwriting.

While often accused of peddling lowbrow humour and possessing an unpolished directing style, since the release of Clerks in 1994, Smith has forged an extremely successful, if a somewhat critically patchy, career for himself. However, by building an army of dedicated fans that follow his every move, on an enviable online empire, Smith has assured himself fantastic DVD sales and a colossal cult status. These fans buy into Smith’s Viewaskew empire by fueling countless revenue streams peripheral to his filmmaking activity. Smith’s love of graphic novels, and the industry surrounding these fetishised items, formed the basis for his business model. Selling all kinds of merchandise, both online and in his two comic book stores, has allowed Viewaskew to diversify and generate repeat business in an industry where such luxuries are extremely rare.

Okay, you’re thinking, this is all well and good, but George Lucas was doing this stuff in the 70s. And yes, he was. However, this is what makes Smith different: fan interaction. Smith is famed for his marathon signing sessions, spending hours at a time in his New Jersey store signing for fans that queue around the block. He plays poker with fans from his online message boards, inviting them into his home, and thus providing a uniquely personal feel. He holds an annual party where his fans mix with the stars of his flicks and his family. He blogs. And by this I don’t mean he blogs solely about his latest filmmaking endeavour. He actually blogs, from his bowel movements to the number of times he beds his wife in a week, My Boring Ass Life is a no holes bared chronicle of his life. All these outlets provide the fan with an experience that Kevin has made his own, and as a result, he provides a unique insight into the life of a filmmaker.

Right, enough stroking the man’s ego. Lets talk porno. Starring the wonderful, if slightly over-exposed, Seth Rogen and the beautiful Elizabeth Banks, Zack and Mirri is the story of two friends that decide to make a porno to solve their financial woes. During the course of the production Zack (Rogen) and Mirri (Banks) start feeling a little more than just friendship for one another. Hilarity, I’m sure, will ensue. The flick has wrapped its shoot, and Smith is currently cutting the film back in LA. Smith normally likes to cut his films during the shoot, involving his cast and crew in editing decisions. However, there’s always more to do and according to Cinematical Indie he’s been working toward picture lock at his LA home. Last month, in an especially disparaging blog on spout.com, a viral video entitled “I’m fucking Seth Rogen” was ripped to shreds. The spout.com blogger claims that Smith ripped off Judd Apatow’s online video gimmic.

The “I’m fucking…” video series has been around for a while and the video featuring Smith, Rogen and Banks is a homage to said series, and according to a spout.com commenter Smith had little involvement with the video, except of course his small cameo. However, this is slightly beside the point. In accusing Kevin Smith of lifting Judd Apatow’s idea, the blogger asserts that Smith, the old has-been, has resorted to lifting Apatow’s fresh ideas. Honestly, how stupidly naïve and misinformed can you be? Smith has not only been at the online marketing game a hell of a lot longer than almost any other filmmaker, but also clearly has links to the Apatow camp with the casting of Rogen. Honestly, blogs like this smack of a new-guard fanboy having a tantrum because Smith gets in on a joke that feels less painfully elitist as a result. It’s like an ill-educated teen saying The Clash sound just like Green Day. Noooo, you maladjusted brace-face pipsqueak, Green Day sound just like The Clash! The ignorance of youth and knee-jerk critic reactions never fails to amaze and confound!

Zack and Miri is released in North America by The Weinstein Company this Halloween.

That’s it from me, more Porno news as I have it.

K

And here’s that I’m Fucking Seth Rogen video for you to titter over:

Morning finger lickin’ fans! First up, an apology, I didn’t post yesterday because I was re-installing my Macbook. This, I realise is no excuse, but it’s all I got. This is also the reason for the limited imagery at the top of this post, I’ve still got to install CS3. Anyway, in other news, I really want an iPhone and while drooling over YouTube videos and coverflow prettiness in the O2 shop today, I got to thinking about Digital Film Distribution and decided it was about time that I gave you folks a run down of the current lay of the land in this particular area.

So, earlier this week I read that Lionsgate have struck a deal with Apple to make a digital copy of their flicks available at the same time as their DVD releases. This would mean that when their latest film hit the shelves in your local HMV you would also be able to buy the movie on iTunes. If this were to take off, which I suspect it will, it will not only do great things for lazy people who like to “click and download” rather than trudge through the rain to buy a DVD but will also go some way to reducing the film industries current impact on the planet. Less crazy plastic consumption, less packaging, no dirty aviation fuel and/or diesel pumping into the atmosphere from delivery vehicles. It sounds like good stuff but is it feasible to deliver the same range of choice and are consumers actually ready for this new development?

This move by Lionsgate, who already have digital versions of 3:10 to Yuma, Good Luck Chuck and War on iTunes as well as classics Dirty Dancing and Reservoir Dogs, is really good news for the future of digital distribution. These titles, together with their 12,000+ catalogue titles, will presumably be available via iTunes USA in the near future. However, as yet nothing has been said regarding a UK release for such digital products.

The types of devices that these products are available on is also a huge topic of debate. It’s great being able to watch a feature film on your mobile phone or handheld device, but are these really viable viewing mediums? It is one thing checking out a flick on your widescreen iMac or Macbook Pro. It’s a completely different thing watching Die Hard 4.0 on a 4″ screen. People still view the majority of their films on their television in their home. With this in mind Apple have created Apple TV a wireless device that allows you to access the iTunes film and TV show catalogue on your television. Not only can you download films and your favourite shows you can also rent films via this little silver box. However, to date, rental titles have been limited and growth has not matched Apple’s promises. So we’ll have to wait and see how that one pans out.

Finally, this expansion of iTunes and investment by Lionsgate actually bodes very well for the future for Indie film distribution. Should digital film follow the same trajectory as digital music, the major distribution companies should come on board and then based on the success of unsigned music artists on iTunes, Indie filmmakers will no doubt be able to submit their films for iTunes distribution.

If you’re looking for more information about digital film distribution or self distribution check out the links below:

Digital Film Distribution Guru Arin Crumley - http://www.arincrumley.com

Lance Weiler’s Workbook Project - http://www.workbookproject.com

From Here to Awesome - http://fromheretoawesome.com

That’s it from me,

K

Left pane: Mister Lonely poster; Top Right: Scene from Mister Lonely; Bottom Right: Harmony Korine.

Afternoon Finger Lickers! Harmony Korine is back! Yes you heard right, after an eight-year hiatus from filmmaking the Indie legend has returned with a feature entitled Mister Lonely. Korine, known as the writer of Kids and director of the famed Gummo has produced a suitably off-the-wall premise for his comeback. Mister Lonely stars Samantha Morton and Diego Luna and follows a group of celebrity lookalikes who live together in a truly bizarre commune.

Unlike Gummo the film conforms much more to a mainstream narrative, which interests and troubles me in equally measure. I am extremely intrigued to find out what almost a decade out of the game has done to Korine’s style and unique storytelling abilities.

The clip below was posted on the Guardian’s film blog where the exclusive of this story can be found. After some trouble embedding the original I just decided to repost to the Finger Lickin’ YouTube account. Take a gander at the clip and drop me a comment with your thoughts! Mister Lonely opens this weekend at cinemas across the UK.

Check out the film’s official website for a trailer and more information.

That’s it from me for now,

K

Left pane: David Gordon Green looking serious; Top Right: Seth Rogen, Jonah Hill, Michael Cera and Evan Goldberg; Bottom Right: Seth Rogen and James Franco in Pineapple Express.

After that epic post earlier this evening I thought I’d just drop a little tidbit your way. A couple of trailers for Indie director David Gordon Green’s new flick Pineapple Express starring Seth Rogen have hit the blogosphere. First came the unofficial leak of the redband trailer a couple of weeks ago and this week Columbia have released the official greenband trailer for consumption by all.

While this might come as a surprise to regular Finger Lickers, I am, in fact, quite a Rogen fanboy and have, in general, enjoyed Green’s films. The script is also by writing partnership Seth Rogen and Evan Goldberg, who I love and who have enjoyed much success recently. So while, to the indie world, this seems like a sellout flick for Green and yet another stoner comedy from Rogen. I think it might be a pretty cool combination. That being said the trailer has its moments but didn’t have me in stitches, however, I’m always moaning about trailers that steal the feature’s thunder, so who am I to complain right? Anyway, for now, check out the redband trailer below or get yourself along to slashfilm.com to watch the family friendly greenband version.

Left pane: Jim Jarmusch; Top right: Bill Murray in Broken Flowers; Bottom right: Isaach De Bankolé in Night on Earth.

Gooood evening deadpan fans! There have been a number stories trundling around the Internet over the last few weeks about Mr. Jim Jarmusch, the director once described by me as the Marmite of indie film. I have been holding off talking about the story because a) I am somewhat of a Jarmusch fanboy and b) I didn’t really think I had anything to add. However, the temptation has proved too great, so here’s your Finger Lickin’ Jarmusch low down.

The reason for all the web chatter is that shooting has just got underway on Jarmusch’s first project since the magnificent Broken Flowers back in 2005. Way back in November he announced that he had secured funding and distribution from Focus Features for his new film The Limits of Control. The film will star Jarmusch regulars Bill Murray (Broken Flowers), Tilda Swinton (Broken Flowers) and Isaach De Bankolé (Ghost Dog, Night on Earth) along side newcomer Gael Garcia Bernal. As if that rip-roaring cast wasn’t enough, joining Jarmusch behind the camera is Cinematographer Christopher Doyle (Hero, In the Mood for Love) while Oscar winner Eugenio Caballero (Pan’s Labyrinth) is responsible for the film’s production designer.

Information about the exact plot outline is vague, however Focus announced that, De Bankolé plays a “mysterious loner, a stranger, whose activities remain meticulously outside the law.” They continue to explain that, “he is in the process of completing a job, yet he trusts no one, and his objectives are not initially divulged.” Sounds suitably ambiguous and wonderfully Jarmuschian to me. Cinematical Indie have also suggested that the film’s narrative will conform, in some way, to the road movie formula. An idea that is highly likely given Jim’s fervor for a good journey, both actual and metaphorical.

The film is currently in production in Madrid, Spain and will move to Seville and Almeria before the shoot wraps at the end of the month. Focus Features, who also distributed Broken Flowers, were obviously attracted to The Limits of Control because of the level of success that Broken Flowers enjoyed. This is a blessing for Jarmusch, because despite its tremendous cast, including Murray who is always a crowd pleaser, his films have had trouble finding distribution in the past, so this deadcert must be a weight off his mind. I fact, Focus Features have gone to great lengths to demonstrate their dedication to both Jarmusch as a director and this project. In a recent article in Paste Magazine Focus Features’ CEO James Schamus is quoted as saying:

“Jim Jarmusch defines what it means to be an independent filmmaker for audiences all over the world, and we’re delighted to rejoin with him following our success together with Broken Flowers.”

Paste also point out that this isn’t simple PR bullshit (they may have used a less vulgar noun) and describe Jarmusch’s impact upon independent film as being as significant as John Cassavettes, a statement with which I must whole heartedly agree.

If you haven’t sampled any of Jim Jarmusch’s work I highly recommend Broken Flowers and Night on Earth for starters.

Take it easy Finger Lickers,

K

Check out the Broken Flowers trailer:

If you’re in the UK click these links: Broken Flowers and Night on Earth

Broken Flowers
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Night on Earth - Criterion Collection
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Left pane: A real moustache on a real magician; Top right: Rocket crash lands in the eye of the moon; Bottom right: Méliès in his own film.

Morning Finger Lickers! Today I bring you news from the world of French film. No sighing at the back. French film is wonderful! No, no, really, if you’re moaning about subtitles you shouldn’t be on this site.

Parisian and 1900s filmmaker Georges Méliès is not only credited as the forefather of special effects but is also one of the first true independent filmmakers. He not only developed cinema technically but also narratologically, wowing audiences with such spectacles as Le Voyage dans la lune (1902), that’s A Trip to the Moon for all you linguistically challenged Finger Lickers. A Trip to the Moon also features the iconic image of a rocket crash landing in the man in the moon’s eye, a still which has become synonymous with filmmaking and is identifiable by film scholars worldwide. Méliès was a magician and owned the famed Theatre Robert-Houdin in Paris, he built the first film studio and the likes of D.W. Griffith and Charlie Chaplin credit him with a huge debt of gratitude.

This is man that was hugely powerful as both an entertainer and an innovator. His work is inspirational and magical. And now through the power of DVD you can see a huge number of his films restored, stablised and re-scored. The box set, entitled Georges Méliès: First Wizard of Cinema, features 173 of Méliès films that have been collected from all over the world by Lobster Films in Paris and were found in the possession of the likes of the British Film Institute, the Academy Archives and private collectors. Really, truly, honestly if you care about film in any way at all you must see Georges Méliès work. The DVD, as usual, seems to be only available in North America at the moment but that shouldn’t stop us Finger Lickers. Lets face it folks, the US dollar is like Monopoly money these days, God bless George W. for helping us feed our DVD habit.

That’s it from me for now,

K

Check out A Trip to the Moon here, and remember folks, it’s 1902!

Buy yourself a copy of the DVD box set:

Georges Melies: First Wizard of Cinema (1896-1913)
Price: USD 89.95

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Evening finger painting Finger Lickers! So, I have some great news for all you documentary fans. Buzztastic flick My Kid Could Paint That, which premiered at the Sundance Film Festival, has been released on DVD in North America by Sony Pictures Classics.

The film itself follows the amazing story of four-year-old Marla Olmstead who caused a huge stir in the art world when her paintings started selling for big money. Marla, who loved to paint with her father, was suddenly thrown into the media spotlight when the New York Times got hold of the story. Inspired by what he read in the press, New York documentary filmmaker Amir Bar-Lev sprang into action and gained the Olmstead’s permission to document Marla’s story.

At first all seems well, then shortly after Bar-Lev’s arrival USA TV show 60 Minutes runs a probing investigation into whether it is actually Marla or her father doing the painting. Bar-Lev, wondering what he has stumbled upon, begins to investigate the claims himself and ultimately ends up producing an unusually balanced picture. The film has, in fact, been praised for its ethical journalism, at no time does Bar-Lev demonize Marla’s parents or take a purely accusatory stance in his investigations, however, the overtone does seem to suggest that something shady is going on in Binghamton, N.Y.

So, what can you expect from the DVD? Well, in addition to the feature length documentary, you also get an audio commentary by director Amir Bar-Lev, and two behind-the-scenes features. All you British Finger Lickin’ documentary fans need to bear in mind that this is only available as a region 1 DVD from the USA. So, ensure you have a multi-region DVD player, and then check out the Amazon link below to get your hands on this critically acclaimed documentary.

That’s it from me,

K

Check out the My Kid Could Paint That trailer:

My Kid Could Paint That
Price: USD 17.99

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Left pane: Simon Pegg; Top Right: Simon Pegg as Tim and Nick Frost as Mike; Bottom Right: Jessica Stevenson as Daisy

Goooood lord! Is nothing sacred anymore?!?! US producers McG, Wonderland and Fox have teamed up with Will & Grace screenwriter Adam Barr to create an American version of Simon Pegg, Jessica Hynes (formerly Stevenson) and Edgar Wright’s British comedy classic Spaced. Spaced! What in all hells name are they thinking?!? For those that don’t know, and indeed don’t hold Spaced dear to their hearts like I’m sure many Finger Lickers do, Spaced is a surreal postmodern TV series that originally aired here in the UK in the late nineties.

Written by Simon Pegg and Jessica Stevenson the show followed strangers Tim (Pegg) and Daisy (Stevenson) as they pretend to be a couple in order to secure a place to live. Directed by Edgar Wright the series was the launch pad for the likes of Shaun of the Dead and Hot Fuzz and features much of the same postmodern, intertextual humour that’s present in their feature films. In short, this was an important TV show, not just for myself and my filmmaking peers, but also for British TV. It proved that we still have some fight left in us and that we could produce something of substance that spoke to a generation and was also hilariously funny.

However, the Spaced team only produced two fantastic seasons of the sitcom before moving on to new projects, for Pegg, Wright and Nick Frost (who was also in the series) it was Shaun of the Dead and an incredibly prolific and successful acting career awaited Jessica Stevenson. Ten years later… America decides it’s time for a remake. Simon Pegg, this week, made a statement about the American producers confirmation that a pilot has been green lit explaining his discomfort at not being consulted and his objection to his name being used in the production companies press release. But rather than speak for the man, here is the meat of what he had to say:

My main problem with the notion of a Spaced remake is the sheer lack of respect that Granada/ Wonderland/Warner Bros have displayed in respectively selling out and appropriating our ideas without even letting us know. A decision I can only presume was made as a way of avoiding having to give us any money, whilst at the same time using mine and Edgar’s name in their press release, in order to trade on the success of Shaun of the Dead and Hot Fuzz, even professing, as Peter Johnson did, to being a big fan of the show and it’s creators. A device made all the more heinous by the fact that the press release neglected to mention the show’s co-creator and female voice, Jessica Hynes (nee Stevenson). The fact is, when we signed our contracts ten years ago, we had neither the experience or the kudos to demand any clauses securing any control over future reversioning. We signed away our rights to any input in the show’s international future, because we just wanted to get the show made and these dark days of legal piracy seemed a far away concern. As a result, we have no rights. The show does not belong to us and, those that do own it have no obligation to include us in any future plans. You would perhaps hope though, out of basic professional respect and courtesy, we might have been consulted. It is this flagrant snub and effective vote of no confidence in the very people that created the show, that has caused such affront at our end. If they don’t care about the integrity of the original, why call it Spaced? Why attempt to find some validation by including mine and Edgar’s names in the press release as if we were involved? Why not just lift the premise? Two strangers, pretend to be a couple in order to secure residence of a flat/apartment. It’s hardly Ibsen. Jess and I specifically jumped off from a very mainstream sitcom premise in order to unravel it so completely. Take it, have it, call it Perfect Strangers and hope Balkie doesn’t sue. Just don’t call it Spaced.

 

— Simon Pegg, 2008

What sickens me most here isn’t the fact that these people are taking advantage of the creative teams prior naivety in signing the contracts, or that the parasitic production company is trading off Simon and Edgar’s good name. What really troubles me here is that they chose not to include Jessica’s name in the press release, an indiscretion that, as Simon points out, means the female voice of the original work is ignored. This is not only disgraceful and rude and disrespectful it also speaks volumes about the cynical nature of the LA marketing machine. Do you think the fact that Jessica is chiefly successful in the UK has anything to do with the oversight? I can see the PR meeting now, “Jessica who? What’s she done? Nah, haven’t seen it. Just put Pegg and Wright in the Press Release they had that big film last year right? Yeah great, keep them ditch the dame!” Morons! If they had any understanding of the original series they would know that the interplay between male and female characters and the inclusion of different thematic elements in order to appeal to both men and women is vital to its success. Yes the show was geeky, but somehow it attracted girls as well, you can’t tell me Jessica wasn’t the key to that attraction. Likewise, if they understood anything about the creative process they would understand that in collaborating Pegg and Stevenson poured much of themselves and their personal qualities into those scripts and that won’t be something they can recreate without including them again in the process.

All I can say is it’s a shame that the folks with the money are normally the folks that are so short sighted and as Pegg says it would have been a basic professional courtesy to have contacted them and asked for some input. Instead… here we are… only time will tell I suppose, but I’m feeling the Spaced team’s pain, as I’m sure do a huge amount of Spaced fans out there.

Want more? You can read the whole of Simon Pegg’s comments here.

Right that’s it from me Spaced fans, goodnight!

K

Left pane: Joel and Ethan Coen; Top right: Brad Pitt in a still from Burn After Reading; Bottom right: George Clooney on set.

Evening Coen fans! So as if them Coen’s haven’t been titillating the press enough recently with their smash hit film No Country for Old Men, some lavish critic lovin’ and no less than four Oscars, yesterday they announced the release date of their new film Burn After Reading.

As most of you will know news about the production has been circulating for a while, but Focus Features officially made the announcement that they will be releasing the Coen’s “dark espionage comedy” on September 12th in North America. When it will come to these shores has not, as yet, been revealed however we know it will premier at Cannes Film Festival on May 14th and according to IMDB (known for its unquestionably reliable information ahem) Finland will be graced with the film on the 21st of November. So if you’re looking for a Finger Lickin’ prediction, I’d say the UK will see the film around the second week of October… but don’t quote me on that.

Burn After Reading boasts an impressive cast including, George Clooney, John Malkovich, Brad Pitt, Tilda Swinton, and Joel Coen’s wife, Frances McDormand who also played the adorable Marge Gunderson in Coen classic Fargo. As is often the case, the script is an original piece written by both the brothers and centres around a disk containing the memoirs of a CIA agent that ends up in the hands of two reprobate gym employees who attempt to sell it. The flick is currently in post-production and is reported to contain the Coen’s usual mix of dark drama and comedy. Other stuff in the Coen’s pre-production pipeline includes: Suburbicon due in 2009, written by the lads, and directed by George Clooney; a remake of 1966 crime comedy Gambit; and back-burner project, the 1920s periodpiece Hail Caesar. So, from that little collection, it looks like the prolific duo are showing no signs of slowing down.

That’s it from me… take it easy,

K

Left pane: Hunter S. Thompson; Top Right: Hunter S. Thompson; Bottom Right: Benicio Del Toro, Hunter S. Thompson, Johnny Depp

Good afternoon finger lickers! One of my heroes Hunter S. Thompson sadly died just over two years ago. At the time I remember re-reading Fear and Loathing in Las Vegas and thinking, “this man was pure genius.” I had a similar thought during a flight to the states where I read the book in just under 8 hours and on a Spanish holiday where I first discovered his work. What never changes for me when it comes to Hunter’s writing is the speed at which I can read and the extent to which I become engrossed. It is important to note that my fervor for the man is not because of his widely publicised glorification of psychedelic drug use, a component of his writing and life that I believe has receive too much attention. I attribute the longevity of my attraction to his work largely to his infectious prose and a fascination with the man’s life. So, it was with much excitement that I read, this morning, a report of a new documentary about his glory years.

Gonzo, the hyperactive first-person and ultra-subjective writing style for which he became famous, has been borrowed as the title of Alex Gibney’s documentary which focuses on the high point of Thompson’s career 1965 - 1975. According to spout.com, Alex Gibney has stated his documentary is a critique of the present day media’s obsession with “phony” objectivity. A cause I think we can all appreciate. Gibney hot off the back of his Best Documentary win at the Oscars for Taxi to the Darkside, a documentary focusing largely on American torture practices in Afghanistan and an innocent taxi driver who was tortured and killed in 2002, last week spoke and screened his new film at True/False film festival in Columbia, Missouri.

The film is reported to contain as yet unseen home movies, audio recordings and unpublished manuscripts. While I am very very keen to see the flick I hope that it does not give us too much of an insight into the “real” Hunter S. Thompson because one of the most endearing facets of the man, for me, was his enigmatic and perhaps mythical persona. Think of him fondly; read his work; watch the flick.

K

Left pane: Cormac McCarthy; Bottom right: Guy Pearce and John Hillcoat.

[digg=http://digg.com/movies/Hollywood_McCarthy_Mania]Gooood morning finger lickers! As I write this with bed head of astronomical proportions there is glorious sunshine streaming through my windows. Aaaaaaaaaah spring is here film fans. And with it comes news of the latest Cormac McCarthy silver screen adaptation. While slurping a moca-frapa-capa-latte in Starbucks with good friend and fellow Finger Lickin’ contributor Mark this weekend; we discussed my recent article about Literary Arrogance and McCarthy’s work in general. After our chat, I got intrigued and did some high profile investigative journalism (googled it) and found that the very book I am currently reading, McCathy’s The Road, is now in production.

The book and therefore undoubtedly the film, though you can never trust Hollywood, is a tale of a father’s struggle to save the life of his son in a cannibalistic post-apocalyptic America. While I am only half way through the book, I am totally gripped. The prose is beautiful and exquisitely descriptive and I hope that Joe Penhall, who penned the screenplay, will be able to deliver the same flavour. Cast in the role of the father is the brilliant Viggo Mortensen (A History of Violence) and the casting of his son has caused a X-Men style who-ha in recent days. As many of you, I’m sure, are aware X-Men Origins: Wolverine was forced to change shooting schedule and this has caused a clash in young Kodi Smit-McPhee’s (brilliant name btw.) diary. Kodi was originally destined to play young Logan in Wolverine but sensibly, in my opinion, has decided to drop the Wolverine flick in order to work with The Road’s Australian director John Hillcoat.

So what else do we know about The Road, well not very much other than the following folks are attached to the project Viggo Mortensen, as I said, Charlize Theron, playing his wife, Robert Duvall is rumoured to be involved and Guy Pearce has an IMDB credit with no character name. Likewise, due for release in 2009 but currently still in development by Ridley Scott is McCarthy’s 1985 Western, Blood Meridian. In an interview with nymag.com Scott has the following insight about the literary adaptation:

It’s about the end and the turning point for the American Indian, but it’s a pocket in that time — and it’s a hard one because it’s a wonderful read, and I think it should be kept that way. When one makes a film, you’ve got to make it like the read.

It would seem that with big names like Scott, Mortensen, Peace and Theron involved in adapting McCarthy’s work that this spree of adaptations might continue, should it prove to pay well at the box office. Which, after the success of No Country for Old Men, I can’t see being a problem for The Road. All I can say is that I hope they are as faithful to his original text as No Country because it seems to have been the Coen’s courage in not contorting the story into a Hollywood mould that has been so successful.

That’s it from me… I’m off to the shops in some glorious sunshine.

K

[digg=http://digg.com/movies/It_isn_t_easy_being_green_3]Afternoon finger lickers! The following is, without a shadow of a doubt, gross conjecture offered without any solid research or factual foundation, but when did that ever stop me…

I always felt kinda smug about the whole environmental issue. Growing up I always figured that Britain was a far greener nation than the United States. What with the media who-ha over Kyoto and everything. So in my dealings with Americans, my wife being a notable example, I was always suitably pompous in the “it isn’t easy being green” debate. Yes, that’s right, our local town council collects glass, paper, plastic, garden and food waste separately and no, we’re not all driving huge petrol guzzling vehicles that could be used to invade Iraq. But, as I’ve grown older and more socially aware the realisation that I don’t really do anything personally to reduce my environmental impact hit home and I began to think more about green issues in relation to filmmaking. From the miles of celluloid consumed every year to the electricity used in powering countless square feet of studio and post production space, the impact must be colossal.

Recently, after a couple of weeks of reading Hank Green’s ecogeek.org blog, I began to think about the environmental impact of not just Hollywood, who were evil to start with in my book, but also indie filmmakers. Are indie filmmakers intrinsically greener than Hollywood? Is it not just a matter of economic circumstance that forces us to consume less? I believe that we should be continually mindful of environmental issues in our filmmaking rather than resting on our laurels because we’re not as bad as the very bad man on the west coast of north America! Being virtuous only in comparison to the worse offender is nothing to be proud of in my opinion. I instantly thought of the efforts of Robert Redford and the Sundance Institute to encourage us all to be greener. However, I do not believe that having Lexus sponsor the “Lexus Hybrid Living Lounge” at this years festival is the way forward in the fight to reduce global warming… Lexus for god sake! It is however the way forward in advertising really huge unnecessary vehicles.

It seems to me, that if we want to encourage true green credentials for Indies then what is really important here is the epistemological and ideological imperatives behind the two groups. These are of course hugely diverse in the indie world. While Hollywood is contained both physically and demographically Indie filmmakers are undoubtably heterogeneous in nature. This is not just middle-class white america we’re dealing with. This is a gigantic spectrum of artists working all over the globe. However, in comparison to “the industry” the ideology marking the foundations of indie film is still in its relative infancy. So, I believe that while epistemologically Indie filmmakers are naturally disparate it is at the heart of their shared ideology that we need to inject environmental sound underpinnings.

This realisation in turn got me to thinking about the indie dream. Digital self-production and digital self-distribution. We have an extremely viable and successful model for self-production using digital platforms, however, what the environmental impact of this model is, I have no idea. I would hazard an uneducated guess that given the economically frugal nature of our productions means our footprint must be massively smaller than the beached whale that is Hollywood. However, as I said earlier this ‘only in comparison to’ thinking is flawed. What we need to do is inject green values into the progress of the indie take-over. With the likes of From Here to Awesome making the dream of self-distribution an ever growing reality the indies will undoubtably garner far more control over the market. Should this model grow as I know Lance, Arin and M dot Strange are keen for it to do I believe that the market can be truly flattened creating an almost seamless connection between filmmaker and viewer. It is with this “indie take-over” that could come the collapse of Hollywood and the democratization of the art form. With indie filling the Hollywood void it should therefore have progressively green values and it this I want to encourage.

I believe it is more important to encourage the indies, who I am certain will ultimately replace or grow to be a serious threat to Hollywood to undertake green practices than to attempt to retroactively impose these values on an industry that evidently doesn’t care. If we can introduce these imperatives at this relatively early stage we have a fighting chance of educating the world through one the most powerful entertainment mediums on the planet and reducing the impact of an industry that is no doubt a huge contributor to global warming. What are these imperatives and practices I don’t know. But I’m going to find out. Anyone with more knowledge of these issues please get in contact and maybe I can get Hank Green to write a guest Finger Lickin’ blog to highlight some of the most important issues.

I need to go away and get facts and figures to back up my assertions so for now… watch this space….

K

Left pane: Rotoscoped Richard Linklater; Top left: Patricia Arquette and Ellar Salmon; Bottom left: Scene from Linklater classic Slacker.

[digg=http://digg.com/movies/Richard_Linklater_s_Boyhood]Good evening fancy free finger lickers! Tonight’s bloggage is more of a musing than a piece of indie news. As I’m sure loads of you are aware Richard Linklater, inspirational director of Slacker and Dazed and Confused, is working on a long term project with the working title Boyhood. The concept behind the flick is that Linklater’s fictional family Ethan Hawke, Patricia Arquette and Ellar Salmon are visited every year for twelve years, meaning the child will actually grow-up in front of the camera.

The film will follow divorced couple Hawke and Arquette and their son Ellar Salmon, pictured above with his on screen mother Patricia Arquette. Ellar is aged six at the outset and the flick will culminate when he finishes High School, meaning the film will be released, at the earliest, in 2013. There’s not really much more information about the project but I have to say I’m incredibly excited about the alternative form that this film seems to be taking. I would love to see an online teaser or something and it makes me wonder if Linklater will take the online/viral/longtail approach to marketing the picture.

I heard about Boyhood a good long time ago but I have been thinking a lot about alternative forms of filmmaking and narrative structure for my own films and it got me thinking about filmmakers that are in their element with this type work. Linklater is undoubtedly at his most powerful when he’s working with different, avant-garde filmmaking forms. Slacker, Dazed and Confused and A Scanner Darkly being notable examples of these alternative takes on film narrative. And this gives me huge confidence that Boyhood might be something really special, but with 5 years to wait I better learn to be patient.

Right, that’s it from me… more information when I have it!

K

[digg=http://digg.com/movies/Cinequest_Film_Festival_Uploads_100_films_to_Jaman]California based film festival Cinequest opens its doors today in San Jose. The festival will present an impressive 250 films before its over on March 9th. Of those 250, 100 films have been chosen for online distribution through Jaman. The festival this year will be honoring the likes of Danny Glover (The Royal Tenenbaums), Bobby Moresco (Academy-Award® winning writer, Million Dollar Baby and Crash) and Michael Arndt (Academy-Award® winner Best Original Screenplay, Little Miss Sunshine). As well as showcasing those films that don’t fit the Hollywood mould.

Jaman, an online film rental site, is showcasing the trailers for 100 of the films on their website and are generously (or not so generously) giving away three films of your choice for free. While I applaud the film festival for embracing the internet as a new form of online distribution… three films… really? I can see the business model. Get film fans onto the site by offering the festival a platform etc. But three films? Come on Jaman you can do better than that! Also I wonder what percentage of the online rental price the filmmakers are getting, I suspected 0% which is an utter crime. I may be wrong and Jaman are offering the filmmakers a cut but I suspect, like so many others, Jaman are getting the full whack and the filmmaker is just grateful that his or her work is being seen… criminal. Anywho, check out the Cinequest website and Jaman’s festival selection pages for more information and to watch the trailers - there’s some gooduns!

That’s it from me,

K

[digg=http://digg.com/movies/Film_Festivals_just_ain_t_working_Find_out_why]I know bang on about this all the time - but just watch the video…

[youtube=http://www.youtube.com/watch?v=PTehTbT7aho]

And click some links…

From Here to Awesome - A new way forward.

Submit a Film - And join the revolution.

Arin Crumley - Democratizing Indie Film Distribution.

YouTube - Watch more of the same.

K

[digg=http://digg.com/movies/Indiepix_Film_Festival_uses_online_distribution_and_voting]US indie film festival the Cinema Eye Honors presented by Indiepix has announced that it is to add a new audience award that will utalise both online distribution and voting process. The festival have chosen the BroadRamp platform to distribute the films and is requesting that viewers cast their vote online after watching. Indiepix are said to have chosen BroadRamp’s Content Distribution System because it does not require the user to download a third party browser plugin. However, this is a claim that confuses me slightly because taking a look at BroadRamp’s site they seem to be very much utalising flash video in their player which of course uses the “third party plugin” Shockwave. Soooo… unless I’m missing a trick and I they’ve some swanky technology they’re not showing off on their website… you still need a plugin folks.

BroadRamp seem to be best known for their work in the field of interactive e-commerce video. What’s interactive e-commerce video I hear you cry. Well, the basic concept is that you’re sitting watching a video online, or wherever, and you see a t-shirt you really like. You hover your mouse over that t-shirt and a pop-up appears giving you information, price and an option to buy the shirt. An idea then that seems to be genius and utterly horrific all at the same time.S o the cynic in me is thinking, will the content from this film festival be used as a film testbed for this evil genius video creation? Or am I turning into a internet conspiracy theorist? Either way, I am delighted to see that festivals are recognising the problems in the industry and making steps to rectify it. It does however seem bizarre to me that they would not use a more well known platform, such as blip.tv, vimeo or even the big daddy YouTube. My jaded mind is still mulling over the marketing potential of the BroadRamp system in festivals to come - you’ve been warned!

Anyway, the festival selections have been made and announced, more information can be found at the Indiepix and Cinema Eye Honors websites and voting commences on March 1st.

Right, that’s enough from me. Good night Finger Lickers, I will see you in the morning.

K

[digg=http://www.digg.com/movies/Beastie_Boy_forms_Indie_film_company]Goooooood morning Finger Lickers! So, word round the interweb campfire is that rap legend MCA (also known as Adam Yauch) of Beastie Boys frame has formed his own indie film distribution and international sales outfit. The company called Oscilloscope Pictures, operating out of downtown Manhattan offices, plans to distribute up to ten films in 2008. Yauch is joined by former ThinkFilm execs David Fenkel and Dan Berger and will be looking for a combination of drama and documentary content.

Adam Yauch is of course no stranger to the world of filmmaking himself having directed some seriously famous music videos in his time including my personal Intergalactic. So, I for one really wanna see what comes outta this new company. While I’m not really an advocate for the current systems of distribution. This kind of thing is a really positive move. Having read their blurb on their website I think the future for this company could look pretty interesting. I am always keen to check out a film by a new startup distribution company because they may be taking a few more chances and delivering something a little more tasty than your average jaded outfit.

K

[digg=http://www.digg.com/movies/More_High_School_Noir]If nothing else, it has to be said, that this noir comedy flick has an eye catching and provocative title. I haven’t seen anything of this yet, I would love to see a trailer but all YouTube and Google seem to be throwing up are clips of Mischa Barton talking more about her recent DUI arrest than her role in this film which premiered at Sundance. Cinematical reviewed the flick during Sundance and gives a pretty good idea of what to expect. Set in a Catholic High School popular girl, Barton (no suprise there then), teams up with school newspaper reporter (Reece Thompson) to try and uncover who stole missing SAT exam papers. However, as expected from this kind of High School comedy, not everything goes to plan and they end up uncovering a far larger conspiracy.

My reason for initially taking an interest in this film was mainly because of some quite obvious comparisons between Rian Johnson’s début masterpiece Brick and the noir style dialogue that writers Tim Calpin and Kevin Jakubowski gave to the characters from Assassination of a High School President. Is this just a direct lift of Johnsons genre mix, High School Noir? Is this the beginning of quite an interesting cycle? Or as Cinematical implies is this simply a film that does whan’t quite get the balance right? Johnson himself, on his web forum, expresses an interest in the flick so I guess he’s as interested as all of us to find out some of answers to those questions. I really hope this film gets a national release here and in the USA for no other reason that to see if Johnson’s formula has been carried across successfully.

That’s it from me,

Kieran