XIXAX Film Forum

Recent Posts

Paul Thomas Anderson / Re: Magnolia discussion
« Last post by eward on Today at 03:29:51 PM »
And what's the first thing we're gonna do?

That's right, we're gonna MARK THAT CALENDAR.
The Director's Chair / Re: Sofia Coppola
« Last post by wilder on Today at 03:27:29 PM »
Sofia Coppola And Bill Murray To Reteam For ‘On The Rocks’, Apple & A24’s First Film
via Deadline

Sofia Coppola will direct Bill Murray again after their Oscar-winning 2003 film Lost in Translation in the upcoming feature On the Rocks, which marks Apple and A24’s first film partnership.

The movie follows a young mother who reconnects with her larger than life playboy father on an adventure through New York.  Rashida Jones will star with Murray. Production starts this spring in New York. Coppola won an original screenwriting Oscar for Lost in Translation and was nominated for best director. Murray nabbed a best actor Oscar nom, and the movie earned a best picture nom. Coppola also directed Murray in the 2015 Netflix holiday special A Very Murray Christmas.

Coppola will produce with Youree Henley. A24 previously worked with Coppola on The Bling Ring. She is repped by ICM and attorney Barry Hirsch. Murray is repped by Ziffren Brittenham. Jones is represented by United Talent Agency and Schreck Rose Dapello Adams Berlin & Dunham.

Coppola made history at the 70th Cannes Film Festival as the second woman ever in the event to win best director for her remake of The Beguiled.

A24 and Apple announced a multi-year feature slate deal back in November.
The Director's Chair / Re: Paul Schrader
« Last post by wilder on Today at 03:26:56 PM »
Paul Schrader Says His Next Film Will Be A Western Starring Ethan Hawke & Willem Dafoe
via The Playlist

According to Erick Weber, from Awards Ace, it would appear that Schrader is moving from “First Reformed” to a new Western, but he’s bringing along his star along to this new project, as well.

Weber tweeted, “Also spoke with Paul Schrader fresh off his #CriticsChoiceAwards original screenplay win, told me he’s writing a western titled NINE MEN FROM NOW with Ethan Hawke & Willem Dafoe as its two leads.”
News and Theory / Re: Slated and Indie Film Production
« Last post by Sleepless on Today at 03:06:53 PM »
Snakes On A Plane II?
News and Theory / Slated and Indie Film Production
« Last post by wilberfan on Today at 02:14:42 PM »
After listening to the most recent (Jan 9/11th) episode of the Brett Easton Ellis podcast (this episode is really quite fascinating and I would urge you to give it a listen by whatever means)--and seeing the first two episodes of "Valley of the Boom" (also recommended), I learned of the existence of Stephen Paternot.

An interesting fellow with an interesting career arc so far (theGlobe.com, anyone?) his most recent venture is a Kickstarter-ish company--only for serious investors interested in film production.   What fascinates me is that he's using algorithms and data-crunching to 'predict' what should be funded and what combination of artists and filmmakers would most likely produce the 'best' (or 'most successful') results.

From an LA Weekly article on Slated:

Two years ago, combining his passion for both tech and film, Paternot launched his comeback: Slated, a website that connects filmmakers with investors.

Years ago, he astutely conceived of a virtual community where people could connect socially. This time, Paternot believes he has spotted a gap in the filmmaking community: It's too closed to outsiders. Navigating Hollywood, he felt, could be a lot easier. "It made me think, 'Why isn't the Internet solving this?'?"

He started doing research with the goal of solving "the inefficiency of fundraising and communication in Hollywood" - basically, how to help investors find worthy projects, and help filmmakers find both investors and key personnel, such as sales agents and dist

His remedy was Slated, a filmmaking social network that already boasts 10,000 members, including Oscar-nominated producer Lawrence Bender (Pulp Fiction, An Inconvenient Truth). Membership is free but two current members must vouch for someone wishing to join. From there, members can peruse other profiles, list their projects and see what others hav
e listed.

"We want to make it as easy to invest in a film as it is easy to buy a book on Amazon," Paternot says. Unlike Kickstarter and Indiegogo, which bring in donations, Slated is based on equity financing, wherein investors own a piece of the project - and its profits. "Those sites are a great place to start for filmmakers doing their first films," Paternot says of crowdfunding sites. "Crowdfunding is where you start. Slated is when you graduate and are in it for a career."

I'm curious if any of you have heard of Slated, if any of you have worked with Slated (or know anyone who has), etc.     A lot of things about traditional Hollywood financing and producing don't work very efficiently, so it will be interesting to see if Slated gains any traction--especially with all of the changes coming courtesy of Netflix models of production, etc.
2018 In Film / Re: BlacKkKlansman
« Last post by Sleepless on Today at 07:45:27 AM »
Spike's best in a good while. Not the greatest film of the year, but I thoroughly enjoyed. Knowing what else is likely to be nominated for Best Picture, this'll be the one I'll be rooting for the win.

The only thing that didn't really sit well with me was the minute-long epilogue with the 2017 footage. On one hand I can understand why he did it, but on the other I feel like adding that on will only date the movie poorly.

Because Trump. I mean, I get what you're saying, but it ties back into the earlier conversation (which similarly took me out of the movie) about the KKK's long-term goal to get someone like them in the White House. Yes, this film could have been made at any point since the "fo' real fo real shit" actually happened - but it came out in the time of Trump and the resurgence of white nationalism to the mainstream, so it addresses that throughout. This specific story may be over, but the enemy persists even decades later.
2018 In Film / Re: Bohemian Rhapsody
« Last post by Drenk on Today at 06:03:05 AM »
Why is it so loved? It is. A lot of people are seeing it, weeks after its release. I know that most people love Queen, but if it's as bad as it looks, why does it keep being a success? People love iPhones but Steve Jobs wasn't a success. Between Venom and this one I'm  thinking that Hollywood may try to reverse engineer "trainwrecks".
2018 In Film / Re: You Were Never Really Here
« Last post by Jeremy Blackman on Today at 02:39:48 AM »
I strongly suspect I would love this on a second watch. It probably is a masterpiece.


This hit me much harder on rewatch. Because everything actually makes sense. And there is no expectations game. Strongly recommend revisiting this if it didn't quite work for you the first time.
2018 In Film / Bohemian Rhapsody
« Last post by wilberfan on Today at 01:14:42 AM »

Bohemian Rhapsody is a foot-stomping celebration of Queen, their music and their extraordinary lead singer Freddie Mercury. Freddie defied stereotypes and shattered convention to become one of the most beloved entertainers on the planet. The film traces the meteoric rise of the band through their iconic songs and revolutionary sound. They reach unparalleled success, but in an unexpected turn Freddie, surrounded by darker influences, shuns Queen in pursuit of his solo career. Having suffered greatly without the collaboration of Queen, Freddie manages to reunite with his bandmates just in time for Live Aid. While bravely facing a recent AIDS diagnosis, Freddie leads the band in one of the greatest performances in the history of rock music. Queen cements a legacy that continues to inspire outsiders, dreamers and music lovers to this day.

Heartbreakingly, stupifyingly bad.  Rami gives an admirable performance in service of an execrable script and direction.   Maybe I've seen too many Queen documentaries (I've seen most of them), but this was embarrassing. 
2018 In Film / Re: spider-man: into the spider-verse
« Last post by csage97 on Yesterday at 08:46:33 PM »
I saw this tonight. The animation was incredible and fresh, and the soundtrack was (mostly) contemporary and really well-done. I knew going in that I should expect awesome animation based on what people had been saying, but possibly a story I'd seen before since it's a superhero movie after all. And that's exactly what I got.

The first maybe hour and 20 minutes of plot were really good. Still, every superhero movie is obligated to have the 30 minute action climax at the end where the goodies battle and defeat the baddies. Do I have the right to complain knowing fair well that that's what would happen? Probably not. But it was a reminder why I can't stand superhero movies, and how I can't understand why audiences are okay with and even giddy about being fed the same old tropes and story arcs dressed up in different packaging. It kind of sucks because this movie had a chance to go somewhere different after the first half, but I found myself hoping it would be over soon about 20 or 30 minutes from the end. By then, the animation was still cool and keeping it afloat, but the soundtrack had mostly devolved into run-of-the-mill typical Hollywood strings and the story had gone exactly where I predicted a superhero movie to go.

Nonetheless, the way the story was delivered was incredibly creative and well done. As jenkins said, it's a refreshed perception of animation, and for that, it's a big achievement for a US production. Yeah, I expected the story to more or less be what it was, and it was still competently done -- so I'm not let down there, but it probably holds this movie back from being something more, and from possibly being a full-on masterpiece. That's all okay, though; it succeeds and innovates in most ways.