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51
The Grapevine / Re: I Love You, Daddy
« Last post by Drenk on Yesterday at 05:05:23 AM »
Concerning what Reelist posted:

I'm surprised we are not talking about episode 3 of Horace and Pete. I mean, I love this episode. It might be the best thing he's done. And I think it can exist independently of what he did. And it also changed.

A woman exposing herself. Masturbating in her room while she listens to her stepfather doing construction work.
Horace talking about how he couldn't stop having sex with her wife's sister dreading the inevitable day when people will "find out".
And it's mostly about how you can deal with the awful things you've done.

We've not all sexually harassed people and yet we can relate to that episode—at least, I do...And I don't think it matters or spoils it that C.K might have written it thinking about what he's done. Because it's also more. You can try to write your "self" or make a confession or even a veiled confession but it doesn't work out that easily. Thankfully. How boring and simple that would be otherwise.

52
News and Theory / Directors by Decade - World Cinema
« Last post by wilder on Yesterday at 03:49:52 AM »
Sorted by the decade they made their first feature film for the sake of working backwards (or forwards) through film history (when there are enough within one country to warrant it). All links point to Wikipedia.


Argentina

Celina Murga
Gaspar Noé


Australia

Andrew Dominik
Bruce Beresford
Ray Lawrence
George Miller
Peter Weir


Austria

Michael Haneke
G.W. Pabst
Otto Preminger
Ulrich Seidl
Gotz Spielmann
Josef von Sternberg
Erich von Stroheim


Belgium

Chantal Akerman
The Dardenne Bros.
Michael Roskam
Agnes Varda


Brazil

Kleber Mendonça Filho


Canada

James Cameron
David Cronenberg
Edward Dmytryk
Xavier Dolan
Atom Egoyan
Guy Maddin
John Paizs
Mark Robson
Denis Villeneuve


Chile

Alejandro Jodorowsky
Raoul Ruiz


Czech

Milos Forman
Juraj Herz
Karel Kachyna
Jiří Menzel


Denmark

Benjamin Christensen
Carl Theodor Dreyer
Johan Jacobsen
Nils Malmros
Nicolas Winding Refn
Lars von Trier
Thomas Vinterberg


Finland

Aki Kaurismaki
Teuvo Tulio


France

France - 1890s

Georges Méličs


France - 1910s

Raymond Bernard
Louis Feuillade
Abel Glance
Max Linder
Maurice Tourneur


France - 1920s

René Clair
Julien Duvivier
Jean Epstein
Jacques Feyder
Jean Grémillon
Jean Renoir


France - 1930s

Marcel Carné
René Clément
Henri-Georges Clouzot
Jean Cocteau
Sacha Guitry
Jean Vigo


France - 1940s

Jacques Becker
Robert Bresson
Jules Dassin
Georges Franju
Jean-Pierre Melville
Jacques Tati


France - 1950s

Marcel Camus
Claude Chabrol
Louis Malle
Chris Marker
Alain Resnais
Eric Rohmer
Claude Sautet
Francois Truffaut


France - 1960s

Bertrand Blier
Philippe de Broca
Jacques Demy
Jacques Deray
Costa-Gavras
Pierre Étaix
Jean-Luc Godard
Alain Robbe-Grillet
Claude Lelouch
Maurice Pialat
Jacques Rivette
Jean Rollin
Bertrand Tavernier
André Téchiné


France - 1970s

Jean-Jacques Annaud
Catherine Breillat
Jacques Doillon
Jean Eustache
Benoît Jacquot


France - 1980s

Olivier Assayas
Jean-Jacques Beineix
Luc Besson
Leos Carax
Claire Denis


France - 1990s

Jacques Audiard
Bertrand Bonello
Bruno Dumont
Laurent Cantet
Jean-Pierre Jeunet
Guillaume Nicloux
Francois Ozon


France - 2000s

Michel Gondry
Abdellatif Kechiche
Mia Hansen-Love


Germany

Germany - 1910s

E. A. Dupont
Fritz Lang
Ernst Lubitsch
Robert Wiene


Germany - 1920s

F.W. Murnau
Lotte Reiniger


Germany - 1930s

Max Ophuls
Leni Riefenstahl
Douglas Sirk


Germany - 1940s

Robert Siodmak


Germany - 1960s

Rainer Werner Fassbinder
Werner Herzog
Alexander Kluge
Edgar Reitz
Volker Shlöndorff
Werner Schroeter
Hans-Jürgen Syberberg


Germany - 1970s

Uli Edel
Dominik Graf
Wolfgang Petersen
Margarethe von Trotta
Wim Wenders


Germany - 1990s

Thomas Arslan
Christian Petzold
Tom Tykwer


Germany - 2000s

Maren Ade


Greece

Theodoros Angelopoulos
Yorgos Lanthimos
Nikos Nikolaidis


Haiti

Raoul Peck


Hong Kong

Wong Kar-Wai
John Woo


Hungary

Miklós Jancsó
Béla Tarr


Iceland

Friđrik Ţór Friđriksson
Dagur Kári
Baltasar Kormákur


India

Satyajit Ray


Ireland

Neil Jordan
Jim Sheridan


Italy

Italy - 1930s

Raffaello Matarazzo
Mario Monicelli
Roberto Rossellini


Italy - 1940s

Luigi Comencini
Giuseppe De Santis
Vittorio De Sica
Luchino Visconti


Italy - 1950s

Michelangelo Antonioni
Federico Fellini
Marco Ferreri
Dino Risi
Francesco Rosi


Italy - 1960s

Marco Bellocchio
Bernardo Bertolucci
Tinto Brass
Liliana Cavani
Sergio Leone
Ermanno Olmi
Pier Paolo Pasolini
Elio Petri
Ettore Scola
Paolo and Vittorio Taviani
Lina Wertmuller


Italy - 1990s

Matteo Garrone


Italy - 2000s

Paolo Sorrentino


Italy - Giallo / Horror

Dario Argento
Lamberto Bava
Mario Bava
Luigi Bazzoni
Massimo Dallamano
Luciano Ercoli
Lucio Fulci
Umberto Lenzi
Sergio Martino
Michele Soavi


Iran

Abbas Kiarostami
Asghar Farhadi


Japan

Kinji Fukasaku
Hideo Gosha
Heinosuke Gosho
Kon Ichikawa
Shôhei Imamura
Keisuke Kinoshita
Takeshi Kitano
Masaki Kobayashi
Hirokazu Kore-eda
Koreyoshi Kurahara
Akira Kurosawa
Kiyoshi Kurasawa
Yasuzô Masumura
Toshio Matsumoto
Kenji Mizoguchi
Mikio Naruse
Nagisa Oshima
Yasujiro Ozu
Seijun Sezuki
Kaneto Shindo
Masahiro Shinoda
Shuji Terayama
Hiroshi Teshigahara
Shinya Tsukamoto
Yoshishige Yoshida


Korea

Ki-Duk Kim


Lithuania

Sharunas Bartas


Mexico

Alfonso Cauron
Michel Franco
Carlos Reygadas
Guillermo Del Toro


Netherlands

Paul Verhoeven


New Zealand

Jane Campion
Peter Jackson
Andrew Niccol


Norway

Edith Carlmar
Joachim Trier
Eskil Vogt


Poland

Walerian Borowczyk
Wojciech Jerzy Has
Krzysztof Kieslowski
Roman Polanski
Jerzy Skolimowski
Andrzej Wajda
Krzysztof Zanussi
Andrjez Zulawski


Portugal

Manoel de Oliveira


Romania

Cristian Mungiu


Russia

Sergei Bondarchuk
Sergei Eisenstein
Mikhail Kalatozov
Elem Klimov
Sergei Parajanov
Aleksandr Ptushko
Vsevolod Pudovkin
Larisa Shepitko
Aleksandr Sokurov
Andrei Tarkovsky
Dziga Vertov
Andrey Zvyagintsev


Senegal

Ousmane Sembčne


Serbia

Emir Kusturica
Dušan Makavejev


Spain

Pedro Almodóvar
Alejandro Amenábar
Luis García Berlanga
Luis Buńuel
Víctor Erice
Jesús Franco
Álex de la Iglesia
José Ramón Larraz
Bigas Luna
Julio Medem
Carlos Saura
Narciso Ibáńez Serrador


Sweden

Tomas Alfredson
Roy Andersson
Ingmar Bergman
Lasse Hallström
Stefan Jarl
Arne Mattsson
Lukas Moodysson
Ruben Östlund
Alf Sjöberg
Victor Sjöström
Jan Troell
Bo Widerberg
Mai Zetterling


Switzerland

Alain Tanner


Taiwan

Hsiao-Hsien Hou
Ang Lee
Tsai Ming-liang
Edward Yang


Thailand

Pen-Ek Ratanaruang
Apichatpong Weerasethakul


Turkey

Fatih Akin
Nuri Bilge Ceylan


United Kingdom

UK - 1920s

Anthony Asquith
Charlie Chaplin
Alfred Hitchcock


UK - 1930s

Carol Reed
Michael Powell


UK - 1940s

Basil Dearden
Terence Fisher
David Lean


UK - 1950s

Jack Clayton
Karel Reisz
Tony Richardson
Peter Watkins


UK - 1960s

Lindsay Anderson
John Boorman
Alan Clarke
Bill Forsyth (Scottish)
Ken Loach
Ken Russell
John Schlesinger
Pete Walker
Peter Yates


UK - 1970s

Derek Jarman
Mike Leigh
Nicolas Roeg
Ridley Scott


UK - 1980s

Alex Cox
Terence Davies
Peter Greenaway
Tony Scott
Ian Sellar


UK - 1990s

Danny Boyle
Anthony Minghella
Christopher Nolan


UK - 2000s

Andrea Arnold
Andrew Haigh
Steve McQueen
Lynne Ramsay (Scottish)
53
News and Theory / Directors by Decade - USA
« Last post by wilder on Yesterday at 03:44:43 AM »
Notable USA & English-language directors, sorted by the decade they made their first feature film for the sake of working backwards (or forwards) through film history. Birth country in parenthesis if not USA. All links point to Wikipedia.


1910s

Frank Borzage
Tod Browning
Michael Curtiz (Hungarian)
Cecil B. DeMille
John Ford
Alfred E. Green
D.W. Griffith
Howard Hawks
Fritz Lang (German)

Ernst Lubitsch (German)
André De Toth (Hungarian)
King Vidor
Raoul Walsh

1920s

Dorothy Arzner
Anthony Asquith (English)
Frank Capra
Charlie Chaplin (English)
William Dieterle (German)
Robert Flaherty
Victor Fleming
Edmund Goulding (English)
Alfred Hitchcock (English)
Buster Keaton
Mervyn LeRoy
Rouben Mamoulian
F.W. Murnau (German)
Roy Del Ruth
Josef von Sternberg (Austrian)
Erich von Stroheim (Austrian)
William A. Wellman

1930s

Kenneth Anger
Busby Berkeley
George Cukor
Edward Dmytryk (Canadian)
Victor Fleming
Henry Hathaway
Leo McCarey
Michael Powell (English)
Otto Preminger (Austrian)
Carol Reed (English)
Lowell Sherman
Douglas Sirk (German)
George Stevens
Jacques Tourneur (French)
Edgar G. Ulmer
Charles Vidor (Hungarian)
James Whale (English)
William Wyler (German)

1940s

Budd Boetticher
William Castle
Delmer Daves
Basil Dearden (English)
Maya Deren (USSR)
Stanley Donen
Terence Fisher (English)
Samuel Fuller
John Huston
Elia Kazan
David Lean (English)
Joseph Losey
Ida Lupino (English)
Alexander Mackendrick
Joseph L. Mankiewicz
Anthony Mann
Vincente Minelli
Richard QuineNicholas Ray
Mark Robson (Canadian)
Robert Rossen
George Sidney
Don Siegel
Robert Siodmak (German)
John Sturges
Preston Sturges
Orson Welles
Billy Wilder
Robert Wise
Fred Zinnemann (Austrian)

1950s

Robert Aldrich
Robert Altman
Jack Arnold
Richard Brooks
John Cassavetes
Jack Clayton (English)
Blake Edwards
John Frankenheimer
Monte Hellman
Arthur Hiller
Stanley Kramer
Stanley Kubrick
George Kuchar
Sidney Lumet
Delbert Mann
Russ Meyer
Arthur Penn
Karel Reisz (English)
Tony Richardson (English)
Martin Ritt
Frank Tashlin
J. Lee Thompson (English)
Peter Watkins (English)

1960s

Woody Allen
Lindsay Anderson (English)
Ralph Bakshi
Peter Bogdanovich
John Boorman (English)
Mel Brooks
Alan Clarke (English)
Robert Downey Sr.
Francis Ford Coppola
Milos Forman (Czech)
Bob Fosse
William Friedkin
Curtis Harrington
Jack Hill
James Ivory
Philip Kaufman
Richard Lester
Ken Loach (English)
Paul Mazursky
Radley Metzger
Paul Morrissey
Mike Nichols
Brian De Palma
Sam Peckinpah
Melvin van Peebles
Frank Perry
Roman Polanski (Polish)
Sydney Pollack
Bob Rafelson
George Romero
Stuart Rosenberg
Ken Russell (English)
John Schlesinger (English)
Peter Yates (English)
John Waters
Frederick Wiseman
Doris Wishman

1970s

Hal Ashby
James Bridges
Albert Brooks
John Carpenter
Michael Cimino
Stuart Cooper
Alex Cox (English)
David Cronenberg (Canadian)
Joe Dante
Jonathan Demme
Clint Eastwood
Abel Ferrara
Terry Gilliam
Walter Hill
Tobe Hooper
Derek Jarman (English)
John Landis
Jeff Lieberman
Mike Leigh (English)
George Lucas
David Lynch
Terrence Malick
Elaine May
John Millius
Floyd Mutrux
Alan J. Pakula
Nicolas Roeg (English)
Alan Rudolph
Jerry Schatzberg
Paul Schrader
Martin Scorsese
Ridley Scott (English)
Steven Spielberg
Oliver Stone
Paul Verhoeven (Dutch)
Peter Weir (Australian)
Wim Wenders (German)
Robert Zemeckis

1980s

Gregg Araki
Jim Van Bebber
Kathryn Bigelow
Tim Burton
James Cameron (Canadian)
The Coen Bros.
Terence Davies (English)
Christopher Guest
Peter Greenaway (English)
Hal Hartley
John Hughes
Jim Jarmusch
Neil Jordan (Irish)
Spike Lee
Barry Levinson
David Mamet
Michael Mann
Robert Redford
Gus Van Sant
Tony Scott (English)
Terry Zwigoff

1990s

Wes Anderson
Paul Thomas Anderson
Noah Baumbach
Louis CK
Sofia Coppola
Larry Clark
David Fincher
Vincent Gallo
James Gray
Todd Haynes
Nicole Holofcner
Spike Jonze
Lodge Kerrigan
Harmony Korine
Ang Lee (Taiwanese)
Richard Linklater
Anthony Minghella (English)
Andrew Niccol (New Zealand)
Christopher Nolan (English)
Alexander Payne
Kelly Reichardt
Kevin Smith
M. Night Shyamalan
Quentin Tarantino
Steven Soderbergh
Todd Solondz
Whit Stillman
The Wachowskis

2000s

Andrea Arnold (English)
Anna Biller
Andrew Bujalski
Shane Carruth
The Duplass Bros.
David Gordon Green
Robert Greene
Andrew Haigh (English)
Eliza Hittman
Rian Johnson
Karyn Kasuma
Aaron Katz
Richard Kelly
Kenneth Lonergan
Steve McQueen (English)
Bennett Miller
John Cameron Mitchell
Greg Mottola
Alex Ross Perry
Jeremy Saulnier
Lynn Shelton
Joe Swanberg

2010s

Antonio Campos
Dustin Guy Defa
Sean Durkin
Robert Eggars
Chad Hartigan
Yorgos Lanthimos (Greek)
David Lowery
Frank V. Ross
Josh & Benny Safdie
Amy Seimetz
Trey Edward Shults
54
WTF? Dude is clearly in a rush, and he's still taking time to sign some autographs. What else do people want from him and from artists in general?

I thought the deal was we paid him and he gives us great art the we watch and rewatch and talk about for years. From then on, he doesn't owe anybody anything, right? Everything else we may get is just a bonus.
55
This Year In Film / Re: A Ghost Story
« Last post by Jeremy Blackman on Yesterday at 01:19:28 AM »
Believe the hype. A Ghost Story is a masterpiece.

And for what it's worth, I had noooo idea it was going to those places. I pictured something far simpler and less ambitious. But by the end, this is wonderfully bold. And it played me like a fiddle, as they say. There are jaw-dropping moments in this movie that would not translate at all if you tried to describe them to someone. Funny how that works.

SPOILERS

Absolutely loved every scene that dealt with the passage of time. Rooney Mara looks out the window, but it's two different days. We see multiple Rooneys pass through the door, one by one. And then that headphone scene really got to me. That's when it truly gets great — I was fully on board and delighted till the very end.

Ghostfleck attempts ghost suicide jumping off that building, and I think it's clear that he then loops back in time, perhaps to the first moment that geographical location was used as a home.

The last few seconds killed me. I couldn't think of a more perfect ending.

This eerily reminded me of Inland Empire, which is also a ghost story in which the ghost gets stuck on earth, confused about how much time has passed, and then travels back in time and encounters herself, which triggers an eventual resolution.
56
News and Theory / A Brief History of Film
« Last post by wilder on Yesterday at 01:06:02 AM »
-Started mostly in France. Georges Méličs’ A Trip to the Moon (1902) is one of the first famous films.

-1890s-1920s. Silent Films

-1927. In the USA, The Jazz Singer (1927) introduces sync sound to film for the first time. “Talkies” (movies with audible dialogue) followed.

-Until 1934, movies were “Pre-Code”, a retrospective label applied after the “Hayes Code” was introduced in 1934, which essentially amounted to censorship. Prior to this, films made in the early 1930s were more sexually suggestive and even violent than audiences might expect, now. The Hayes Code, however, had unintended consequences, as writers and directors began weaving in thinly veiled double-entendres and had characters speak suggestively instead of explicitly to subversively include content they knew would otherwise be excised. Gilda (1944) is one such film this post-code effect can be seen in.

-1930s-early 1940s. Movies are a national escape from The Great Depression. The average American goes to the movies at least once a week. Lots of musicals and fast-talking romantic and screwball comedies are made. The general tone of mainstream films, historically, has an inverse relationship to what’s happening out in the real world. During hard times, light films are made, and during good times, darker films are made.

-1940s-1950s. The major Hollywood studios are defined by the different styles of film they’re producing at this point:
   -Warner Bros. - Grittier, darker films, gangster pictures
   -MGM - Musicals with elaborate production design. Glamorous movie stars.
   -20th Century Fox - Musicals
   -Universal - Monster movies like Dracula, Frankenstein, and the Wolf Man, W.C. Fields, Abbot & Costello
   -Paramount - More European influenced. Hired a lot of directors and stars who fled Germany to work in the USA.
   -Columbia - Frank Capra movies such as It’s A Wonderful Life, lighthearted movies
   -RKO - Made Orson Welles’ first films, King Kong, Fred Astaire & Ginger Rogers comedies

-1950s. The heyday of the Hollywood studio system. Everyone was “under contract”, meaning you worked on salary instead of a per-project basis. Studios literally had rooms full of writers working on typewriters like a factory. Actors were hired by single studios and could only work on films that studio was producing at the time. They were managed like real employees - told what roles they were going to play and what films they would be in. No one was working freelance yet. Movies are made quickly by workhorse and gun-for-hire directors. Even at the breakneck pace that the movies were being churned out in, the general quality was very high because people had tons of experience that let them hone their craft.

-1960s. A group of film critics in France give birth to the idea of “auteurism” — the idea that the director is an artist and the ultimate “author” of a movie, not just a hired hand. The basis of their theory is formed around Alfred Hitchcock’s work. Hitchcock did not consider himself an artist, but the critics in France (who included Francois Truffaut and Jean-Luc Godard, who go on to direct, themselves, and form the cornerstone of what would come to be known as the “French New Wave") argued that despite any studio interference on his films, Hitchcock’s voice and style were so strong they would always come through. The auteur theory eventually led to a retrospective, critical re-assessment of films by other hired-hand type directors such as John Ford, Anthony Mann, and many other 1930s-1950s directors.

-Late 1960s / early 1970s “The New Hollywood” emerges, younger directors with original voices. This group of directors includes Martin Scorsese, Francis Ford Coppola, and Steven Spielberg. Dennis Hopper makes Easy Rider (1969) for almost no money about a couple of hippie bikers going cross country, and it's a major hit with the youth market and makes a ton of money. Hollywood studio bosses threw up their hands and said “We don’t know what the kids want! We better start hiring some young blood outta film school!” As a result all these new kids on the block get a ton of creative control and many of their original ideas get funding. The style of Hollywood films changes forever, partly because the younger directors mentioned above were equally as influenced by European art cinema as by US film history.

-1970s. Continuation of The New Hollywood. The directors who emerged in the 1960s graduate to making larger and larger films, and eventually are no longer the underdogs of Hollywood but are running the show, becoming the old guard. 1970s films are marked by darker, more adult themes and a stronger sense of realism than in previous decades. This period is considered by many film critics and cinephiles as the Golden Age of Cinema — producing the best mainstream films in film history. The era includes The Godfather I & II (Francis Ford Coppola), Serpico (Sidney Lumet), The Conversation (Francis Ford Coppola), Apocalypse Now (Francis Ford Coppola), Chinatown (Roman Polanski), Star Wars (George Lucas), Taxi Driver (Martin Scorsese), A Clockwork Orange (Stanley Kubrick), Annie Hall (Woody Allen), The French Connection (William Friedkin), Dog Day Afternoon (Sidney Lumet), and Close Encounters of the Third Kind (Steven Spielberg)

-1975.  Jaws is released. Jaws, along with Star Wars and E.T. a few years later, is one of the first “blockbuster” movies to make over $100 million. This changes everything. No longer are studios interested in making small profits from risky ventures, they want every movie to appeal to everyone. The “four quadrant picture” is born, meaning: The movies made should appeal to men, women, and children, both young and old. Many broad comedies and sillier pictures are made now, with an emphasis on happy endings and a shying away from the realism that permeated the decade past.

-1989. A new era of independent film is born with Steven Soderbergh’s hit Sundance feature Sex, Lies, and Videotape (1989).

-1990s. A major CGI element is introduced for the first time in James Cameron’s 1988 film The Abyss, and CGI’s appearance in movies continues to rise and evolve in Terminator 2 (1991), Jurassic Park (1993), and Independence Day (1996). Whereas up until the 1970s a large number of studio movies were aimed at adults, in the 90s and beyond the most coveted target audience is teenage boys between the ages of 14 and 21. Therefore, the PG-13 rating or a film is most desirable. It doesn’t prohibit anyone younger than 17 from buying a ticket, as an R rating would, but also doesn’t necessarily turn off adults from buying tickets to what could be perceived as a youth-market only film, as a PG or G rating would. Actors and story become increasingly unimportant as spectacle becomes paramount for making a movie’s money back at the box office. Merchandising tie-ins such as toys and lunch boxes become equally important considerations for studios as a quality screenplay when making the decision to “greenlight”, or go ahead and make a film. Fun fact: Jack Nicholson makes one of the most lucrative deals in Hollywood history in demanding merchandising rights for Tim Burton’s Batman (1989), in which he played the Joker. Your friendly neighborhood Jack Nicholson is worth almost $400 million today.

-1994. Quentin Tarantino’s Pulp Fiction, which was made independently for about $8 million, an average budget for an independent feature film at the time, is shown at a film festival and is bought by beloved producer Harvey Weinstein for wide distribution in theaters. The movie becomes a cultural phenomenon and makes over $100 million worldwide. Seeing the potential in indie films as high dollar earners, all of the major movie studios want in on the action and many, many independent films start getting bought at film festivals for millions of dollars.

-1997. Titanic is the first movie to gross over a billion dollars worldwide, and has the highest budget of any movie made at this time, at $200 million. To put this in perspective, just over 20 years earlier, in 1986, James Cameron was making another big-budget feature film with Aliens - a giant mainstream movie. It had a budget of $18 million, which was considered high at the time.

-1997. DVDs are introduced, an untapped market for film profits. They catch on with the average consumer like wildfire.

-1990s. The major studios (Warner Bros., Universal, Paramount, 20th Century Fox, Disney, Sony Pictures), which used to be independent corporations, are bought by major American conglomerates such as Viacom and Time Warner. Now the movie business is just another, smaller part of these giant companies profits — the parent company might be making as much money from dish detergent or breakfast cereal as they are from the movie businesses they own.

-2000s. Pirates of the Carribbean (2003) makes more money than god, is one of the main movies to give birth to the idea of endless tentpole franchises. Studios stop being satisfied with making millions of dollars and instead want to make BILLIONS of dollars. They decide the best way to do this is to make movies based on “I.P.”, or intellectual property - a book, a comic book, an existing TV series, a remake of an existing movie — because these stories already have brand recognition and built-in marketing.

-2000s. Production of Reality TV begins to accelerate. One of the very first instances of reality TV was “An American Family” (1971), but it really started tracking towards the form it’s taken today with the airing of MTV’s “The Real World” (1992). In the independent film world, independent movies made on small budgets are still being bought by studios for wide distribution (meaning they place in over 1,000 to 3,000 theaters nationally).

-2008. Wall St. financial crash and WGA (Writers Guild of America) writer’s strike. During the strike, screenwriters are not allowed to work with studios until the Guild/Union that represents them negotiates better terms. Hollywood, having to halt production on most of their projects because they aren’t legally allowed to work with writers, decide “Fuck writers!” and focus their efforts on producing Reality Television, which is cheap to make, and although largely “scripted”, has people called “story editors” instead of actual writers, which is sort of a workaround so writers don’t actually have to be credited or hired. Original screenplay ideas slowly stop getting bought or made…

-2008. The smaller “shingle” companies that operated within the major studios but focused on making more serious, adult-oriented fare start closing down in reaction to the bad economy and market pressures (Warner Independent, Fox Searchlight, etc.) These are the companies responsible for movies like Punch-Drunk Love (2002), Good Night, and Good Luck (2005), The Squid and the Whale (2005), Rachel Getting Married (2008), and Little Miss Sunshine (2008).

-2008. Somehow the studios convince the average Joe that he should know and care about box office numbers. A film’s large budget starts to become a marketing tool. Joe doesn’t realize he’s not getting a piece of the pie no matter how much a film makes.

-2010s. The DVD market starts shrinking. Blu-ray doesn’t make up for it at all. Whereas most people bought DVDs in the late 1990s to early 2000s, less than a tenth of those have converted to blu-ray. This added profit, which many smaller films and riskier films counted on to get made, disappears.

-2010s. Whereas in decades previous, a movie made in the USA would make 75% of its money back in USA theaters, and 25% or less when released internationally, this equation has now flipped, with American-made films making the majority of their money abroad. This is largely due to China’s rising economy and their population’s newfound disposable income and purchasing power. As a result, studios focus more and more on recognizable intellectual property, and on action, fantasy, and sci-fi films, because these ideas translate visually across all cultures in ways that dramas and comedies do not. Studios are more interested in making films with budgets over $100 million, because, perversely, films made at this budget are more likely to make their money back. “The middle” budget movies, based on original screenplays, made for between $10-60 million (most movies you remember from the 80s and 90s) start to disappear.

-2010s. Most studios stop buying movies at film festivals for wide distribution in theaters. As a result, the budgets of independent movies shrink to a tenth of what they were in the previous decades, and they’re sold primarily to streaming and VOD outlets such as Netflix, Amazon, and Apple’s iTunes. The budgets for independent films now range from between $500,000 to a little over $1 million. Lower multi-million budgets still exist but are rare. It’s difficult to make a movie look professional at this level, and as a result tons of indie movies shrink in scope or are set exclusively in one location.

-2010s. “Name” actors, i.e. Tom Cruise, Brad Pitt, Johnny Depp, Meryl Streep, etc. who used to be able to get a movie made regardless of the subject matter just by having their name attached to the project matter less and and less to younger generations. Star power declines. Brands become king.

-2015 onward. Chinese media companies such as Wanda Group buy major stakes in American movie studios. Movies start being made primarily with a Chinese audience in mind. A movie that had a large futuristic battle with Chinese enemies is put back into post-production and the enemies are turned Korean.

-2016 onward. The political, social, or ideological narrative around a film seems to play into its success just as much as its story, aesthetics, and technical execution. Reality becomes stranger than fiction and writers can't keep up.
57
Real-Life Soundtracks / Re: Favorite Music Videos
« Last post by Reelist on Yesterday at 12:15:44 AM »
This video is a Boogie Nights cast reunion and I find it's 6 minutes more compelling than 'Moonlight'.
I've been really diggin this song on the radio, had no idea who Logic was before even watching the video. What a surprise! So much talent involved, gotta watch out for this guy

58
News and Theory / Re: The Best Movies About Making Movies
« Last post by wilder on December 11, 2017, 11:38:20 PM »
No list would be complete without The Player (1992). The Big Picture (1989) is fun. I also like S.O.B. (1981).

One that really works for me that I find generally underrated is Barry Levinson’s What Just Happened? (2008). It’s satire but also pretty realistic, down to the little things in the background like post-it notes on DeNiro’s dash reminding him to schedule ADR. The final scene’s send up of the director character’s film-school-level art film pings my funny bone so hard. The (surprise) cut chosen to screen at the premiere has come down to a battle of wills and DeNiro's reaction as the producer is gold.



for context


Quote from: Matthew Rice
The kind of Robert De Niro I love. He's not hamming it up here like in so many of his recent movies - here he's just a stressed, annoyed, unhappy working man and somehow he manages to make that hilarious. An island of sanity in an insane industry where lives can be changed on the call of whether a dog dies in a movie or not; or whether Bruce Willis will agree to shave off that damn beard.
59
News and Theory / The Best Movies About Making Movies
« Last post by wilberfan on December 11, 2017, 11:20:40 PM »
A resonably good list.  pleased to see "Boogie Nights" on there.  Would you add anything?

http://www.slashfilm.com/the-best-movies-about-making-movies/
60
Paul Thomas Anderson / Re: Has anyone here ever met PTA? Tell us your stories....
« Last post by wilberfan on December 11, 2017, 11:15:52 PM »
Maybe I'm inclined to want to give him the benefit of the doubt, but he strikes me as being very patient in that video.  "We gotta split...", but he's still giving the assembled a few seconds and signing everything put in front of him. 
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