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7.3.12

31.10.11

The Movie Set That Ate Itself

http://www.gq.com/entertainment/movies-and-tv/201111/movie-set-that-ate-itself-dau-ilya-khrzhanovsky?printable=true

14.10.11

Redditin kommentista elokuvaksi. Mitä jos nykyinen USA:n armeijan pataljoona matkustaisi ajassa taaksepäin Rooman valtakuntaan?
http://www.reddit.com/r/AskReddit/comments/k067x/could_i_destroy_the_entire_roman_empire_during/

Warner Brothers to film Rome Sweet Rome movie

Japanissa on jo tehty Sengoku Jieitai 1549, joka kertoo Sengoku-kaudelle päätyvästä modernista armeijayksiköstä, mutta siitä on varaa parantaa.

S.M. Stirlingin Nantucket-sarjassa puolestaan Nantucketin saari siirtyy pronssikaudelle.

11.9.11

6 Things the Film Industry Doesn’t Want You to Know About

Here’s a basic example of Hollywood Accounting: A studio makes a movie. The studio distributes the movie itself, and although the distributor is technically a separate company, they both belong to the same parent company. Also, the distribution arm sets whatever fees it wants. If they want to charge themselves eleventy quintillion dollars for distribution, they totally can. Then, even if the film earns billions of dollars in box office receipts, they’re still technically in debt (to themselves) and thus haven’t turned a profit. --
Winston Groom, the writer of Forrest Gump was told that the film based on his work wasn’t profitable. Of course, he got the last laugh when they came to him asking if they could turn the sequel, Gump and Co. into a film as well, and he reportedly told them, ”I cannot, in good conscience, allow money to be wasted on a failure.” In other words, “Go fuck yourself.”
http://www.filmschoolrejects.com/features/6-things-the-film-industry-doesnt-want-you-to-know-about.php

Uwe Boll and the German Tax Code: Why people keep giving him money to make movies

Ach du lieber! You've lost nearly 95 million, right? No, we're not done yet. Follow me closely here: Under the German tax code, you can take the full 90-million deduction, then have your Munich shell company charge me (the American producer) 80 million to lease back the rights to my movie. Because you just took a 90-million loss, you don't have to pay taxes on the 80 million you recouped.
http://www.escapistmagazine.com/articles/view/issues/issue_81/460-Uwe-Boll-and-the-German-Tax-Code

24.3.11

A New Sith, or Revenge of the Hope

With the Death Star destroyed, Han and Luke get medals but Chewie doesn't. Actually, Leia offers him one but the wookiee turns it down. He got one of those things from Yoda about twenty years ago, but there's no way he can tell her that. http://km-515.livejournal.com/746.html

I Will Always Have Been Back: Toward a Grand Unified Theory of Schwarzenegger

And so the Terminator, calling itself Conan once more, continued its long and lonely march through history. Having forgot that it was a machine, it lived as a man.
http://www.overthinkingit.com/2009/05/14/i-will-always-have-been-back-toward-a-grand-unified-theory-of-schwarzenegger/

2.3.11

5 Hollywood Secrets That Explain Why So Many Movies Suck

Hollywood studios generally buy 10 times as many scripts as they make into movies, which means they currently own exclusive rights to a shitload of films that will never see production. And in most cases, they won't let anyone else have them. E.T., The Matrix, Pulp Fiction and Star Wars are all films that you never would have seen because the studios that owned them were content to sit on each forever. They were saved only because someone convinced another studio to re-buy them, usually at a higher price.
http://www.cracked.com/article_19012_5-hollywood-secrets-that-explain-why-so-many-movies-suck.html

Hollywood's conservatism: why no one wants to make a "risky" movie

In the last several years, a new rule of operation has taken over: The movie itself has to be the brand. And because a brand is, by definition, familiar, a brand is also, by definition, not original.
http://www.boingboing.net/2011/03/02/hollywoods-conservat.html

3.1.11

What Could Have Been Entering the Public Domain on January 1, 2011?

If the pre-1978 law were still in effect, we could have seen 85% of the works created in 1982 enter the public domain on January 1, 2011. Imagine what that would mean to our archives, our libraries, our schools and our culture. Instead, these works will remain under copyright for decades to come, perhaps even into the next century. And for most of them – orphan works – that means they will be both commercially unavailable and culturally off limits, without any benefit going to a copyright holder. Think of the cultural harm that does. http://www.law.duke.edu/cspd/publicdomainday/pre1976

3.12.10

YouTube-joulukalenteri 3

Suosikkimusiikkivideoita jouluaattoon asti.

Musiikkivideo-remake John Carpenterin The Thingistä, joka puolestaan oli remake Howard Hawksin The Thing from Another Worldista.

22.11.10

The Screenplay e-Novel

The screenplay e-novel is especially effective in presenting this first-person mystery to the film industry. “The format deconstructs the narrative into two major elements,” author Munk explained. “First, the reader ‘sees’ the setting and can visualize the physical action. That’s the screenplay element. Then comes the dialogue / interior voice. That’s the novel element.”
http://www.prweb.com/releases/prweb2010/11/prweb4817084.htm

4.11.10

The Cathedral

The Cathedral from styczek on Vimeo.

20.10.10

Role Reversal: Why TV Is Replacing Movies As Elite Entertainment

The answer HBO executives found was to create its own original programming designed to appeal to the head of the house. Here it had several advantages over Hollywood. It did not need to produce a huge audience since it carries no advertising and gets paid the same fee whether or not subscribers tune in. Nor did it have to restrict edgier content to get films approved by a ratings board (there is no censorship of Pay-TV). And it did not have to structure the movie to maximize foreign sales since, unlike Hollywood, its earnings come mainly from America. As a result, HBO and the two other pay-channels, Showtime and Starz, were able to create sophisticated character-driven series such as The Wire, Sex and the City, The L Word, and The Sopranos.
http://thehollywoodeconomist.blogspot.com/2010/10/role-reversal-why-tv-is-replacing.html