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There is a better mousetrap.
One of the problems with the old way of making a film — with the belief that someone would buy it – is that the apparatus only applied to a few select films aimed at the widest audiences. Yes, occasionally a filmmaker hit the lottery and everything aligned perfectly to engineer a sale, but by now we see that clearly as the exception and not the rule. Some of the beauty that is being revealed during The-Collapse-Of-The-World-As-We-Once-Knew-It (COTWAWOKI), is that new experiments bring a wider selection of work to a wider selection of community.
Reading the NY Times recent article on how music labels are taking they DIY approach that they had for bands, are applying it to films too, frankly warmed my heart — or whatever that is when you get the warm wave from the top of your head down through your toes. [...]
Michael Tully of HammerToNail has a really great interview with Edward Burns on his path from small to medium to sorta big and then back again. It’s filled with the kind of insights that can only be offered by those that have been there — and are willing to be truly honest, with both themselves and us.
I remember when we were at Tribeca, and John Sloss, who I’m sure you know, has this new venture called FilmBuff, who is our distribution partner with this film. And he gave me an argument, but not so much for VOD. Maybe five years ago, I had this movie called Looking For Kitty. And the movie got one tiny, tiny distribution offer from THINKFilm. It was one of those no advance partnerships, and we had made the movie for a quarter of a million dollars. John said, “Look, you’re gonna sell the movie for nothing and they’re gonna own it, just so you can satisfy that part of your ego that wants the film to be released theatrically.” He goes, [...]
Start guessing what movie Eddie Burns is now playing homage too here:
Last one to guess, drinks the beer. Or is it the first one to guess, gets it. Either way Eddie has shown one easy answer on how to get people aware of your film in a new fun way. Imagine if there was a website where filmmakers placed their homages and it was up to the audience to guess the original. It would be a party game and a discovery tool all in one.
I have often felt that you could do a shot for shot remake of Godard’s A WOMAN IS A WOMAN and win Sundance with it. It feels as fresh today as it did when it came out — which is both a testament to the quality of the film and condemnation of our current culture. We haven’t exactly moved forward in terms of our art forms and storytelling.
One thing that has reinforced my conviction that remakes could be the freshest thing on the planet, is Eddie Burns’ series of “homage” trailers he’s done around his latest film NICE GUY JOHNNY. If I saw this trailer without the context of what Eddie is up to, I would run to the theater to catch the feature. Even knowing that this is the third in a series of trailers that Eddie has done, it still makes me want to see what he’s been up to lately. Clearly he’s been inspired, and is having a lot of fun.
Okay, so this homage is not to the french new wave, but it is to a film that was heavily informed by all that those folks were up to, and filtered it through a big Hollywood lens. Did you name it? Got it after the jump. [...]
Yesterday, I posted how Edward Burns has found inspiration in the classics, or at least in the classics’ trailers. I get a huge kick from his “remakes” that he has created around his new film NICE GUY JOHNNY. ”Homages” to the greats are both funny to watch and a great discovery tool. So if you had a jones for more after yesterday’s serving of Antonioni’s L’AVVENTURA, why stop there? Here’s Eddie’s remake of Godard’s CONTEMPT: