An Affair with Literature,
For more information, visit Studio System News - The Great Gatsby Shines a Spotlight on Hollywood's Love Affair with Literature
Case in point: embrace the classics and keep adaptation alive.
Lets get what we came for,
C. M. Sanchez III
Thursday, May 16, 2013
On "Great Gatsby" Hype
On "Great Gatsby" Hype,
For more information, visit Forbes - Twitter and Facebook Knew 'The Great Gatsby' Was Going to Be a Hit
So...they say they can't figure out why there was 'Great Gatsby' hype? The American gangster is officially an archetype; mythos. Noire is embedded in our cultural pysche. The anti-hero and the dark side of capitalism and manifest destiny is something all American cultures are treated to on a daily basis. There was recently 'Bordwalk Empire' and 'Gangster Squad.' Even 'Mad Men' has created a taste for the sense and style of the 20th century's first half ('20s to '60s).
This appeal is revived every so often, just like sci-fi has made the hollywood comeback over zombies in the last few years. The familiarity with the novel, DiCaprio, Jay-Z - these are all supportive elements to the concept that has been driving entertainment for a century. And when an audience member has a chance to escape, why wouldn't they escape to the experience of a lifestyle of excess and violent power? This form of story will always excite.
That it was talked about a little more that Ironman 3 isn't surprising since this is an "original" adaptation rather than a sequel and people will talk when new inventions are revealed and tied to familiar worlds. The longing romance that appears to go hand-in-hand with the American's expression of rising power is not lost on any generation where ambition can be accounted for. I think the buzz is unsurprising as the production is both timely with a timeless story. But then again i'm someone who believes, and not to take credit from Ironman or comic-book (or even the parallels between Gatsby and Stark that some might draw) that story and concept (allegory and philosophy for some) still drives civilized consciousness, no matter how commercial or overused it might seem.
Let's get what we came for,
C. M. Sanchez III
For more information, visit Forbes - Twitter and Facebook Knew 'The Great Gatsby' Was Going to Be a Hit
So...they say they can't figure out why there was 'Great Gatsby' hype? The American gangster is officially an archetype; mythos. Noire is embedded in our cultural pysche. The anti-hero and the dark side of capitalism and manifest destiny is something all American cultures are treated to on a daily basis. There was recently 'Bordwalk Empire' and 'Gangster Squad.' Even 'Mad Men' has created a taste for the sense and style of the 20th century's first half ('20s to '60s).
This appeal is revived every so often, just like sci-fi has made the hollywood comeback over zombies in the last few years. The familiarity with the novel, DiCaprio, Jay-Z - these are all supportive elements to the concept that has been driving entertainment for a century. And when an audience member has a chance to escape, why wouldn't they escape to the experience of a lifestyle of excess and violent power? This form of story will always excite.
That it was talked about a little more that Ironman 3 isn't surprising since this is an "original" adaptation rather than a sequel and people will talk when new inventions are revealed and tied to familiar worlds. The longing romance that appears to go hand-in-hand with the American's expression of rising power is not lost on any generation where ambition can be accounted for. I think the buzz is unsurprising as the production is both timely with a timeless story. But then again i'm someone who believes, and not to take credit from Ironman or comic-book (or even the parallels between Gatsby and Stark that some might draw) that story and concept (allegory and philosophy for some) still drives civilized consciousness, no matter how commercial or overused it might seem.
Let's get what we came for,
C. M. Sanchez III
Monday, May 13, 2013
On the "360 Equation"
On the "360 Equation,"
For more information, visit Indiewire - The "360 Equation": The One Business Model Every Filmmaker Needs to Know
What a fantastic read. Here's a kindred take on the supportive role social media can have in the indie-artist's campaign for realization. In most articles I take the time to post, I try to offer up the content in the context of what's relative to the emerging film maker, without an executive network, without notoriety. What Marc Schiller is breaking down is the fundamentals of the living-by-art practice that we simply cannot ignore.
If you are set to make your visions a public option, then both you and them must know each other. You are your own commercial, your views criticized or upheld otherwise by no one. When you make a film it is obscure until it isn't. This isn't an overnight process. It's part of the job. Unfortunately it's a grave pressure for a writer/director. Which is why emerging producers must step into this role and see the projects they are aiding in a much greater light, see its future, and become the spokespeople. What you lack in marketing dollars you can make up for with the strength of your voice and the conviction of your purpose.
You have something to offer, be it entertainment, education, or pure art. Manage it with enthusiasm and create a presence that matters with real people. Newcomers to film should take into account this "360 Equation" if they have an interest in creating work opportunities, because without an audience there is no money flow, and no budget for the next one if that's your aim.
Lets get what we came for,
C. M. Sanchez III
For more information, visit Indiewire - The "360 Equation": The One Business Model Every Filmmaker Needs to Know
What a fantastic read. Here's a kindred take on the supportive role social media can have in the indie-artist's campaign for realization. In most articles I take the time to post, I try to offer up the content in the context of what's relative to the emerging film maker, without an executive network, without notoriety. What Marc Schiller is breaking down is the fundamentals of the living-by-art practice that we simply cannot ignore.
If you are set to make your visions a public option, then both you and them must know each other. You are your own commercial, your views criticized or upheld otherwise by no one. When you make a film it is obscure until it isn't. This isn't an overnight process. It's part of the job. Unfortunately it's a grave pressure for a writer/director. Which is why emerging producers must step into this role and see the projects they are aiding in a much greater light, see its future, and become the spokespeople. What you lack in marketing dollars you can make up for with the strength of your voice and the conviction of your purpose.
You have something to offer, be it entertainment, education, or pure art. Manage it with enthusiasm and create a presence that matters with real people. Newcomers to film should take into account this "360 Equation" if they have an interest in creating work opportunities, because without an audience there is no money flow, and no budget for the next one if that's your aim.
Lets get what we came for,
C. M. Sanchez III
On World War Z and the "High-Concept" Gamble
On World-War Z and the "High Concept" Gamble,
For more information, visit Deadline - After 'World War Z' Ending Fix, Paramount Out to Prove Its Zombie Pic Doesn't Stink
Brad Pitt's cool. Zombies remain cool. Max Brooks has become very cool. Throw lots of money at it, and the conventions we know and love, and there should be money to gain right? This is gonna happen regardless of what I say here now. I'm sure after 5 experienced and very successful writers hit this project, it's gonna be forced through and become the success they all hoped for. As the devil's advocate I'm gonna go back to the original point about the CG zombies and move around this a bit.
A zombie apocalypse is a maddening concept and never truly driven by A-list talent because its so potent. The genre is the star. Part of the horror of it is that it feels closer to reality than supernatural horror or cheezy-slasher flicks. Brooks simply exploited this with a political slant. Something about this type of disaster, the way the stories roll up on the protagonists out of nowhere with little to understand and imminent tragedy around every corner on a societal level, touches upon truisms we see every time we turn on the television; that there is great violence just beyond our view and ability to truly comprehend with global consequences that we are likely powerless to prevent. The lights go out in Brooklyn, and it's all a zombie-apocalypse town where your neighbors could turn into cannibals the minute we forget we're in this together.
I feel like Brad Pitt confuses this. Cause he's Brad Pitt. District 9 worked because we focused on the circumstances and the protagonist truly was an every-man. The Walking Dead may have franchise value, but that show works still for people unfamiliar to the comics because the cast feels real. Many of the Romero films cast B-list talent or relative unknowns. 28 Days Later helped spark Murphy's career. But in these trailers I keep thinking, that's Brad Pitt pretending to be scared of CG Zombies. That's Brad Pitt pretending to be a normal guy after he's been Achilles.
This is a genre film, not a drama where we - the audience - displace identity as a given. So my expectations hinge on what the real star of this film is. Is it the zombies? No, they're CG. Everything they do will have weird glossy sheen that will make all the tension end as soon as they show up. Is it Brook's geopolitical discourse? If it works the way District 9's did, by offering that docu-drama aesthetic maybe. But this isn't going that way even though that seems to be what led Plan B to this project. Is it Forster and Pitt's capacity for drama? I suppose so. And that would qualify their problems with Act 3. Any other focus would not require Pitt; in fact I believe he would detract from it (as in Pitt plus CG zombies = lame, Pitt vs. Geopolitical realism + CG zombies = confusing).
But IF the creative team really does center on the family man's plight, and they do it really well, then the rest is relegated to an engaging (although cosmetic and expensive) through-line and subplot without competing with the strength Pitt and Forster naturally bring to the table. Otherwise the novel and/or the horror alone would be enough. Counter to this, I'm sure Paramount wants to cast its net as wide as possible but sometimes spreading your hunt thin means everyone comes home empty-handed or not at all.
Hopefully we can take away from this what it means to graduate a b-genre into a blockbuster, in case you're on the ground floor trying to get Amazon Studios to get you in. We all know Hollywood won't settle comfortably for anything below $200 million.
Lets get what we came for,
C. M. Sanchez III
For more information, visit Deadline - After 'World War Z' Ending Fix, Paramount Out to Prove Its Zombie Pic Doesn't Stink
Brad Pitt's cool. Zombies remain cool. Max Brooks has become very cool. Throw lots of money at it, and the conventions we know and love, and there should be money to gain right? This is gonna happen regardless of what I say here now. I'm sure after 5 experienced and very successful writers hit this project, it's gonna be forced through and become the success they all hoped for. As the devil's advocate I'm gonna go back to the original point about the CG zombies and move around this a bit.
A zombie apocalypse is a maddening concept and never truly driven by A-list talent because its so potent. The genre is the star. Part of the horror of it is that it feels closer to reality than supernatural horror or cheezy-slasher flicks. Brooks simply exploited this with a political slant. Something about this type of disaster, the way the stories roll up on the protagonists out of nowhere with little to understand and imminent tragedy around every corner on a societal level, touches upon truisms we see every time we turn on the television; that there is great violence just beyond our view and ability to truly comprehend with global consequences that we are likely powerless to prevent. The lights go out in Brooklyn, and it's all a zombie-apocalypse town where your neighbors could turn into cannibals the minute we forget we're in this together.
I feel like Brad Pitt confuses this. Cause he's Brad Pitt. District 9 worked because we focused on the circumstances and the protagonist truly was an every-man. The Walking Dead may have franchise value, but that show works still for people unfamiliar to the comics because the cast feels real. Many of the Romero films cast B-list talent or relative unknowns. 28 Days Later helped spark Murphy's career. But in these trailers I keep thinking, that's Brad Pitt pretending to be scared of CG Zombies. That's Brad Pitt pretending to be a normal guy after he's been Achilles.
This is a genre film, not a drama where we - the audience - displace identity as a given. So my expectations hinge on what the real star of this film is. Is it the zombies? No, they're CG. Everything they do will have weird glossy sheen that will make all the tension end as soon as they show up. Is it Brook's geopolitical discourse? If it works the way District 9's did, by offering that docu-drama aesthetic maybe. But this isn't going that way even though that seems to be what led Plan B to this project. Is it Forster and Pitt's capacity for drama? I suppose so. And that would qualify their problems with Act 3. Any other focus would not require Pitt; in fact I believe he would detract from it (as in Pitt plus CG zombies = lame, Pitt vs. Geopolitical realism + CG zombies = confusing).
But IF the creative team really does center on the family man's plight, and they do it really well, then the rest is relegated to an engaging (although cosmetic and expensive) through-line and subplot without competing with the strength Pitt and Forster naturally bring to the table. Otherwise the novel and/or the horror alone would be enough. Counter to this, I'm sure Paramount wants to cast its net as wide as possible but sometimes spreading your hunt thin means everyone comes home empty-handed or not at all.
Hopefully we can take away from this what it means to graduate a b-genre into a blockbuster, in case you're on the ground floor trying to get Amazon Studios to get you in. We all know Hollywood won't settle comfortably for anything below $200 million.
Lets get what we came for,
C. M. Sanchez III
On meta-genres
On Meta-Genres,
To learn more, visit: Huffington Post: Baz Luhrmann, 'Great Gatsby' Director, Explains the 3D, the Hip Hop, the Sanitarium And More
To learn more, visit: Huffington Post: Baz Luhrmann, 'Great Gatsby' Director, Explains the 3D, the Hip Hop, the Sanitarium And More
Friday, May 10, 2013
On Content Politics
On Content Politics,
For more information, visit Indiewire - Why Do Films Get Booed at Cannes? New BAM Series Investigates
There are many trends in this rhetoric alone to support the saying that even bad publicity is good publicity. Many of the boo-ies returned to receive awards or hold committee positions years later. In any practice of art, it's known you can't please everyone. Though how Hollywood does it, play to the masses for mass profit, often leads the independent down dark roads - the question that is. It is better in the non-union circuit then to stand strong, knowing you do not have the political machine in place to guard you from direct criticism, or the wide release to win on the average, and consciously be prepared to pick a side and everything that goes with it. Political moderation is best suited for those managing the position they've already achieved. But achieving it in the first place has something to do with extremities . . . So one might take away from this, stand out and get known, then clean it up and edge your way mainstream as your audience widens (realizing the risk is alienating your original niche fan base; the determination would likely be economic).
Lets get what we came for,
C.M. Sanchez III
For more information, visit Indiewire - Why Do Films Get Booed at Cannes? New BAM Series Investigates
There are many trends in this rhetoric alone to support the saying that even bad publicity is good publicity. Many of the boo-ies returned to receive awards or hold committee positions years later. In any practice of art, it's known you can't please everyone. Though how Hollywood does it, play to the masses for mass profit, often leads the independent down dark roads - the question that is. It is better in the non-union circuit then to stand strong, knowing you do not have the political machine in place to guard you from direct criticism, or the wide release to win on the average, and consciously be prepared to pick a side and everything that goes with it. Political moderation is best suited for those managing the position they've already achieved. But achieving it in the first place has something to do with extremities . . . So one might take away from this, stand out and get known, then clean it up and edge your way mainstream as your audience widens (realizing the risk is alienating your original niche fan base; the determination would likely be economic).
Lets get what we came for,
C.M. Sanchez III
On American Story,
On American Story,
For more information, visit Tribeca: Breakout Director Sean Dunne Talks 'Oxyana' and a Portrait of a Town's Addiction
The American transformation, in whatever form it takes that brings awareness to a depressive cultural shift among our neighbors, has become a genre sub-type much in the form of Noire or Dystopia. In the narrative form, it can take up the aspect of "magical realism" as with Beasts of the Southern Wild. In the documentary sense, we have something like Oxyanna. By it's description in the article, it takes a look at the degraded altered ego of the town of Oceana and the Oxycotin that plagues its citizens as an oppressive tyrant.
I'm not interested in commercializing the tragedies occurring, but where there is a community overthrown, there is a need. And there is myth in the concepts of such vices such as plagues, missing people, and the returning theme in our culture of a lost civilization or community. Many of the zombie films detail a world where people have gone mad. But the realities must always be darker and harsher. There is a part in the article where Sean Dunne talks about their need to tell a story. I'm always amazed at the audacity of documentary film makers to record reality, especially when that reality is dangerous, and those recorded resistant to exposure. The unveiling of truth can be a volatile affair. The stories, evidently, must be told regardless. People want to release them. On some level the human cannot be ignored. The devices we use as a method for our curiosity and the display of our consciousness that bring different groups together, being the camera and the sound recorder as well as our context and our interest, are the tools we use to elevate ourselves as a race. The sharing is fundamental and should give heart to emerging film makers who dare to go where others don't.
Lets get what we came for,
C. M. Sanchez III
For more information, visit Tribeca: Breakout Director Sean Dunne Talks 'Oxyana' and a Portrait of a Town's Addiction
The American transformation, in whatever form it takes that brings awareness to a depressive cultural shift among our neighbors, has become a genre sub-type much in the form of Noire or Dystopia. In the narrative form, it can take up the aspect of "magical realism" as with Beasts of the Southern Wild. In the documentary sense, we have something like Oxyanna. By it's description in the article, it takes a look at the degraded altered ego of the town of Oceana and the Oxycotin that plagues its citizens as an oppressive tyrant.
I'm not interested in commercializing the tragedies occurring, but where there is a community overthrown, there is a need. And there is myth in the concepts of such vices such as plagues, missing people, and the returning theme in our culture of a lost civilization or community. Many of the zombie films detail a world where people have gone mad. But the realities must always be darker and harsher. There is a part in the article where Sean Dunne talks about their need to tell a story. I'm always amazed at the audacity of documentary film makers to record reality, especially when that reality is dangerous, and those recorded resistant to exposure. The unveiling of truth can be a volatile affair. The stories, evidently, must be told regardless. People want to release them. On some level the human cannot be ignored. The devices we use as a method for our curiosity and the display of our consciousness that bring different groups together, being the camera and the sound recorder as well as our context and our interest, are the tools we use to elevate ourselves as a race. The sharing is fundamental and should give heart to emerging film makers who dare to go where others don't.
Lets get what we came for,
C. M. Sanchez III
Subscribe to:
Posts (Atom)