“I think you make three films in the course of making one movie. You write a film that you think is going to be the movie you make; then you shoot another film and that’s the movie. But actually the only movie is the third one that comes from the editing process.”—
A leaked draft prepared for government submission has revealed Hollywood’s Australian anti-piracy strategy. Among other things, the paper says that providers should be held liable for infringing customers even when they only “reasonably suspect” that infringement is taking place.
“Adapting films for TV doesn’t simply allow storytellers to work with a broader canvas - it also gives them the opportunity to fix plot points that may not have worked in the film version of the story, going into detail about plot points that were glossed over and giving underdeveloped characters the adequate amount of screen time the second time around.”—
“Digital projection has won, and now film projectionists are a thing from the past, a mere curiosity. We are sad dinosaurs, we are about to be extinct.”—Indiewire spoke to projectionists at this year’s Locarno Film Festival about their future in the digital age.
I shot my thesis at AFI on 35mm. Some people would say that was a waste of money and time. However, that was right when the digital shift was happening, and I kind of knew I would probably not be able to shoot on film again. I didn’t want to miss out on that experience. I wanted to hold an actual print in my hand.
I think film feels a little different on the screen, but that feeling is starting to go away more and more as digital just gets better and better. For any future feature I direct, I would probably shoot only on digital. That’s the most resourceful way to make a movie.
“It depends how you define independent cinema. It’s become a kind of marketing tool, especially in America, so I don’t really know what it means. Things have changed, and the worldwide economic crisis, and the new ways of films being distributed, has changed the way they can be financed. I don’t know what the future is, but I know that the new wave of Greek films, using small budgets, is really the future, and maybe the best way.”—
“Netflix might end up becoming, essentially, another movie studio, just as they’ve basically become another TV network. I think this could be beneficial to consumers (and filmmakers) insofar as the studios would have a competitor with the economic reach to compete with them whose business model would be rather different.”—
“Instead of going to the Cannes Film Festival, filmmakers could be going to Las Vegas for a digital convention in order to pre-sell VOD rights to Netflix. Indeed, Netflix will likely expand from creating original series to creating its own large budget films, with the initial premiere on-line. Netflix may be a vibrant, important source of new financing that disrupts the studio system and bypasses standard distribution channels.”—
“Independent filmmakers, like web entrepreneurs, are first tasked with distinguishing themselves from their competitors in the field, and to do this they must draw a significant fan base. Once that is in place, the filmmaker has leverage to move on to success in other areas - like financial success - and their prospects look much brighter.”—
“This, I predict, is the year that major stars start quietly signing up for ‘Boyhood’-like projects. Netflix, I’m sure, has already taken note: almost nobody’s been sharper and foretelling what the public will crave from their television screens than Reed Hastings.”—
“How is the film industry changing? Micro-budget cinema was once exclusively the provenance of talky films between small casts of characters, often set in a limited number of locations. But with cheapening technology in filmmaking - both hardware and software - we’re starting to see micro-budget productions become increasingly ambitious in what they take on.”—