“We’re targeting someone who enjoys films, but who is at the point in life where their career is getting more serious, their family life is expanding, and they want to be able to experience new and interesting films, but there are more important priorities for them. We want to be there to say, we know that your time is limited and valuable, we want to make you feel like you’re making the most out of your time. There are so many great things out there, but you can’t expect everyone to search for them. There are a lot of companies out there that talk about making life easier, but is life better when your most treasured resource - time - is being wasted? So for our typical customer, time is truly valuable.”—
“Considering the hybrid terrain between docs and journalism, one wonders if, in the future, a hybrid sort of art form could emerge with doc viewings on VOD platforms. Since such docs aren’t typically the most cinematic works anyway, one imagines that not all that much would be lost be viewing such films on one’s laptop, and an added advantage could come into play - perhaps journo-docs, as we might call them, could feature links to various articles, essays, and interviews throughout their running time, with a sort of “works cited” list of links at the end?”—
“The time is now. If we don’t fully own the absolute necessity to change how we’ve all been working, we won’t be working — and we won’t have the illuminating, inspiring, transforming films that we now enjoy. It’s your choice, but action is required.”—
“Digital communities offer both studios and independents a way to economically utilize both test screenings and word of mouth screenings. The internet allows us to target specific demographics as well as monitor their behavior while viewing (did they pause? where? and for how long?). Geo-blocking allows for specific regions to be focused on. When the digital community already has a built in video player a screening can easily be accommodated.”—
“Customization is what dominates the contemporary internet, of course - we receive social news related to us (Facebook), pop culture and mainstream news of our choosing (Twitter), and of course ads closely tailored to our interests (Google). Is customizing cinema for each individual user so far behind? Imagine the possibilities in a cinema/video game crossover as deployed via VR headset.”—
“Perhaps resigned to the reality that adults are flocking en masse to their TV sets and fleeing the theaters, studios are making a play for younger, spectacle-loving audiences with these new technologies, which will plant filmgoing somewhere on the fence between art form and amusement part ride.”—
“I think that 90 minutes is not enough time to tell a female story. I think that most genres in film are driven by male protagonists — there’s the buddy story, there’s the action film, there’s the epic, there’s the film noir, there’s the romcom, which gets closest to being a female story, but if you’re not George Cukor or Preston Sturges you have a really hard time writing a really good story.”—
When people watch a movie together their brain activity is, to a remarkable degree, synchronized. It’s a slightly creepy thought. It’s also a testament to the captivating power of cinema, says Uri Hasson, a psychologist at Princeton University.
“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.”—