Chat Cinema returns with new episodes. We weigh in a number of current topics.
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Chat Cinema
Tag: Film
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Scorsese on MCU
The battle over the state of modern cinema took a funny twist recently. Director Martin Scorsese weighed in by saying Marvel Cinematic Universe is not cinema. The backlash was swift. Do not attack a cultural movement. Martin, like so many others in Hollywood, has been left wondering what is his place in the new franchise driven film business. A critics darling, Scorsese has never been a box office magnet. His most successful films drew on the star power of Leonardo DiCaprio.
The Irishman
As his latest film, the acclaimed “The Irishman” premieres for Netflix, the helmer has taken aim at modern cinema. The free market economy does not count when it comes to buying tickets. “Marvel films are theme park attractions”, said Scorsese. Theaters should stop booking hem. According to this logic, as an exhibitor is better to choose “his idea of artistic integrity” over making a billion dollars.
160 + 209
Budgeted at $160 million “The Irishman” has a running time of 209 minutes. Translated; if this were a feature film, there could only be 2 theater screenings per day. It would need to earn $500 million to recoup production costs. Plus, an addition $50 million for marketing and prints costs. Martin Scorsese’s highest grossing film to date: 2006’s “The Departed” with Leonardo Di Caprio earned $291 million. No small wonder why the director had to turn to Netflix for financing his latest mobster film starring frequent creative partner Robert DiNiro. As the economics of the film business shift to even bigger tentpoles, Scorese’s view of cinema has been sidelined.
A filmmaker of the 70’s auteur movement, when studios gave directors autonomy over their work. Scorsese did not move into the blockbuster realm. Nor did he crash out like Coopola, DiPalma, or Bogdanavich. His was a world of dysfunctional characters on tee edge. Even his family friendly work, “Hugo” from 2011, a great look, but a times came across like a puzzle with missing middle pieces. Lacking an emotion. I felt no empathy for the characters. The film lost over $100 million at the box office.
Do not attack a movie genre for being successful. If the theater going public pays $20 per ticket, the film earns $2 billion at global cinemas. That is cinema.
Stay Tuned for more Chat Cinema Podcasts.
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Chat Cinema talks #MeToo
This Chat Cinema Podcast came with a lot of thought. We debated on how to cover the topic.
The #MeToo Movement has affected every part of the entertainment industry. In light of the revelations, Hollywood is going through a period self reflection.
I worked in the film business. The “casting couch” was very much a part of the process for women and men. The stories of “midnight meetings” were part of the landscape. The history of Hollywood: Studio moguls, executives, directors, and producers dangled parts for “favors”. Actress Heddy Lamar said, “the most famous women in the world were the biggest sluts”.
Use Your Head
Harrvey Weinstein never covered his trail. There was no need because he made money and won awards. Many willingly overlooked his behavior. Guardian Film Reporter Peter Bradshaw referred to him as the “Caligula of Cannes”.
The performers union SAG/AFTRA represents 160.000 performers. Many always looking for work or the big break. When a once in a life time opportunity knocks on the door, many turn off the thinking button. A chance of a chance of landing a role in a film or televsion show.
Victim shaming is a term used in elite centers like Los Angeles and New York City. All hotel rooms have one main piece of furniture, the bed. If a late night meeting takes place in a suite, perhaps questions should be asked. The most obvious is, why this time? In urban culture this is described as a “Booty Call”.
As a gay man who has been involved in a few late night rendezvous, a “meeting” at the Ritz after 9 pm usually does not involve detailed contract negotiations.
Female Control
Rewriting history for the sake of an argument clouds over past female achievements. Women controlled their cinema destinies. Mary Pickford co-founded United Artists studio with Chaplin, Douglas, and Griffith. Gloria Swanson briefly produced her own features after leaving Paramount. Claudette Colbert reached the top of the mountain becoming the highest paid performer in the business in 1938 and 1941 with complete control of script, director and leading man casting decisions. Colbert demanded certain close up camera angles from cinematographers.
While the need for diverse voices is crucial. The heavy doses of sermonizing mixed with A-list victimhood dilutes the message. Madonna going on television complaining about career obstacles as a woman came across as humbled shopping spree at Nieman Marcus. Protesting about fair treatment while walking the Red Carpet wearing $10.000 gowns had an air of day time soap opera self importance. Am I the only person who missed the point?
Yes! The film community needs to do better. There is hope. Less Victimology, more substance would be appreciated.
The writer worked in Hollywood at the bottom of the ladder staring upward.
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The Big Picture
The Chat Cinema crew discuss Ben Fritz’s book “The Big Picture”. As Hollywood moves away from Star driven movies to franchise based media vehicles the impact is felt on all levels of tinseltown. One studio in particular got it wrong. Once the darling of “A list talent”, Sony finds itself struggling in the new era. What went wrong?
This podcast is sponsored by #Beyerdynamic.
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Maybe or Maybe Not Trailers
Chat Cinema crew Stevie, Kristin, and Breck are enthused about some film trailers. While others they find less appealing.
Sponsored by #Beyerdynamic
A long time ago in a galaxy far, far, away. Those words, etched in my memory from the first time I saw Star Wars A New Hope. Certain films mark my childhood. Luke, Leia, and Han have been a part of my life since 1977. The world Lucas created of simple good against evil is loosing its appeal. Relying more on brand worship than wondrous story telling.
Why is Disney destroying the franchise? With every recent Star Wars media franchise launched in cinema or on television, the lack of creativity pulse is painfully noticeable. Assembly line production has taken its toll. As if the creators have been digging through Lucasfilm trash bins searching for ideas. “The Last Jedi”, story plots, characters felt all piled in blender then poured on the screen. Skywalker as a crazed lone Jedi did not click. Even the most ardent fans struggled defending Rian Johnson’s eight franchise entry- A letter of apology would have been nice.
A SOLO Waste
Not sure who to blame for the $300 million “Solo”. Ron Howard deserves credit for taking over a troubled production after the firing of duo directors Phil Lord and Christopher Miller. However, the standard plot line lacked originality, a passable first draft. A buddy crime capper film in space lacked emotion. Alden Ehrenreich’s “lost in the headlight” performance never captured the cocky bravado of Harrison Ford’s 70’s style. It was the first Star Wars film to lose money at the box office.
The Resistance Bore
The latest Star Wars animation entry “Resistance” is annoying on all levels. The animation style is unnerving. The mixture of shadows and hues is as appealing as a used car lot. The coming of age stock characters, after watching three episodes, come across as lethargic. I hoped for their capture. Juvenile rebel pilot Kazuda Xiono leads a band of resistance against the First Order. Right! Lazy, lacking thrills, falling flat is my best review.
In essence, Disney is expecting Star Wars fans to shell out billions of dollars to justify their $4 billion acquisition. The company seems to be taking a lot for granted. Goodwill eventually ends.
This writer is a massive Star Wars Fan.
Rejection is a form of Protection
“It is not enough for a film festival to be righteous. The films shown should be engaging.” I did not attend the Berlinale this year “because of the limited space”. The likely reason, the Chat Cinema podcast I produced criticising the festival. Someone took offence.
Reading over the reviews of the 69thannual event, “the press offices rejection is a cinema lovers protection.” It feels like I did not miss much. More like, saved. I support filmmaking. But when a film festival states “your attendence is not wanted”. I can take a clue. Although, I wanted to see Monos and What She Said.
If a person is going to spend time in a dark cinema, the very least to expect is engagement on a some level, not a sermon with a heavy dose of pretensions. This has been lost on the Berlinale team.
Congratulations to Me
While there were many tributes to Kosslick for helming the festival since 2001, this years Berlinale lacked a well received Competition entry. I spoke to a writer colleague who described a film as “Just Boring!” Why the lack of high powered wattage for the creative heads final walk on the red carpet? But with celebration of Dieter continuing, why notice the many mediocre to average films? Instead, focus on the face saving self-congratulatory events took precedent. The Guardian’s festival review of “hapless” seemed fitting.
I believe women should have more opportunities to direct. Sadly, the film business has not felt this way. But I say, a female helmer can make a Heaven’s Gate like her male counterpart. Being on the political left side of social movements, the Berlinale showcased many women directors. Too bad their films were not up to par.
I asked about fest opener, screened out of Competition, The Kindness of Strangers from Danish director Lone Scherfig. The words used, “Repetitive” and “too long”. The 34 metascore out of 100 says it all. Gender does not make anyone a good filmmaker. Holland’s Mr. Jones, screened in Competition, nodded audience to sleep with its 141 minutes weightiness.
Enjoy
Regardless if the Berlinale denies Chat Cinema/Black and Paper accreditation for 2020. Allow as many Instagram Influencers on the red carpet as possible. This is a festival in a transitional crisis having lost its artistic and commercial way.
Will Carlo Chatrian change course? One can hope, taking pleasure from attending the Berlinale should not be a mortal sin.
Perhaps I will attend the the 70th edition of the Berlinale. If I am not on the blacklist for honesty.
A Trapped Artist Inside
Dealing with bureaucrats with artistic pretensions is a balancing act. On the one hand they crave the hell with life mentality of Fassbinder, the go your own path of a Bowie, the respectability of Nolan mingled with the steady monthly salary of a state tax officer. Nowhere do I see this more than at the Berlinale Film Festival.
After the release of the 2017 petition calling for an overhaul of the film festival I saw many of the artistic and bureaucratic emotions collide. Artist and bureaucrats have thin skin. I experienced as well as witnessed the staffs defensive sensitive side during the press screenings, the shorten opening press conference, then at the festival.
Having attended the festival for many years, I support the annual event and films. The Berlinale mixes mainstream cinema to the quirky to the “I Don’t Get it!”
No need for an opinion if you are small
My criticism of the organization has not been any harder or meaner than the any other site or press outlet. As an attendee, I stated the reality. Real change has to come on all levels if it is to stay relevant on the circuit. As the film world knows, the Berlinale has been beset by criticisms from all sides. Festival Head Kosslick resigns this year. After last year’s fest and more recently during a “Chat Cinema” podcast we restated our opinions. A complete redo needed if the Berlinale can gain footing on the level as Cannes, Venice, and Sundance festivals.
I applied for festival access as press, no response. After a quick call, the reply on the other end, “We will check on it.” Then a declined notice via email. Never a problem in the past, all of a sudden a problem. Should I call a CSI team to solve the case? A small website critical of the fest, suddenly there is no space for attendance, press credentials denied for Black and Paper. I was told the press team is being diligent this year. What was their working method in the past?
After speaking to the press team concerning the declined noticed, they mentioned my YouTube features, it felt like they used it as a homework assignment. The numbers were low and the long videos. The reasoning made no sense: the number of seats limited. A drop in attendance the previous year meant there should be more places in 2019, simple math.
Relevant
I asked, if the staff is so Internet Savvy why did not they not see the 24 pictorial, written, and video features produced and published about the 2018 Berlinale festival posted on Black and Paper.com. Additionally, there could have been more features had we written about the films not liked. Instead I decided to focus on the films liked.
After sending 10 weblinks from the 2018 coverage, I called the press officer back asking if they wanted more proof. I am so important the response was,” we are discussing it, it will take a few hours to discuss the application.” To be the topic of discussion at a film festival by staff should inflate the ego. Instead it feels sad on this side of petty. Did the Chat Cinema Podcast cause this relationship breakdown? I was smugly told we did not have time to listen to the long cast. I had time to endure screening 40 or so films at the film festival, only a few worth processing at a negative lab.
Can you work for another magazine, was a question from the officer. I responded with a “NO!” This site has been ok for me. I’m listed in the Berlinale data base, receiving emails from the festival.
My advice, put together a good festival that engages, not sermonises. Or develop thick skin.
Crystal Ball
Waiting a “few hours” from 1 pm until 7:48. I posted on Twitter a Chat Cinema tweet. Finally, 54 minutes later an email sent from the Berlinale press office stated my accreditation declined, again. REALLY! The press team spent 7 hours discussing Black and Paper, an honor in a way, the center of attention of a festival with over 400 films, thousands of attendees and we were singled out. A rejection letter that took an afternoon to write. There is an saying in the American South, “If people are talking about you, you must be relevant.” “But if they tell you not to come, you must be really relevant!”
Black and Paper will not attend the Berlinale 2019 because we stated our opinion. By and large not suffering from FOMO Syndrome.
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Chat Cinema talks Golden Globes and Awards
The 69thBerlinale is shaping up. French Academy Award winning actress Juliette Binoche heads the festival jury starting February 7th2019.
Danish director Lone Scherfigs “The Kindness of Strangers” opens the winter cinema event. According to the press film’s release, the ensemble work stars Zoe Kazan and Bill Nighy as a group living in New York. Lone, a Berlinale regular, is known for character driven films. “An Education”, with Carey Mulligan opened to positive reviews with award nominations.
This is the swan song for Berlinale head Dieter Kosslick. After 18 years of greeting cinema goers on the red carpet, he is hanging up his hat. New head Carlo Chatrian takes over the creative reigns in 2020.
The Golden Glove 
Ghost Town Anthology 
By the Grace of God
Staying to it’s reputation, the Berlinale showcases independent films and filmmakers with outsider perspectives.
The Competition list of films announced:
The Ground Beneath My Feet by Marie Kreutzer
By The Grace of God byFrancis Ozon
I Was Home, But by Angela Schanelec
A Tale of Three Sisters by Ermin Alper
Ghost Town Anthology by Denis Cote
The Golden Glove by Faith Atkin
Stay Tuned for our Chat Cinema Podcast on the 2019 Berlinale.