When my film, Searching for Mr. Rugoff was released in the theaters, the most common feedback I got was how astounding it was that one company released so many of the definitive films from what, in retrospect, looks like a golden age of art films. I had so many requests for a list of the films that I included one in the press kit and provided it to anyone who asked.
It is with that in mind that I am so very pleased that the Criterion Channel is showing twenty Cinema 5 titles in conjunction with the exclusive premiere of my film. The series starts on September 12.
This collection of films might as well be a syllabus for anyone interested in non-Hollywood cinema from the ’60s and ’70s, a particularly ripe period of pushing the limits of what could be shown in commercial movie theaters. Many of the films were controversial in their day, and probably would be today. It took an off-kilter sensibility like Rugoff’s to see commercial potential in them, and many of them failed at the box office. But looking back after all these years, the collection seems downright inspired. Continue reading “Criterion Celebrates Fabled Distributor Cinema 5”
The announcement last week that the newly combined Warner Bros. Discovery was planning to dump seven of its films, including one big budget female-driven DC Comics superhero film, has brought on a lot of angst and debate among those tracking the film business. The decision was both surprising in some ways, while being entirely predictable in others.
While there are plenty of examples of feature films that have been unceremoniously dumped by their studios because of lack of faith in commercial potential, or because of a regime change, historically these decisions were based on not wanting to throw good money after bad by spending the necessary marketing money for those films to reach an audience.
In the current media environment, one might have assumed that while such films might be denied a life in theaters, they certainly would provide adequate filler for a streaming service, if for no other reason than to give the appearance of having a wide selection of offerings. Just one quick look at the menus for any of these services would indicate that quantity rather than quality rules that business model. So why would Warners just dump these films, rather than relegating them to their HBO Max platform? Continue reading “The Warners Movie Dump: An Ominous Sign for the Streaming Biz?”
There isn’t a day that goes by when I don’t read The New York Times. I fully admit to being one of those old-fashioned people who reads the news on paper; I flip through every page, skimming the articles, diving into whatever grabs my attention, and feeling like I’ve absorbed enough information to be up to date on our crazy world.
There also isn’t a day that goes by that I don’t get pissed off at The Times for one reason or another. The insistence on presenting “both sides” of every issue, to the point of false equivalencies, is a particular source of anger. (Let’s not forget that it was The Times that broke the story of “Hillary’s emails” and continued to hammer it all the way to November.)
However, all told, The Times does a better job than most daily newspapers of at least trying to get things right. And in an environment in which newspapers around the world are under severe threat of extinction, I find it heartening That they have found a way to keep the paper alive while deftly navigating new business models to support it.
That said, what brings me to write comes less from my personal and political perspectives as a reader than my professional perspective as someone who lives in the world of movie marketing; more specifically someone who has spent their life trying to get audiences to see less commercial fare in movie theaters. The Times has always played an important role in that effort, but unfortunately in recent years, changes have been made that have created great obstacles to that effort. Continue reading “Seven Ways The New York Times Could Help Save Theatrical Moviegoing and Its Own Bottom Line”
It’s been a long road. After five years in production and a nearly two-year pandemic delay in the theatrical release, my film “Searching for Mr. Rugoff” finally opened in theaters in over 40 cities this past August. The response has been beyond my wildest expectations, both the reviews, as well as all the wonderful notes I’ve been getting from audiences around the country and around the world. The most gratifying part has been the reception from younger audiences, who have no reason to relate to the film on a nostalgic level. Their response (thank you, Columbia students) gave me the confidence to complete the project, and ultimately to pursue as broad a release as possible.
Now comes the payoff. The film is now available for sale on DVD & Blu-ray, and for sale or rental on Amazon Prime Video, iTunes, Google Play, Vudu and Kino Now. So, gather around the biggest screen you have access to, and watch the movie that RogerEbert.com called “One of the top 10 documentaries of the year…a beautifully structured tale of movie love. “Searching for Mr. Rugoff” is both dramatic and enlightening, a moving document of an American life that has a bit of “Citizen Kane” to it.”
You can see all the information about it, as well as outtakes and other fun stuff at http://mrrugoff.com.
Seth Willenson, who died this week at the age of 74, was a good guy. I know that sounds like faint praise, but in a business that thrives on over-stuffed egos, it actually means a lot. He was also someone who loved movies, understood the structural ins and outs of a complicated and constantly changing landscape, and found success seeing opportunities where others didn’t. He was also a great judge of talent and mentored many a young aspiring film executive.
I first met Seth when I had just started in the business. I was a non-theatrical salesperson at Cinema 5, a small independent distribution company. Seth was the head of sales at Films Incorporated, which was the largest non-theatrical distributor at the time, and handled films from MGM, Paramount and 20th Century Fox, among others. For the uninitiated, “non-theatrical” meant renting 16mm prints of films to college film societies, public libraries and other such venues. It was a fairly large business at that time due to films having no other outlets after their theatrical runs. There was no such thing yet as home video, and television networks didn’t have that much movie programming. Continue reading “Seth Willenson, Innovator and Good Guy”
Upon hearing of the death of Irwin Young at the age of 94, I wrote a heartfelt remembrance of the man who played such an enormous role in the lives of so many independent filmmakers. It was originally published in Indiewire. I am reprinting it here it its entirety.
When prominent people die, obituaries often declare the end of an era. In the case of Irwin Young, who died this past Thursday at the age of 94, there’s an added poignancy to seeing his death through that lens, as we are living through a time when everything he stood for is under threat. Anyone who lived through the modern history of independent film can tell you: much of that history could not have happened without him. Continue reading “Irwin Young – Godfather of Independent Film”
Ten years ago, on what was then the 10th Anniversary of the 9/11 attacks, I felt compelled to write down my memories of that day, and the complicated family odyssey that followed. Anyone who was in New York on that day has stories to tell, and I wanted to make sure to preserve mine before the details became too fuzzy. I consulted my wife and a few other key participants to make sure I got things as accurate as possible, and wrote it all down. Now, here we are another 10 years later, and the story still conjures up so much emotion that I am sharing it again. Here is the story of our family odyssey…
At the Sundance premiere of Steve James’ film about Roger Ebert, “Life Itself,” I found myself sitting next to Barbara Kopple. Barbara and I have known each other for a long time, and I’m a huge fan of her work. When I worked at Cinema 5, I did co-op advertising for “Harlan County USA,” and many years later I worked with her to find the financing for her “Woodstock ’94” doc. Since both of us are New Yorkers, we see each other a lot at screenings and other industry events.
Before the Ebert film began, Barbara and I were chatting and the subject of Don Rugoff came up. Barbara told me a couple of stories about her experience with his distribution of “Harlan County,” and it was one of those moments where I wished I had brought a camera with me to capture them.
Later, when I finally decided I was making a film about Rugoff, Barbara was on my list of people to interview, but she was going through an extraordinarily busy period in her career, so it was near impossible to find a time to do it. I caught her off guard at an event and sprung my camera on her, so the interview was impromptu and rushed. It turned out, unbeknownst to me at the time, that the camera was acting up, so you’ll have to forgive a few moments of soft focus in this great outtake clip, in which Barbara talks about the early history of “Harlan County,” when she had no idea that it would become the sensation that it later became.
Sarah Kernochan is a screenwriter, director, author, songwriter, performer and two-time Oscar winning documentarian, and a friend. I saw her first doc “Marjoe” as a young cinephile, not realizing that years later, I would end up producing her first fiction feature as director, “All I Wanna Do.” In this outtake clip Sarah talks about why she thinks Don Rugoff, who distributed “Marjoe,” is a significant figure in the history of independent film.
Film Comment sends out a weekly newsletter about what’s going on in the world of serious cinephilia, and this week’s issue contained a nice surprise for me. In conjunction with the release of my film and a podcast that I did with them, they exhumed a piece that I wrote for them in 2005, in which I revealed myself as the author of seven years worth of columns that I wrote under a pseudonym. You can read the newsletter here and if you are serious about film, I highly advise that you subscribe to the newsletter.