The Cubs are in the playoffs for the second year in a row…a feat that they haven’t achieved since 1907-1908. Is that a sign that THIS COULD BE THE YEAR? I made up my mind many years ago that if it ever happened, I would be there to witness it. And so far I’ve managed to be at every post-season game played at Wrigley Field since the day I was born. Of course, there used to be a simple punch line to that–there weren’t all that many. But lately, the Cubs are acting like they mean it.
Please note that I have no special privileges that entitle me to post-season tickets. In 2003, I flew to Chicago for each game, not knowing how I’d be able to get in. I hung out at the will-call window and subtly let it be known that I was looking for a single ticket. I managed to score each time, at only a bit more than face value. But it was nerve wracking to say the least.
In the February 19, 1986 issue of The New York Times, Janet Maslin said in her review, “Most of ”Parting Glances” functions as a parade of homosexual stereotypes.” On the same day, several other mainstream reviews said basically the same thing. Meanwhile, every gay publication hailed the film as the first realistic portrayal of gay culture they had ever seen in a film. Due to the bad mainstream reviews, the film died a quick death at the box office (anyone remember the Embassy 72nd Street theater?). A generation later, the film is commonly thought of as a classic, a landmark film in the “New Queer Cinema.” When the film was restored and shown at Outfest earlier this year, the festival referred to it as “among the most beloved LGBT films of the last 25 years.”
Today’s Variety includes one of the many special sections that are geared toward the awards season. Today’s issue is called “Eye on the Oscars: Best Picture,” and like all of these special issues, it attempts to handicap the race. It lists the so-called “contenders” for the Best Picture category, but somehow it doesn’t include any, that’s right, ANY films that have not also bought ads in that publication over the last few weeks. Is there a connection between these things? Of course Variety would deny it. And by the way, I’m not singling out Variety. All the trades appear to operate the same way. Have any of these issues done feature articles on any films that have not bought trade ads?
Why does this matter? Academy members do not have time to see every eligible film before they vote. They depend to some extent on the handicappers to narrow down the field to a manageable number of films. These special sections are among the ways the race is handicapped. If you are not listed as a contender, you basically don’t exist. So, how much does it cost to get an Oscar thse days?
Emerging Pictures’ venue partners are finding ways to give their Opera-loving audience a way to appreciate the La Scala series even more. The Charles Theatre in Baltimore welcomes local opera aficionado Jonathan Palevsky, Program Director at WBJC a non-commercial, classical music and arts radio station, who will introduce the 7 p.m. AIDA screening at the Charles on Sunday evening, December 9. He stopped by and did a brief introduction at the December 6th 2 o’clock screening.
The re-release of Jean Jacques Beneix’s “Diva” has brought back a lot of memories for me. I was working at United Artists Classics when we released the film in the U.S., and I find it fascinating to read about the film’s history in the various articles that have appeared in the last week. Having been there when it all happened, there’s a lot of misinformation floating around. The film was NOT an instant hit or a sensation upon release. Quite the contrary. In fact the film was a complete flop when it was first released in France. No U.S. distributor was interested in it. The film came to us at U.A. and we passed on it…at least twice.
Thanks to Charles Burnett for writing in to share his thoughts on “Honeydripper.” Charles is one of my favorite filmmakers, and it’s been such a thrill to see his early work being rediscovered. Check out Charles’ blog at http://emergingpictur.setupmyblog.com/?p=49. I hope Charles will keep contributing.
It’s not as if we Cubs fans aren’t used to this sort of thing. One thing we’ve learned is to enjoy the ride as long as it lasts. And this year was quite a ride.
I made it to Wrigley for the one and only playoff game. I was with Peter Gilbert (of “Hoop Dreams” fame) and his son Leo. The atmosphere was jubilant, but tempered by the history of this franchise. The fact that the Cubs had already lost the first 2 games in Arizona had people a bit nervous. But the snippets of conversation I caught outside the park were all optimistic.
After a great response in Toronto, we had the New York Premiere of “Honeydripper” as the Opening Night of Independent Film Week. Lots of great coverage, but here’s one of the more comprehensive pieces…
I’ve always loved the summer in New York City. When others are running away to traffic-clogged resort towns, I like hanging around the city and taking in whatever surprises may be around the next corner. Among my favorite activities are margaritas at the 79th Street Boat Basin, bicycling on the path in Hudson River Park and kayaking in the Hudson itself. On days where I do all three of those things, I call it my triathalon.
My very favorite thing to do in the summer is to go to outdoor concerts, and last Tuesday night, I saw a great one. The Honeydripper All-Star band was performing at the River-to-River Festival in lower Manhattan. This is the house band from John Sayles’ new film “Honeydripper,” which Emerging will be releasing late this year. This particular night was only the second time the band had played together, but you wouldn’t have known it from watching them. They were hot! We’ve posted a clip from the concert at http://www.emergingpictures.com/hd_band.htm, so you can get a taste. This first clip features Gary Clark Jr., who in addition to being a major new music talent, is also the star of the film. We’ll post some more clips as the weeks go on, so you can see the other amazing musicians in the band. And watch for more information about the band’s upcoming performances. They may turn up in some unexpected places.
Anne Thompson recently wrote a column in Variety about the “greening” of Hollywood–the attempts by certain folks in the biz to make the process of making films more environmentally friendly. I wrote her a polite note telling her that she’d actually missed an obvious angle–the fact that the current 35mm theatrical distribution process is quite unfriendly to the environment. It would take a lot of carbon credits for the industry to overcome the many trucks and planes that are necessary to delivery those 35mm film cans, not to mention the process of making the prints, which requires putting petroleum-based substances into baths of toxic chemicals. Then consider what has to happen to all those prints when they are ultimately “destroyed.” In other words, theatrical distributors have a lot to answer for with Mother Nature.
But rather than fret about it, perhaps the studios should wake up to the fact that there is a better solution than paying for carbon credits–digital theaters. Imagine a world in which film prints are merely digital files, and those files can be delivered electronically without the need for airplanes and trucks. Hollywood doesn’t want you to know this, but this world exists right now. Continue reading “Carbon Neutral Distribution”