On the eve of Oscar weekend, I just want to make note of the fact that today would have been Robert Altman’s 89th Birthday. I don’t have the heart to take this date out of my calendar. We all miss you, Bob.
Tag: Independent Film
In the eye of the beholder
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.”
Is it sour grapes to ask?
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?
Thoughts on the Re-release of ‘Diva’
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.
Charles Burnett
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.
Opening Night of Independent Film Week
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…
Honeydripper All-Star Band
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.
Now back to the triathalon…
No Clint?!
I can’t believe that Clint Eastwood isn’t making the cut. The only possible explanation is that his two films are splitting the vote. I completely get why that may have happened. Personally, I had a hard time choosing which of the films I would get behind if I had to pick one. Neither film is as impressive or as resonant individually as they are together. I’ve always said that my favorite film of all time is “The Godfathers,” meaning parts 1 & 2. This may be a similar situation. Sorry Clint…the rules are stacked against you this year.
10 Reasons Why I Can’t Write a 10 Best List
The offer from indieWIRE to publish 10 best lists from industry types and bloggers is a wonderful thing. The more voices we have out there, the less we are enslaved to the conventional critical wisdom. So why haven’t I posted something?
1. Academy Rules… As a voting member of the Academy (and BAFTA and the PGA), I am reminded at least once a year that we are not supposed to make our preferences known to the outside world, lest they be used to prognosticate the results. Nevermind that my Academy votes and my 10 best list might not resemble one another, because as we all know, voting for “Climates” for the Best Picture Oscar is about as useful as voting for Dennis Kucinich for President. Continue reading “10 Reasons Why I Can’t Write a 10 Best List”
Altman Remembered
When word reached me this morning that Bob was gone, I was shocked. Perhaps I shouldn’t have been. His health has been an issue (and a topic of discussion) for a very long time. Back when I was at Fine Line and we were working on the release of “Short Cuts,” Bob would come to office looking so thin, so gaunt; everyone commented on the fact that he looked liked he was on his deathbed. Bob laughed and said he’d been told by his doctor to go on a diet, and he was proud of how much weight he had lost. We all took him at his word, only to find out more than a decade later that he had had a heart transplant. Bob somehow seemed indestructible.
I have so many memories…so many feelings. I can’t set them all out here… but I feel the need to spill some of it while the feelings are fresh.
I first met Bob when I was just out of college. I took a trip to Los Angeles to try and find work, and someone recommended that I look up a guy named Mike Kaplan, who was the marketing person at Altman’s production company. The company was called Lion’s Gate, but was not related to the current company of that name. I got an appointment, and while waiting in the reception area, could see and hear Bob talking on the phone in his office. He was describing a film he’d just finished shooting in Canada…a film called “Quintet.” I couldn’t have been more thrilled as Altman was already one of my idols, and this was my first close encounter with someone of his stature.