Been remiss in posting links to various stories that have kept me busy the past few months. In no particular order: Here are two stories I did for ShoWest, one on this summer’s tentpoles and the other on potential sleeper hits. (Attempting to answer, in other words, what this summer’s “Devil Wears Prada” might be.)
I did a story on successful mystery novelists that may finally be emerging from Hollywood development hell. Maybe. One of those profiled: Fellow Lord Jeff Harlan Coben. His book “Tell No One” was finally made into a movie in France and now in the process of being remade by producer Kathleen Kennedy.
Four of the best picture nominees dealt with infidelity of one form or another. So I wrote about it, comparing cinematic cheating to the reaction to Tiger’s marital woes. Also did a report on the Film Finance Forum earlier this month (harder than ever for those without domestic distribution to get financial backing they need to make the film in the first place) and ongoing shakeout in the PR ranks.
What else? The tension between creativity and client control in branded entertainment, that’s what.
“Hi Paula. It’s Joey.”
Only then did I realize that the flamboyantly-dressed gent across the room was Joe Pantoliano aka Joey Pants aka Ralphie Cifaretto from “The Sopranos.” Thesp commandeered the microphone at Variety’s Future of Film Summit to quiz keynote speaker Paula Wagner, she the former partner with Tom Cruise and head of UA. Why, Joey wanted to know, were studios asking him to take 80% to 90% pay cuts without offering him a piece of the action? Specifically, why did Warner Bros. ask him, a working class actor, to take an 85% cut? After all, he said, Fox gave him a piece of “Daredevil.”
Wagner, a one-time actress who made her bones as an agent and now toils as an indie producer, had no easy answer for Joey Pants. Later in the day, however, QED founder Bill Block, another former agent, stressed the need to give talent a “a fair shake with a real transparent back end,” adding, “We need to find our way to a better model that rewards today’s box office performance.”
Throughout the day, panelists stressed the need for filmmakers to trim costs in line with the realities of today’s movie economics. But studio execs, Pantoliano pointed out, have not been willing to do the same. Hence, the hard feelings.
“At what point do we not need studios anymore and when do they start taking that cut?” he implored.
Again, no easy answer.
Michael Cieply takes a look at the indie film scene circa Aug. 2009 and find money’s tighter than ever. To compete, filmmakers are resorting to Twitter and befriending hotel concierges, he reports for the NYT. Biggest surprise: That the story landed on page 1. Here’s the story