Catherine Hardwicke hit one out of the park for female directors this past weekend, but she had a lot of help. Not only was she working with a pre-sold property, she also had a very manageable budget of $37 million. Quite different from the $2 million she had to work with on Thirteen a few years back. Of course, she had similar budgets on Lords of Dogtown ($25 million) and The Nativity Story ($35 million), and both were box office disappointments. Still, she’s going to keep on being trusted with more money — if Summit is smart they’ll keep her on for at least the first Twilight sequel, which will surely come with a higher price tag — and as long as she continues with genre films, she’s sure to remain a profitable director.
Not every talented filmmaker does well with more money. Danny Boyle, for instance, typically bombs with bigger budgets. And a lot of foreign auteurs strike out when handed costly studio-produced genre or franchise pics (Jeunet’s Alien Resurrection is a favorite example). But there’s the occasional filmmaker who, like Steven Soderbergh or Christopher Nolan, can make something worthwhile out of any budget they’re allotted. And then there are the many indie filmmakers who quickly find themselves at home with modestly priced broad comedies, such as the case with Seth Gordon easily transitioning from the Slamdance doc The King of Kong to the star-studded Hollywood holiday pic Four Christmases, out this week.
Who will be the next small-scale filmmaker to successfully rise up and prove him or herself worthy of bigger budgets? SpoutBlog has selected five directors we’d like to see given an economic boost, each because he or she would likely deliver something more interesting and popular than the usual Hollywood product.
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From the turn-of-the-century Northwest to seedy 70’s NYC, from an 80’s morgue to 90’s Japan to the modern-day midwest, the oldest profession in the world is onscreen to stay. Here are five timeless performances that are worth the peep show.
Julie Christie as Constance Miller in Robert Altman’s McCabe & Mrs. Miller
Julie Christie is exhilarating in her Oscar-nominated turn as the smart and sexy Constance Miller, a no-nonsense businesswoman in the wild and wicked Northwest who just happens to be in the business of selling sex. In fact, it’s Warren Beatty’s dream chaser John McCabe who is the bimbo to Miller’s sly fox. Like a whore himself, he needs the professional madam’s charms and chops to make a living more than she needs him as a partner in their bordello/tavern venture. Sex-positive feminism at its finest.
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I grew up in Los Angeles and have fractured but fierce memories of seeing movies in Westwood, the theater-packed micro-city surrounding UCLA, in which the Los Angeles Film Festival is now based. I think I saw Jurassic Park four times at the Avco. I know I saw my first Lubitsch movie (Design for Living) at UCLA. Yesterday I was standing in line at Rite Aid and had some kind of out-of-body flashback experience of getting ice cream at the same Rite Aid after my mother took me to a matinee of Flight of the Navigator. I’m sure people go to film festivals in their hometowns all the time and don’t think it’s weird at all, but I get painfully nostalgic. I, like, went to school and stuff, but hanging out in these theaters for entire summers is how I fell in love with movies.
Funny, then, that I’ve been here for almost two full days and I haven’t yet been able to see a single film. Part of this is a scheduling issue––I got in too late on Monday to make it to a screening, and I had already seen many of the films that played yesterday, including Medicine for Melancholy and The Pleasure of Being Robbed. I did actually try to make a screening of Largo, the documentary about the famed Fairfax club, but I, um, went to the wrong theater by mistake and missed it. And then, there were parties to go to. More on that, with photo evidence, after the jump.
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Yesterday, I made a list of five films amongst Sundance’s four competition slates that I’m particularly excited to see. Today, here’s a look at another film films that I’m looking forward to, culled from the Spectrum, New Frontier, and Park City at Midnight sidebars. This list was MUCH harder to weed down to five, and as you’ll see, I had to cheat a bit. Here we go…
Momma’s Man (Directed by Azazel Jacobs, Spectrum)
Excerpt From the Official Synopsis: “Humorous and poignant, Momma’s Man wrestles with universal themes, but its strength lies in its deeply personal details. Writer/director Azazel Jacobs cast his own parents and shot the film in their apartment, where he grew up.”
Why I’m Interested: Jacobs “own parents” are Flo Jacobs and experimental filmmaker Ken Jacobs; in the film’s press notes, he says he cast his own family because he “couldn’t picture anyone else in their bed, in their kitchen, or in their place (although Peter Falk and Shelly Duval would be in my movie-movie version of it).” If the notion of the guy who made Star Spangled to Death channeling Columbo isn’t enough for you, I don’t know what would be.
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Here’s a look at the notable films opening this week that we’ve previously covered here on SpoutBlog:
Back in April, Kevin and Paul devoted half an episode of FilmCouch to Gregg Araki’s Smiley Face, a winning stoner comedy starring Anna Faris that earned lukewarm critical reviews, but was a hit with audiences at SXSW and Sundance. “I giggle just thinking about,” Paul said at the time. “[It's] the funniest stoner flick I have ever seen.”
Smiley’s distributor, First Look, had initially planned a platform release beginning on April 20 (get it? 420? Get it?), but that date came and went and Araki’s film still hadn’t made it to North American theaters. After the film played at Toronto a couple of weeks ago, it looked as though First Look might be gearing up for a new release date. But yesterday, MTV’s Larry Carroll confirmed that Smiley Face will open on just one screen in Los Angeles, before First Look dumps it on DVD.
This news has already sparked a mild eruption of outrage across the web. …Read more
Paul interviews Gregg Araki (Mysterious Skin) after the screening of Smiley Face at SXSW 2007. Hands down, one of the funniest movies of the year. Richard Linklater makes a surprise appearance.
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