Tom Cruise’s tabloid covers have lined a lot of bird cages, however we saw something fascinating behind his orthodontic masterpiece smile. Once a Hollywood boy-wonder, in recent years he has deconstructed his all-american persona. Now, with the release of the political thriller Lions for Lambs, Cruise tries his hand as studio mogul, heading United Artists. Will it work? What does the future hold for Cruise? Most interesting: What does a deep look into Cruise reveal about our culture’s progress or lack there of?
Magnolia Pictures and Landmark Theaters Owner Mark Cuban was voted off ABC’s Dancing With the Stars last night. Above, watch his final performance; below the jump, in his ABC-mandated exit interview with Jimmy Kimmel, Cuban talks about wearing a onesie, buying the Cubs, and baring his “unshaved” hip replacement scar on national television. Throughout this whole DwtS thing, Cuban has downplayed his secondary career as an indie film mogul in order to play up his persona as a magnanimous billionaire of the people, so it’s not a surprise that recent Magnolia controversies did not come up on Kimmel.
It looks like the “battle” over Redacted is over. Brian DePalma was a guest this morning on WNYC’s The Brian Lehrer Show. Lehrer asked DePalma to comment on the lead story on the gossip page of this morning’s NY Daily News, which is essentially a transcription of the widely-circulated video documenting Monday’s DePalma press conference at the New York Film Festival. DePalma gave a restrained recap of the situation and then said, “I exhausted my legal options about 24 hours ago.”
He was most likely referencing the alleged DGA decision that ruled Magnolia can, against the director’s wishes, release the film with black bars placed over the faces in the images in question. I say “alleged” because this DGA decision has not been reported in the trades nor confirmed by press release––I’m getting my information from comments made on Movie City Indie by Magnolia’s Eamonn Bowles and someone who appears to be DGA General Counsel David Korduner.
Regardless, this appears to be as far as DePalma is willing to fight. At the end of the segment, Lehrer asked DePalma if the battle will delay Redacted’s release date, and the director said no. “I’m afraid that controversy is over,” he sighed, clearly resigned. There’s no indication he has any plans to take Mark Cuban up on his offer to let DePalma take the film off Magnolia’s hands.
Eamonn Bowles, president of Magnolia Pictures and key player in yesterday’s Redacted press conference dust-up, responds to the chatter that the incident was a publicity stunt on Movie City Indie. As I noted earlier, DePalma has been milking the issue at a number of festivals, and it appears that Bowles finally reached a breaking point:
there was absolutely no calculation involved at the press conference yesterday. depalma has been on a toot about how we’ve compromised his film, and then he stated publicly at the official nyff press conference that in no uncertain terms mark cuban, for aesthetic reasons, wanted the photos out of the film. i had just arrived and this was one of the first things i heard. in an almost tourette’s like moment, i just blurted out out that it wasn’t true. [...] the fact of the matter is, none of the companies that have released depalma’s work in the last 30 years would ever touch this film. and because our company, which has had it’s fair share of controversial, uncompromising films, actually was the one stupid/brave/committed enough to do so, we end up being the evil force trying to shut down a director’s vision.
Bowles also notes that the Director’s Guild has sided against DePalma on the matter. You can read Bowles’ full comments here. Jurgen Fauth also has video of the press conference, which I’ve embedded above; you can here his take on the fracas here.
UPDATED 10/10: Last night, a commenter at Movie City Indie calling himself “A. Nonymous” disputed Bowles’ note that the DGA voted against DePalma, and stating that “an arbitrator ruled the company could use redacted photos in the film, rather than the unredacted photos Mr. De Palma wanted to include”–so it’s not so much that the DGA voted *against* DePalma, but that they sided *with* Magnolia/Mark Cuban.
And in the comments to this post, Matt V writes: “Check out the TypeKey profile name of the anonymous commenter on the mcindie site. DKorduner - Who, since he has a “DGA email address” is probably David Korduner, who is the General Counsel for the DGA. Why is he making (or at least trying to make) anonymous comments on a blog site?” A fair question, although perhaps the bigger issue, is what kind of lawyer tries to make anonymous blog comments using his work email address?
Several film blogs have posted Jamie Stuart’s thoughts on yesterday’s NYFF press conference for Brian DePalma’s Redacted. In a nutshell: DePalma mentioned that the film’s final montage (which consists of real photographs of real victims of real terror and war-associated violence, and which is thought by many to be the most powerful portion of the film) is in danger of being “redacted” by the film’s distributor, Magnolia Pictures, at the request of the Magnolia/HD Net founder Mark Cuban. According to Stuart, DePalma’s comments were discredited yesterday by Magnolia’s president:
As [DePalma] began discussing the film’s use of actual war photographs and their graphic nature, Eamonn Bowles from Magnolia began shouting from the rear of the Walter Reade Theater to refute De Palma’s claims that Mark Cuban was trying to, well, redact them from the picture’s release. Then, just as the press conference was coming to a close, producer Jason Kliot rushed the stage and grabbed moderator Jim Hoberman’s mic to offer the crowd his version of this distribution controversy. I was left wondering how spontaneous this all was or whether they knew it would be immediately blogged upon to stoke media attention.
I was less inclined to see this as a pure stunt. I knew DePalma had been pushing this button at press conferences as far back as Telluride, where his statements were vague enough to be misinterpreted but loud enough to be difficult to miss. If this fighting between filmmaker and distributer started as a ploy for attention, then it doesn’t make sense that Magnolia would wait this long to publicly respond. Still, unsure how to interpret this latest event, I sent an email this morning to Mark Cuban to get the official word. Cuban confirmed to me that Magnolia has, indeed, asked DePalma to remove the images from the film, and will not release Redacted unless the final montage is cut. More details after the jump.
They’re not a trade, but they’ve got the biopic casting news everyone’s talking about: MTV reports that Anna Faris has won the starring role in a film about Deep Throat star Linda Lovelace. The last time I wrote about this project was in March 2005; at that time, Courtney Love was set to star.
Brad Pitt will replace Matt Damon in The Fighter, a drama about an Irish lightweight boxing champion. Damon, according to Variety, “had too many projects on his dance card to make the film on the schedule Par[amount] wanted.”
Brett Ratner is going to make a movie about Frank Sinatra’s long-suffering valet, and guess which Rush Hour veteran is set to star? It’s going to be based on a book by William Stadiem, who says of Ratner, “I think he’s channeling Frank sometimes.”
Magnolia’s recently-announced genre label has made two new acquisitions, both starring martial arts star Marko Zaror: Kiltro and Mirageman.
It’s not quite 8:00 AM, but I have a candidate for Quote of the Day. From Michael Atkinson’s review of Broken English, newly released on DVD, at IFC News:
Posey-triumph and single-chick indie miracle that it is, Broken English may also be the most eloquent portrait of its subject demographic ever made, despite changing two-thirds of the way through into a slightly ditzy French-movie version of itself and robbing a little, in the end, from Linklater’s Before Sunset. While Sex in the City reruns are merely the idiot’s guide to lonely-girl anesthetization, Cassavetes’s feature-film debut is the true gem.
Whatever you think of Zoe Cassavetes’ film, it’s definitely had an interesting media life. Largely overlooked at Sundance, generally shrugged-over in its theatrical release, reclaimed late in the game by a handful of bloggers (including me) and now, finally, earning glowing reviews at the end of its media cycle. If theatrical distribution is now essentially a commercial for home entertainment sales (and I’m fairly sure Magnolia, English’s distributor, believes it is), than this is perhaps the best reception a film could ask for: the longer Broken English sits in the culture, the more positive attention it attracts. It’s a “sleeper” on a long-tail timeline.
Several
It’s not quite 8:00 AM, but I have a candidate for Quote of the Day. From Michael Atkinson’s review of 
