So said National Assn. of Theater Owners prexy John Fithian in regards to Day & Date Theatrical VOD releases. “(It) devalues the content and tells the consumer that the involved movies will never be a big deal,” he added.
Granted Fithian is looking out for the Exhibitors, and he rarely is focused on Indie or Art film. But then again, when the trades start singing the praises of D&D VOD they are generally looking out only for top titles, and not your little heart-felt work of passion. In this Saturation Point Era when all face a super-abundance of content, how do you expect people to not develop a “want-to-see” desire for your film, but to actually prioritize it and move themselves to actually make a transaction?
I agree that you need to be available when the desire strikes. I also agree that you want to be eventually readily available everywhere. But that doesn’t mean that you want to reach that goal prior to manufacturing the desire.
We are doing the exact opposite of VOD/D&D with DARK HORSE.
See it in Theaters! Support your local arthouse!! Vote With Your Dollars For The Culture You Want!!! We can build it better together!!!!
I think you know of my passion & commitment not just for indie film but also to the community that supports it — and that community is you! You also probably recognize that I feel independent non-corporate culture is under siege and we have yet to determine a clear path out. I trust that you, like me, have the faith and hope that by keeping the big picture in focus, we can maintain cinema as a cultural force & social activity at the top of everyone’s list.
So what the hell does this have to do with seeing a good movie next week you ask?
You probably know I have enjoyed a long producing relationship with Todd Solondz and his films. In the past (on the film HAPPINESS for example), my partners & I had to buy his work back from the distributors to make sure it could reach an audience. These are different times, but perhaps even more stark.
I have gone to greater lengths (although perhaps not as celebrated) than ever before to make his new film accessible in the most appropriate & fullest of ways for our community. I have chosen with DARK HORSE to extend the producer’s job description still further, and produce the distribution. I am in no way doing it myself. We’ve pulled together an incredible team to make this happen. You might have read about that already here.
I confess: distribution is brutal. But it is going to be worth it. If we love indie culture, we can’t just give it away for the privilege of putting it in front of an audience. We are focusing on theatrical first, generally holding onto the rights, and trusting the community will support it.
I love this film. It is Todd’s most accessible film yet. To quote Todd “I suppose I just wanted to see if I could make a movie without rape, pedophilia, or masturbation. I always think it’s important to challenge oneself.” Have no fear though: it is still very much a Solondz joint, populated with damaged souls, dark humor, and delightfully depressing antics. As usual, the actors’ work is amazing to watch. As he did with Paul Giamatti and Phillip Seymour Hoffman, Todd has launched a star of a wonderfully particular sort with Jordan Gelber. Tony Award-winner Donna Murphy is transcendent and complex. Selma Blair, Justin Bartha, Mia Farrow, and Christopher Walken not only deliver the greatness you’d anticipate from them, but do so in unexpected ways.
In many ways, I am betting the future of film on this movie and how we are handling it. With your support, maybe we will win the good fight. Thanks for joining us on the battle lines. Culture is always worth a little risk…
See you Wednesday June 6th at 8:00 PM at the Elinor Bunin Monroe Film Center at the Film Society of Lincoln Center.
Q&A after the film with Todd Solondz!
Wed, June 6
8:00 PM
Elinor Bunin Monroe Film Center
144 W. 65TH St
New York, NY 10023
Please mark your calendars for upcoming Indie Night screenings:
Tuesday, July 17, 2012, 8 PM: KID THING
Wednesday, August 1, 2012, 8 PM: FRANCINE
Wednesday, September 5, 2012, 8 PM
Wednesday, October 17, 2012, 8 PM
Wednesday, November 14, 2012, 8 PM
Wednesday, December 19, 2012, 8 PM
At the Toronto International Film Festival this year I had the privilege of being asked to partake in their “Moguls” talk. Anthony Kaufman interviewed me. I think I set a record taking up the first sixteen minutes or so with my first answer. Granted it was about how MARTHA MARCY MAY MARLENE and DARK HORSE came together, and neither one was a simple story — but then never are, are they? Well, it does boil down in each instance to making the movie for less than what the apparent value is, but that’s the film business today, isn’t it?
Just in case you are wondering, the class that I mention isn’t happening when I said it was. It’s happening soon though, and we will announce it sooner.
I talk about SUPER around the 35 minute mark.
41 Min: budget agnostic, genre agnostic, medium agnostic, platform agnostic. First and foremost, I want….
42 Min: What makes a good film?
43 Min: When I was falling in love with my wife Vanessa…
44 Min: That list is this one.
45:50 Reverse engineering of Film
46:45 How can film mirror free will?
47:30 The End Of The Auteur Era Of Film
54:30 “Making Independent Films is a crime.”
57:20 “There’s never been a better time to shoot celluloid than there is today.”
58:10 “Independent Film is a luxury good.”
If you want to help me index this further, I would appreciate it.
It’s pretty crazy how fast everything moves these days. We are able to leap countries and time to find what we missed continents away.
Today DARK HORSE has it’s press and industry screening in Toronto. Tomorrow is the North American Premiere. But I know how to make you feel like you are with us. Let me take you to Venice…
My flight out of Venice was evidently the only one that left for the United States on Tuesday. Our film DARK HORSE premiered there to a very nice standing ovation the night before. I arrive here to find interviews and press conference clips already up online. Check it out (and of course I rant a little bit). You even get to see the photo call and a NEW clip at the end!
Want more press conference? More Todd? There’s a bit of a spoiler in this one, although it is more philosophical spoiler than actual content.
You really should have been with us on the red carpet. I couldn’t resist photographing a smooch with my wife there, and well, “they” caught it:
Even our entrance at the screening is posted.
If it is specifics you want, here’s Selma Blair talking about working with Todd:
Jordan Gelber offers up his view of the collaboration with Mr. Solondz (6.5 min) and then Selma adds a bit more of her perspective (6 min.):
I am sure there is more to find. But I have to say there’s a particular pleasure getting to relive your pleasures moments after you’ve had them.
Perhaps you have already heard….. We are taking Todd Solondz’s latest film to Venice, Toronto, Deauville and a few other festivals. This is Todd’s 1ST film without a rape, molestation, masturbation, or anything truly icky. Well… If it wasn’t for the language I think we’d get a PG rating. We don’t anticipate having it in theaters in the US until springtime, but I do have a few things related to this pony to amuse you along the way (and even more to come).
What’s it all about? Well…
Thirty-something guy with arrested development falls for thirty-something girl with arrested development, but moving out of his junior high school bedroom proves too much. Tragedy ensues.
Who is in it?
Justin Bartha, Selma Blair, Zachary Booth, Mia Farrow, Jordan Gelber, Aasif Mandvi, Donna Murphy, Christopher Walken, and others.
Where can you see it? Well come to Venice. It’s really beautiful there. Official Premiere In Competition Screenings
Press & Industry Screening – Sunday, 4 September @ 19:30h – Sala Darsena
Official Screening – Monday, 5 September @ 22:15h – Sala Grande
Public Screening – Monday, 5 September @ 22:30h – Palabiennale
Press & Industry Screening – Tuesday, 6 September @ 11:45h – Palabiennale
I know Venice is expensive, and we are all under budget restraints so maybe you can come in Toronto?
PRESS & INDUSTRY 1 SCOTIABANK THEATRE 2 SATURDAY, 10 SEPT 3:00PM
PUBLIC 1 VISA SCREENING ROOM (ELGIN) SUNDAY, 11 SEPT 2:30PM
PUBLIC 2 ISABEL BADER THEATRE MONDAY, 12 SEPT 4:45PM
PRESS & INDUSTRY 2 SCOTIABANK THEATRE 2 WEDNESDAY, 14 SEPT 7:45PM
PUBLIC 3 ISABEL BADER THEATRE SATURDAY, 17 SEPT 6:45PM
Okay, maybe travel will be a bit hard, but there’s still ways to hop on the ride…
Our first clip:
Want more? Well, I have had the pleasure of collaborating with Todd many times in many ways through the years. I love this film. It is both pure Solondz and something that represents a leap in his art. And it is really really a lot of fun — and truly emotional. It surprises me in new ways with each viewing. When we are awarding the “Cinematic Treasures” medals, Todd should be an early recipient.
Ah, every movie has a good story behind it… But for now I can only provide you our official release:
Todd Solondz Shoots Star-Studded ‘Dark Horse’ This Fall in New York
Critically acclaimed Indie auteur Todd Solondz (Welcome to the Dollhouse, Happiness, Storytelling), fresh off the success of Life During Wartime (winner of the best screenplay award at the Venice Film Festival), is rolling cameras on his latest feature, DarkHorse, with an all-star cast featuring Justin Bartha, Selma Blair, Mia Farrow, Jordan Gelber, Donna Murphy and Christopher Walken. Dark Horse commenced principal photography on Monday, October 11th, 2010.
Veteran independent producer Ted Hope is producing under the banner Double Hope Films, his new Gotham-based production company. In addition to over sixty other films, Mr. Hope produced Mr. Solondz’s Happiness andStorytelling. Derrick Tseng, who collaborated with Mr. Solondz on Life During Wartime and Palindromes is co-producing. Goldcrest Films has climbed aboard Dark Horse to ride herd on international sales.
Mr. Solondz helms the tale of Abe (Jordan Gelber), a 30-something who lives with his parents, reluctantly works for his father (Christopher Walken), and avidly collects toys. When Abe isn’t playing backgammon with his mother (Mia Farrow), he’s trying to romance Miranda (Selma Blair), another 30-something who has moved back in with her parents after her literary/academic career crashed. Out of desperation, Miranda agrees to marry Abe, and the two begin to plan their life together. But, just when it looks like things are starting to go right for Abe, everything goes horribly wrong.
