Recently Jon Brooks at KQED wrote up a very nice piece on Tom Noonan’s WHAT HAPPENED WAS (1994). That film won multiple awards at Sundance but barely go seen. Unfortunately it does not sleep alone in my bed of barely seen almost-masterpieces. As strong as my track record may be, it still holds some flops, misfires, and damn bad luck experiences. It’s great that Tom’s flick may get some of the love it so richly deserves, albeit twenty years after it’s debut.
On my pleasure planet, Frank Grow‘s revolutionary LOVE GOD (1997) would have turned our business on its head.
You have a baby. You think it is beautiful. You watch it walk out into the world the proud father, but as it steps down the path a bully or two throws some bricks. He gets fired from a job. Maybe crashes a car. Gets dumped. Makes you wonder if you are delusional. Maybe he is sorta of ugly after all? But the nice thing about producing movies, is after you unleash your hard work on the festival circuit, you get another chance when you release it to real audiences. Sure we had some mixed reviews, but we also got a HUGE AMOUNT OF LOVE. And we were the #1 per screen box office average of all debuting films. Our little pony “trounced” the competition.
Can’t help but notice some trends. All three outlets that dare to feature our city’s name as theirs in full, share the same recognition: go see the movie. That’s The New York Times, The New Yorker, and New York Magazine. Here at the pony rides, we call that a Dark Horse New York Trifecta Of Love.
Also check out how both the legendary stalwarts renown for their general dislike of most cinematic output, Mr. Hoberman & Mr White, also agree that you should saddle up to the Solondz corral. ’nuff said.
NEW YORK MAGAZINE, by David Edelstein You should see it not just for the sake of Solondz and Hope, but for the sake of American independent cinema. It’s that vital.’ http://hollywoodandfine.com/reviews/?p=5033
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
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.
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.
Recently Jon Brooks at KQED wrote up a very nice piece on Tom Noonan’s WHAT HAPPENED WAS (1994). That film won multiple awards at Sundance but barely go seen. Unfortunately it does not sleep alone in my bed of barely seen almost-masterpieces. As strong as my track record may be, it still holds some flops, misfires, and damn bad luck experiences. It’s great that Tom’s flick may get some of the love it so richly deserves, albeit twenty years after it’s debut.
