Best Before Date

I had several things this morning I wanted to link to and comment on, but got busy and one thing led to...well, you know how it is.

So keeping it short and sweet, go check out THIS POST at Just Thinking... by Earl Pomerantz, a terrific TV writer with a long track record primarily in American sit-coms. He talks about the ageism settlement that a group of writers recently won (as also reported by Nikki Finke) against the ICM Talent Agency, and whether discrimination was really at play here.

Why are agencies and the studios and networks discriminating against older writers? Do they despise them? Are older writers perceived as being genetically inferior? That can’t be true. Their genes haven’t altered from when they were young writers, and fully employed.
What’s the reason older writers are discriminated against? Is it “Wrinkle Envy”? What?

Older writers are not hired because they are perceived as being unable to provide material that will deliver the younger audience advertisers require the networks to attract. Agencies are dropping them, because they can’t get them any work. In other words – an argument can be made – and probably has been – that that this has nothing to do with discrimination at all. It’s simply a matter of business.

It’s an argument that cannot be easily dismissed. Can you imagine a similar lawsuit being brought against Major League Baseball by a group of fifty year-old ballplayers?

He's got a good point there. And then Mr. Pomerantz neatly brings it around full circle:

In the article about the agism lawsuit, a writer named Larry Mintz was mentioned as one of the plaintiffs. Among his credits, it was reported, were Sanford and Son, The Nanny and Family Matters. These are estimable credits on successful sitcoms, but do those shows bear any resemblance to the half-hour comedies they’re making today? (This is no shot at Mr. Mintz. You can ask the same question using my credits.)

Can an older writer learn to write scripts consistent with contemporary tastes and standards? Some can, I imagine. I’m probably not be one of them. The structure’s not the problem – as I mentioned, a story’s a story – but the current sensibility, with its focus on the coarse, the blatantly sexual, the humiliating and the pain inducing…it’s not my natural terrain.

An older writer can try to “write young”, though their efforts may prove imitative rather than generic. The option of older writers’ exploring their current experiences for the enjoyment of their contemporaries is unavailable, since advertisers aren’t interested in the older audience, making their stooges, the networks, unwilling to program for them.

This seems like a mistake, since the only audience still loyal to the network television brand is that very same older audience. Someday, perhaps, the business people will wise up and program for who’s watching – the older audience – instead of who they wish were watching – the otherwise engaged younger audience – in which case, the older writers are back in business.

Nice.

I've written about this topic in other forums, like Ink Canada.

I still contest that the struggles we face to get hired (hell...or even meetings!) as we get older has sooooo much to do with what one will do for the gig when one is younger and starting out. You'll work for free, laugh at the asshole producer's lame jokes, do countless unpaid revisions, be asked to cut corners or screw colleagues...all in exchange for the supposed privilege of being allowed to maybe play in the big leagues. But then as you get older and wiser etc., and, yes, more experienced and probably better suited and prepared for the work, there's a reluctance to put up with the bullshit of the biz. And you can become known as 'difficult' or 'won't play by the rules'...or even 'too expensive' if you've had a decent but not meteoric run. Hence, it can just be cheaper and easier to go younger.

The cream of the crop will usually always rise to the top, regardless of the age. But when playing in the middle leagues, which is what most of us do, TV/movies has been and always will be primarily a young man/girls game.

But what I said isn't exactly discrimination either...rather a resistence to play the game, or not being good enough to rise above all the crap. So Pomerantz has got me going "Hmmmm...", how much merit was there in this lawsuit/settlement anyway?

Anyhow, his entire piece is well worth reading. Seriously, GO, before it becomes old news.

The Fall of TV

With the start of the new TV season nearly upon us, Alan Sepinwall of the Star Ledger lays a lot of it out in a nice primer HERE...and he says its been a strange one so far.

As much as the writers' strike disrupted last season by the end, it still had a normal start, with a big and varied group of new series that were ready to be shown well in advance of their premiere dates. The writers have been back at work for months, but the traditional development process was so badly disrupted that the networks picked up a far smaller crop of new shows than normal, most of them hedged bets that are remakes of either familiar American series ("Knight Rider," "Beverly Hills 90210") or adaptations of shows that succeeded in England or other countries ("Worst Week," "Eleventh Hour," "Life on Mars" and many more).

Meanwhile, many of these newbies are still being worked on, even though the official TV season begins less than a month from now, and even though a lot of series will premiere well in advance of that.

Now, I don't know if there is anything as 'the official TV season' anymore, not with shows premiering more or less all year round when you count the cable and premium pay networks. And unlike some of the more 'privileged and popular' bloggers out there who get screeners and preview copies of new shows, I'm like the rest of you and have to make my choices based on what I read or the commercials I see. But so far, there are a handful I will check out this fall.

Also from Sipenwall:

True Blood
(HBO, Sundays at 9, Sept. 7) "Six Feet Under" creator Alan Ball adapts Charlaine Harris' series of novels about a world where vampires live openly and subsist on artificial blood, and where a Louisiana waitress (Anna Paquin) with the power to read minds falls for a handsome member of the undead (Stephen Moyer). Though the action can be exciting, it's also brief, and for the most part, the show is an overwrought Gothic romance with an unintentionally amusing mish-mash of Louisiana accents.

Fringe
(Fox, Tuesdays at 9, Sept. 9) Super-producer J.J. Abrams ("Lost," "Alias") takes a swing at an "X-Files"-esque series about an FBI agent (Anna Torv) tasked to investigate crimes involving "fringe science" (teleportation, psychic phenomena, etc.) with the help of a brilliant but unstable professor (John Noble) and his son (Joshua Jackson). One of the better of the new shows I've seen - solid action and nice chemistry between the three leads - but it's only a good pilot, and with Abrams, you expect great.

Eleventh Hour
(CBS, Thursdays at 10, Oct. 9) A scientist (Rufus Sewell) and his government agent partner (Marley Shelton) try to solve or prevent crimes involving abuses of science. The producers claim that, unlike "Fringe," their show deals only with science fact, not science fiction. Based on a British miniseries that starred Patrick Stewart.

My Own Worst Enemy
(NBC, Mondays at 10, Oct. 13) Christian Slater stars in a Jekyll and Hyde riff about an average Joe who finds out that he's living a secret second life as a government agent. Has already been through many behind-the-scenes changes, in much the same way NBC's "Bionic Woman" did last year.

I guess I'm pretty predictable...still looking for my next X Files or Buffy the Vampire Slayer. Old habits seem to die hard.

And I'm not sure why the Christian Slater vehicle intrigues me, but you have to have one of those each season...and I'm pulling for it. (though the title My Own Worst Enemy really hurts more than helps, when you consider Slater's recent track record)

As for the returning programs, I am sooooo 'Meh'. Aside from House and Dexter, perhaps some Chuck but definitely some Life...pretty much everything else isn't really jazzing me anymore.


But yes. Life.

Mmmm. Life is good.

M Is For..."M"

Friday Fun is a quiz...wheeee! From Empire Magazine, try to guess the name of the movie from just one letter from the movie's poster.


For example: this would be from "Cars".




It's pretty tricky...I had to walk through it a few times just to get 16 out of 46.

Go play HERE.

Have fun...hopefully smile.



H/T Amanda the Aspiring TV Writer

Young Guns, Old Men, and You(tube)

Continuing the musical theme of this week...a big concert was just announced (okay, big for Buttkick) - Neil Young... with opening act Death Cab For Cutie (which is okay, but eastern Canada gets Wilco as the warmup...grrr!)

I was never a hardcore Young fan, and suppose I was more about electric Neil than acoustic Neil...but I do like and admire him, and really enjoyed some phases of his long and varied career. Like his mid-70's album run of Tonights The Night, Zuma, and On The Beach, which introduced me to the dark side of folk rock music. And then his 1980-ish run of Rust Never Sleeps, Reactor, and Live Rust, which made me start to think about issues and stuff yet still wanna bang my head at the same time.

He's an interesting cat...a musical artist who's managed to not only be a folk/hippie icon, but the Godfather of Grunge as well. There's a fantastic Charlie Rose interview with Young from last month...very insightful and entertaining....watch it HERE.

Anyway, my point today is how the concert going experience has changed since the the internets became part of everyday life. Way back when, like when I saw Cheap Trick in '78, or The Stones in 81, or Bowie in '83, or Iggy Pop in '84, or Waits in '87, or Jackson Browne in '93...there was a giddy excitement that always accompanied the outing. No, it wasn't from inhaling something illegal (I know what you're thinking), but from... 1) actually 'seeing' the band perform, and... 2) having no idea what songs they were going to play. That was always an exciting and nerve wracking surprise.... either for better or for worse.


But now, with the internets and the YouTubes, surprise is pretty much taken out of the equation. When the Young concert was announced, I immediately checked online to see if he's presently on tour. He is, over in Europe. A search for current set lists revealed the lineup of songs he played two nights ago in Berlin, Germany. A good mix of tunes...mostly electric...very nice --- presumably that's what he'll play this fall. Then a quick peruse of Youtube revealed a video of nearly every song from said set list, professionally filmed at Rock in Rio in Madrid about a month ago.

I watched a few clips (I could've watched the whole concert if I wanted...which kinda diminishes the 'seeing' a band/artist thrill)...and concluded that even at the age of 62, Young still has a lot of the "Hey Hey My My" in him...so today tickets were ordered (online) for the show when they went on sale.



Now, don't get me wrong...I'm looking forward to the concert (hell, Young's on Q Magazine's list of 50 Bands You Need To See Before You Die for crying out loud!). But the 'surprise' element won't really be a factor. I suppose I could exercise some discipline and not look up all this information we have at our internet fingertips...but like knowing your Xmas presents are hidden in your parents bedroom closet when you're a kid, it's really hard not to take a little peek.

And we all know when you do that, you still receive something at the end of the day...but you also kinda lose out on getting the most out of 'the experience'.

Oh well...Walk On.

Goodbye Earle, Earle Goodbye

No, Steve Earle hasn't gone anywhere...but 'Goodbye' is one of the saddest yet most beautiful songs he's ever written. And most connoisseurs of Earle tend to hold up this duet with Emmylou Harris as the 'definitive' performance of the tune.



Sweet.

But I say that version has some competition now...a new performance of 'Goodbye' done in Montreal earlier this year, and captured on video in what has to go down as a classic concert moment. Apparently, there was a power outage during the show, but instead of just waiting it out or even leaving the stage, Earle grabbed a flashlight and moved up to the edge of the front row. There he performed several numbers, with no amplification and flashlight as spotlight, including 'Goodbye' which he concluded just as the lights came back on.

Witness it HERE.

Sweeter.

Why is it that sad songs like this can make me teary and bring me down yet lift me up and make me feel good all at the same time? Weird.

In other random music news, I'm loving the NPR (National Public Radio) website right now...there's audio concert after concert in their archives, including a solo acoustic Steve Earle performance recorded a couple of weeks ago at the Newport Folk Festival in Rhode Island - find it HERE (3rd one down from the top).

And if you want some cool factor, listen to this My Morning Jacket show from a couple years ago, with my latest crush Kathleen Edwards in tow...HERE.

But if you want to be blown away, take a listen to this acoustic performance by Jim James from My Morning Jacket recorded back in June. The bands latest release continues to grow on me, and James' performance HERE is simply mesmerizing.


All courtesy NPR.

We Are Monkeys With Money And Guns

It's shaping up to be a music week here at Uninflected Images...today's treat is a recent print interview with Mr. Tom Waits courtesy Robin Wilson at NPR.

Some tasty tidbits:

Q: What's hard for you?
A: Mostly I straddle reality and the imagination. My reality needs imagination like a bulb needs a socket. My imagination needs reality like a blind man needs a cane. Math is hard. Reading a map. Following orders. Carpentry. Electronics. Plumbing. Remembering things correctly. Straight lines. Sheet rock. Finding a safety pin. Patience with others. Ordering in Chinese. Stereo instructions in German.

Q: What's wrong with the world?
A: We are buried beneath the weight of information, which is being confused with knowledge; quantity is being confused with abundance and wealth with happiness. Leona Helmsley's dog made $12 million last year... and Dean McLaine, a farmer in Ohio, made $30,000. It's just a gigantic version of the madness that grows in every one of our brains. We are monkeys with money and guns.

Q: Your most thrilling musical experience?
A: My most thrilling musical experience was in Times Square, over thirty years ago. There was a rehearsal hall around the Brill Building where all the rooms were divided into tiny spaces with just enough room to open the door. Inside was a spinet piano -- cigarette burns, missing keys, old paint and no pedals. You go in and close the door and it's so loud from other rehearsals you can't really work, so you stop and listen. The goulash of music was thrilling. Scales on a clarinet, tango, light opera, sour string quartet, voice lessons, someone belting out "Everything's Coming Up Roses," garage bands, and piano lessons. The floor was pulsing, the walls were thin. As if ten radios were on at the same time, in the same room. It was a train station of music with all the sounds milling around... for me it was heavenly.


Read it all HERE...as well as hear an interview with Waits discussing his influences and songwriting style HERE...very entertaining stuff.


Then there's a 'press conference' Waits endured to launch his latest tour...stick around for the punchline at the end of the clip.




And to cap it off, also courtesy NPR, a two and half hour concert recorded last month at the Fox Theatre in Atlanta.

Listen to it HERE.

I saw Waits play at Massey Hall in 1987 on his Frank's Wild Years tour...it was definitely one of the highlights of my many concert-going experiences. And as much as his material with his band sparkled, it was the unplugged 'mini-set' in the middle of his show that absolutely slayed. Enjoy.

Weapons Of Choice (Music for the Road)

Took a daylong road trip over the weekend, and even though I'd purchased the new Beck and The Hold Steady cd's, it was the 'jingle jangle' songing that came a following me.

It's not like the new Beck and H Steady were embarrassing, but they fell victim to sounding too much like someone else or like from some other era...so instead, out came:


Bob Dylan's Modern Times, a disc that had remained unopened for like over a year beside my stereo...what a shame.





That was followed up by Steve Earle's Washington Square Serenade... mmmm...I was in alt-country heaven.






The journey home began with Tom Waits Frank's Wild Years...a brilliant snapshot of Waits at the height of his powers.






And closing out the highway drive was Tom Petty's Greatest Hits 2008 (which was kind of a stupid buy since I already own his boxset Playback, but whateva...)...stop dragging my heart around!













This is what you call a post with no point...what was playing in your car this weekend?

Go Indie!

No, not Indiana Jones...but riffing off my last post and referencing this list of the 50 greatest Independent films as decided by Empire Magazine, Friday Fun is the trailers of some of my fav indie flicks from the past 30 years or so...

So after Repo Man, next would be the Coen brothers debut Blood Simple...



...because it made the homemade Steadicam cool.


Christopher Nolan's Momento...



...because it made messing with time cool.


Jon Favreau's Swingers...



...because it made 'money' cool.


Kevin Smith's debut Clerks...



...because it made black and white not cheap but cool.


Tarantino's Reservoir Dogs...



..because it made Steelers Wheel cool.


And from us Canucks, Vincenzo Natali's Cube...



...because it made 'set all in one room' very cool.


And they all make me smile.

Repo This

"It's 4 AM...do you know where your car is?"

Some links and quick thoughts about low budget feature film making...Repo Man was one of the cult classics that me and my film school circle of friends held up on high. Indie, cool, hip, edgy, weird, fun, entertaining...inherently quotable....shot for peanuts but got seen and earned more than a dime...the film was one of those that made 'the dream' (of making the low budget feature) actually seem attainable.

Starring a young Emilio Estevez and an aging Harry Dean Stanton, Repo Man was an action adventure comedy that told the story of a young punk hoodwinked into working for a seedy repossession company, and is thrust headlong into the wacky world of flying saucer enthusiasts, wayward nuclear scientists, exotic women, and ruthless intelligence agents.

And now via Simply Scripts linking to the website of writer/director Alex Cox, you can find not only a PDF of the screenplay, but the last 20 pages of the document contains the original investment proposal, production schedule, and budget summary.

Very cool. Yes, it's 25 years old, but I say to the kids...it's still worth perusing.

Check it out HERE.

Train In Vain...(or How Canadian TV Drama Got Derailed Over The Past Ten Years)

I have been following with interest the thread that began at Anthony Strand's Live Journal and then continued at Weinman's TV Guidance where they've been discussing...what is the definitive TV show of the past decade?

First off, how do you define definitive? Does that mean greatest, most popular, coolest, hippest, most influential...? I suppose it's a bit of 'all of the above, and as Weinman explains, that doesn't necessarily mean best show, but one that best embodies TV and TV trends over the past (almost) 10 years.

Between Strand/Weinman and the commenters I would say they've covered all the possible candidates pretty well. Strand chose one drama and one comedy...and singling out Arrested Development as the definitive comedy of the 2000's(?) made a lot of sense (though I would award a tie between it and the UK's The Office). And while I'm not sure if Angel stands up as the decade's 'definitive' drama, Strand makes a solid case. Lost, House, 24, CSI, and The Sopranos all deserve consideration, and I still wouldn't exclude Survivor or American Idol (they may not be drama drama, but they sure come very close to 'defining' the TV decade as far as I'm concerned).

At any rate, one thing I took away was the lack of one show standing out...a single program/ series from the past nine years that was entertaining and popular yet also managed to encapsulate the mood, mindset, ambiance, and personality of the decade --- like The X Files or Buffy or Seinfeld or Friends did in the 90's.

Perhaps it's due to there being so many good series out there of late. Or that viewer fragmentation has expanded to such a degree that it's almost impossible for one show/series to stand out. Anyway, go check out those posts --- what I wanted to put on the table is....

....what might be the definitive Canadian series/show of the decade?

Again, comedy seems to be a little easier to nail...a toss up between Corner Gas and Trailer Park Boys in my opinion. They both were popular enough to be known by most people of this country (whether you 'liked' them or not isn't really part of the equation)...but they also in their own way defined us as gentler simpler and slightly snarkier people/neighbours to the north of the monolith that is the USA.

But drama...not so easy.

In trying to determine a shortlist, I searched long and hard. Series like The Eleventh Hour or This Is Wonderland or Intelligence were quality but didn't quite attain the necessary 'popularity' factor. Cold Squad and Divinci's Inquest were popular and ran well into the 2000's, but both began airing in 1998 (and one of the criteria seems to be that the series began airing by or at least roundabouts 2000).

Stargate: SG1 or at least it's spinoff Stargate: Atlantis were certainly long-running and popular enough to warrant consideration. And as far as 'defining' us, service producing US programming is certainly high on the list of things we do as an industry...and the Stargates' definitely fall into that category (which is kind of an unfair rap against them because even though the vast majority of cast, crew, writers, showrunners are Canadian, it's primary investors and broadcasters have been American - MGM and US's Showtime and then SciFi channel). Thus, most people up here don't perceive them as distinctly 'Canadian' shows, so I moved on.

Degrassi: Next Generation has been around most of the decade, so it should be a nominee...but it's a half hour drama and the second incarnation (or is it 3rd?) of a series (Degrassi Jr. High) that probably defined us in the 1980's....tell me we've come at least some ways since then, please? In fact, the whole teen/tween/kids arena could certainly define recent Canadian TV to a large extent...there have been countless series/programs of that ilk quite successful in their own right in this category. But the defining show? Nope, can't go there.

Slings & Arrows, Regenesis, Durham County, The Collector, Blood Ties, Mutant X, Blue Murder, The Border, Whistler, Falcon Beach...were all either too new or short-lived or too niche/genre to be serious contenders (but feel free to disagree with me).

All in all, I said "damn!"...it's been a pretty miserable run for Canadian dramatic TV.

Which leads me to my choice for definitive Canadian TV show/series of the decade... Train 48.

Now I know I'm probably going to get called down for naming this show...but for me, Train 48 encapsulated all that Canadian TV has for the most part been since the devastating CRTC decisions of 1999. You know, the changes that decimated the indigenous industry and killed a lot of dramatic TV production by allowing broadcasters to fulfill its Canadian content mandates and quotas with news magazine, arts and entertainment, lifestyle, and reality programming.

A quick recap. The time was 2002/2003. I'd just moved back from LA to Canada, and sussing out what was going on and getting made up here...and truth was, not very much. And then I heard about this new series from CanWest Global. Under pressure to start producing more homegrown TV, specifically drama, and in order to fulfill it's conditions of license and meet CRTC mandated expectations, the network bought into an Australian soap format called Going Home and transplanted it to Toronto. Set entirely on a Go Train, it told the story of a group of commuters each day returning to the suburbs and surrounding communities from downtown Toronto. Largely improvised from outlines (so full writer/script fees wouldn't have to be paid), it was notorious for it's bargain-basement production values and mediocre performances. Shot on the cheap...an episode a day - it was, in short, embarrassing.

And it ran for 3 years.

EDIT: H/T to Weinman for finding a clip (and don't take this whole write up as a knock against the crew or actors or creatives on the show as much as to hammer home the sad fact that this was considered acceptable drama by the network)

Check out some of the negative comment threads on imdb.com for starters, just to get a taste of the disdain people had for this program. And the WGC had a 'behind the scenes' piece on the program HERE, which helps give the lay of the land. From the article:

Global denies picking up the series to meet Canadian content obligations on the cheap. "It costs less per episode, but the volume makes it more expensive," says Loren Mawhinney, vice president of Canadian productions. "Sixty-five episodes cost over $6 million, compared to $3.25 million for all 13 hours of Blue Murder."

Mawhinney calls Train 48 an "out-of-the-box way of creating drama," and says Global hopes to use it to lure advertisers in an increasingly fragmented marketplace. The network also wants the independence of making shows without any direct government funding.

Most of us called 'bullshit', not that it really mattered what we said. From the same article:

Tim Woods of Friends of Canadian Broadcasting says Global has no excuse for not investing in high-budget dramas. "Simultaneous substitution–putting Canadian commercials on popular American shows–is worth an enormous amount of money to broadcasters. It's a gift in exchange for investing in Canadian shows," he says.

Woods suggests broadcasters hoodwinked the CRTC by establishing a "trust policy" in 1999 that leaves it up to them how to fill time allotted for Canadian programming, rather than requiring them to invest a revenue percentage in Canadian shows.

Also true. Not that it mattered what the Friends of Canadian Broadcasting said.

For me, Train 48 embodied Canadian TV and TV trends of the past decade....cheaply produced programming with the primary mandate to fulfill quotas and mandates, NOT to make popular and entertaining hits of high or at least decent quality. The network, and the government and regulatory bodies overseeing the networks/industry really didn't seem to care. And it had a profoundly negative effect on the industry, at least in my circles...as in, if this was the kind of crap that a major broadcaster wanted to throw its weight and energy and money (pittance that it was) behind...was there any point? Was there any hope for us?

From friends, relatives, American colleagues, I heard more negative comments about Train 48 than any other Canadian show produced over the past decade...and every conversation went the same way: have you seen it? did you work on it? isn't it terrible...like, laughable? And then the kicker....is that the best you guys in Canadian TV can do?

It was tough to argue with them. And the resulting feeling was really demoralizing and depressing...not so much because we couldn't do better for the networks, but because the networks didn't really appear to want 'better'. Train 48 was 'good enough' it seemed, and we've been paying for and trying to live that down for the past four years.

That said, there has been a recent trend to at least try to return to more engaging quality dramatic TV (though having the US as a partner seems to be a necessary criteria). And, even if just through pilots, there's also been an attempt to make more of it...drama, that is. But still...

...we were off the rails for quite a while.


Definitive Canadian TV show of the past decade...what do you think?

I Have A Crush On Kathleen Edwards

It was ladies night at the Regina Folk Festival this evening...Kathleen Edwards followed by Susanne Vega, with Jully Black pulling up the rear (no Steve Earle this year but I Still Feel Alright).

The scorecard? Vega...sorry, but kinda meh.

Black...is a real talent and her 8 piece band packed serious R&B punch, but twas just a little too loud and hip-hoppy for my taste...(though her Seven Day Fool was sweeeeet)

Which left Canuck alt/country folk rocker Kathleen Edwards...mmmm.

Let's just say, her set ROCKED. Ms. Edwards was putting out and having fun and knocked the crowd on its ass. Song highlights included 'In State', 'The Cheapest Key', an impromptu segue into Heart's 'Barracuda' in the middle of one tune...and the showstopping 'Back To Me'.

After she finished, I did something I've never done before. I purchased her new cd Asking For Flowers and stood in line with the intention of her signing it. You see, I was smitten. Actually, I'd been smitten since hearing her first two cd's, 2003's Failer and 2005's Back To Me. I loved these cd's. Seriously. Plus chicks with guitars kinda slay me.

Anyway, when I got to the front of the line, I said this was my first time and asked where she usually 'did it'. And she laughed and said: "On the linear notes cover, though some like it on the plastic sleeve." I just nodded dumbly and said: "Wherever..." She pried the disc from my nervous fingers and signed: 'Kathleen Edwards Regina 2008', then handed it back to me and asked if I'd like a photograph with her. Alas, I had no camera. So she shrugged and pointed at the signed cd and said: 'There you are...now you can show all your friends and they can say 'Who the hell is Kathleen Edwards?' "

I only hope I didn't look too intense and scary when I shook my head and replied: "Oh no...they will know of you. Believe you me. They. Will. Know."




Listen to her songs.

Here's her website.

And here's her blog. Yes...she has a blog.


Smitten I say.

Peaks And Troughs

"If you want the rainbow, you have to put up with the rain."

Friday Fun arrives just in time...a short 'philosophy' lesson from The Office's (UK) David Brent.

Because it makes me smile (okay, more like laugh my head off).

Damn Yankheads

Buffalo Days, Buttkick's weeklong version of the fair, concluded last night with a concert by Weird Al Yankovic himself. And the Yankheads (as his devoted fans like to call themselves) were out in droves.

I went more out of curiosity than anything...as in, curious to see what kind of show this long-time song and pop culture parodist would put on, since most of his 'work' has been making videos that poke fun at big-time artists songs/videos. And although I appreciated his efforts, I tended to classify Weird Al as more of a novelty act.

I was first struck by how crowded it was...the outdoor venue was packed with people of all ages, from tweens and teens to older gals and guys like me. But for all the differences in age, there did seem to be one common denominator...the 'geek' factor. I'm not sure why he appeals so much to that sector...perhaps its his persona of the gangly bespeckled smartass taking on stars and celebrity musicians to knock them off their pedestals...but nevertheless, the nerds were there, en masse.

I believe I've written here before that I shook Weird Al's hand once...it was in a Tower Records in Los Angeles, and as I was browsing I heard a small commotion over by the entrance. I noticed several people lining up at a table where Al was being seated for a scheduled cd signing. I thought....cool! It's Weird Al! And though I didn't have his cd or any interest in purchasing his cd, I didn't mind waiting the couple minutes in line just to shake his hand and say I liked his work. He smiled and said thanks. That was it...short and sweet. But as far as the fans went, it didn't matter that it was LA...lots of mousey bookwormy gals wearing horn-rimmed glasses...or pimply-faced guys wearing black socks in sandals --- the nerd factor was there too.

And not to be knocking the nerds...I would be lying if I didn't admit I have some of the geek in me. Pretty much anyone who immerses themselves in the creative side of the TV/movie business has that cross to bear to some degree. Still, Weird Al seems to be a real hero of theirs...and this was news to me.

Anyway, Weird Al and his band hit the stage hard and fast and they never slowed down. And it was, in fact, a musical comedy multimedia event more than a concert. His spoof videos played on the big screens as he performed them, and there were clips from his Al TV television program between each number (mostly to allow Al and his band to change costumes). The accordion only came out a couple of times, but when it did the crowd, as they say. went wild.

Besides performing several medley's of the numerous songs he's parodied over the years, highlights included Canadian Idiot (parody of Green Day's 'American Idiot'), The Saga Begins (parody of Star Wars Phantom Menace set to Don McLean's 'American Pie'), and Bob (parody of the Bob Dylan video for 'Subterranean Homesick Blues') which I didn't really 'get' until I found out it was all done in palindromes...which then made it very cool.

But I fell hard for 'Trapped In The Drive-Thru' (a parody of R. Kelly's truly cringe-worthy urban soap music video drama Trapped In The Closet)....watch Weird Al's animated masterpiece HERE.

He closed the night with 'the hits'... 'Living in Amish Paradise' and 'Fat', the latter replete with Michael Jackson leathers and fat suit. You knew that was the finale, there was no quick change out of that outfit. But he sent them away buzzing and laughing...no one seemed disappointed in what amounted to about an eighty minute show.

It was only today I realized how popular Weird Al still is...the fact that his parody for Trapped, for example, has been viewed on YouTube nearly 5 million times, well over a million more views than R. Kelly's original. Or the fact that his last cd release, 2006's Straight Outta Lynwood, went platinum...this after over 20 years of doing his parody thing.


Anyway, this 'novelty act' proved to me he's more than a novelty act...Weird Al put on a terrific show and the Yankheads ate it up...and I will cop to tapping my toes and smiling while watching and eating my mini-donuts.

Oh yes. You heard me. I got mini-donuts. With cinnamon sugar. Two bags in fact. I might even freeze one bag...you know, save some for later.

Save mini-donuts for later? Yikes!

Am I a Yankhead and don't even know it???

I Will Feast On Your Flesh!

Friday Fun tip of the hat to Stephen Colbert and his 'interview' with environmentalist Carl Pope as part of his series: Better Know A Lobby - the fighting treehuggers!

Watch it HERE...(why are polar bears funny...and why can't, like, everything be on Youtube?)


Because it makes me smile.

Baby's On Fire...Again

Better throw 'em in the water...again.

I've been busy dousing flames on the personal front, but not too busy not to comment on some of the smoking hot writing about Canadian TV going on over at the house McGrath built.

Check out Trouble Down At Mill and Brandtastic...Denis poses some great questions and makes lots of wonderfully insightful observations --- but the answers, dammit...still so hard to find.

And while on the topic of Canadian television, TV Eh's Diane Kristine puts forth some seriously depressing revelations about difficulties she's had trying to promote our homegrown programs...HERE.


Finally, as an aside, we now get AMC in Buttkick...yay! So all caught up with the goodness that is Mad Men...and does anyone remember that Christina Hendricks (Joan) was on Firefly?



I just did. Mmmm. She's cool.

Let Me Bounce Something Off You...

"To be an actor kinda says to the world, I have nothing to say...and I want to become hugely famous because I can say things that other people think of."
Jerry Seinfeld

Some Friday Fun in this three part Jerry Seinfeld and Garry Shandling walk and talk through the streets of New York chatting about acting, writing, comedy, and lost jackets...




PART TWO

PART THREE

It takes a bit to get going, but stick with it...parts 2 and 3 are loaded with insight into the minds and methods of these two comic geniuses.


Because it makes me smile...and go hmmmm.

Thank You Very Little

Been golfing again of late...enjoying it too (after a rib injury led to further complications and rendered me unable to play ALL last year...the horror...the horror!). And the Canadian Open begins today at Glen Abbey just outside Toronto...nice track, played it several times.

And some great golf quotes have come to mind, including Mark Twain's "Golf is a good walk spoiled", and this one from Robert Browning: "There are three ways of learning golf: by study, which is the most wearisome; by imitation, which is the most fallacious; and by experience, which is the most bitter." But I'm not sure if anyone has been quoted more than Caddyshack's Ty Webb (except maybe Carl the Greenskeeper)...



A flute with no holes is not a flute, a donut without a hole is a danish, and of course 'be the ball'...words to live by, my friends, words to live by.

Who's Driving The Flashpoint Bus...Really

First off, let me just say that I actually don't mind the new CTV/CBS series Flashpoint, and I am thrilled for its recent rating successes...but of the two networks involved, I'm growing curiouser and curiouser as to who's really in calling the shots.

If you were to take CTV's Susanne Boyce at her word, it's the Canadian network. In fact, the term 'reverse simulcasting' has been thrown around a lot in the promotion of the show....like in this NY Times article:

Susanne Boyce, the president of creative, content and channels for CTV, calls the arrangement a “reverse simulcast.” While Canadian networks often show American programs at the same time they premiere, the transfer of talent doesn’t often take place in the opposite direction.

That statement doesn't really need any explaining...to me it's saying CTV programmed the show to air on Friday nights, and then CBS agreed to do the same. That's what simulcasting has come to mean for us up here...so this would be the 'reverse' of that.

But then later in the same article, producer Bill Mustos chimes in:

What’s unusual about “Flashpoint,” said Bill Mustos, the founder of the production company Avamar, “is that, shortly after the pilot was produced and the second script was written, we were able to make a sale to both CTV and CBS in such a way that they’re both involved in a very hands-on way in the creation and production of the series.”

With filming scheduled to wrap on August 23, the episodes are being produced almost as soon as they are written. CBS leaned on the producers to “make the show on an accelerated basis,” Mr. Mustos said, because the network wanted to to debut it during the summer.

CBS leaned on the producers....because the network wanted to debut it during summer. Hmmm. Still, not to take anything away from CTV...they were certainly responsible for developing and greenlighting the pilot last year.

But then today we have an announcement from CTV that they are moving the show from Friday night to Thursday night..

After dominating Friday nights for the past two weeks in a row, summer’s hottest drama is moving to television’s biggest night. CTV, along with U.S. broadcast partner CBS, announced today that Flashpoint will now air in the coveted Thursdays at 10 p.m. ET time-slot beginning this Thursday, July 24.

But yesterday, at The Futon Critic, we saw this 'breaking news':

CBS is swapping its scripted originals "Flashpoint" and "Swingtown" for the rest of the summer.

Effective immediately "Flashpoint" will now run on Thursdays at 10:00/9:00c while "Swingtown" will head to Fridays at 10:00/9:00c. The latter posted a 1.6 rating among adults 18-49 for its most recent airing on July 17 while "Flashpoint" snagged a 1.5 is the key demographic on July 18.

No reason was given for the change. A press release confirming said news is expected to go out tomorrow.

Hmmm....

Again...I don't begrudge anyone involved and wish the show and its writers (of which I know a couple) all the success in the world, but who's reallly driving the bus....CTV? Or CBS?


I suppose one could also say....it's a hit, so does it matter?


Addendum: Just let me make myself clear...I am hoping, seriously hoping, that 'reverse simulcasting' is at work here. It would truly be a thing to hold up high and praise after years of watching simulcasting of US shows build up our network and cable provider coffers while simultaneously helping erode and marginalize our indigenous TV drama industry.

So I want to believe that CTV is calling the shots.

Still...

9021...Oh No

It's weird...I was actually writing up something last week wondering who the new reboot of Beverly Hills 90210 was for exactly...and then THIS happened.

From the Associated Press:

Shannen Doherty will reprise her role as Brenda Walsh in CW's new version of the 1990-2000 series, with her character now a famous director who's invited back to stage a musical at her alma mater, the network said Saturday.

Walsh will guest star in multiple episodes, the network said at a meeting of the Television Critics Association — which, appropriately enough, was in Beverly Hills.

She'll be reunited with a few members of the old West Beverly High School gang. As previously announced, Jennie Garth will return as Kelly Taylor, now a school guidance counselor, and Tori Spelling will be back as Donna Martin, who owns a boutique.

Jennie Garth? Tori Spelling? Shannen Doherty??? Now I'm really confused...who is this show trying to appeal to?

See, I'm interested because my kids watch and talk about these kinds of shows...they liked The O.C. a lot, and One Tree Hill, and Gilmore Girls, and even The Hills. And even though 90210 wasn't on their radar in its heyday, it's on their radar now. But still, why should I care...the reboot isn't really for me...or is it?

By several accounts, reviews of the new 90210 pilot script were pretty good...including Karen Hill guest posting/reviewing it on Jill Golick's blog. Hill says "the new 90210 eschews the cornball humour of the original series in favour of a hip, wry tone. There’s tons of banter and the de rigueur hyper-articulate TV adolescents who bear zero resemblance to the pimply mumblers trolling food courts everywhere."

Hip wry tone? Tons of banter? I suppose kudo's are in order to Rob Thomas and his successors, Jeff Judah and Gabe Sachs, for achieving TV 'goodness'...however, it sure ain't sounding like the 90210 I remember.

The original show was popcorn...fun, flavourful, and tasty, but still just popcorn at the end of the day. And I don't mean to slag the talents of Darren Star...he's got it in spades. But Star's 90210 and his followup Melrose Place weren't trying to be TV goodness the way we define it today...except in the soaptastic kinda way. The reboot sounds like it wants to be good, like Veronica Mars or Freaks & Geeks 'good'...but the show title does not connote 'good', it will always only connote fun tasty popcorn.

Which led to my initial confusion...why call a piece of retro candy the same name if you are going to change all the ingredients? Some might argue it's only an 'updating' ...but I'd contest that as 'good' as other teen soap dramas like V Mars and Freaks & Geeks (and even Gossip Girl) are/were, NOBODY watched/watches them...or at least not in the kind of numbers that make for a real 'hit', which BH 90210 was for quite a few years.

The CW wants this reboot to be A HIT.

Furthermore, the original 90210 (like The Hills and The O.C. today) all began with little fanfare, then slowly built a primarily young audience who tuned in each week for some gossipy 'who's sleeping with who' water cooler fun. The new version already has too much hype, which means very high expectations, which means it can only disappoint.

But it doesn't have to disappoint, as long as it doesn't try to reach too high or too wide.

When these shows hit, they keep it simple and they appeal to a specific age group with closet desire for some occasional mindless escapism and fantasy drama. It can be pleasurable experience, but you really don't feel that good about watching. Seinfeld encapsulated it all perfectly in the episode where he didn't want to admit he watched Melrose Place...and when he finally fessed up to his soapy addiction, he lost the girl he was trying to hide it from. But that was still okay with Jerry...and the episode ended with him racing home to tune into a new Melrose ep. "Oh that Michael I hate him...he's just so smug."

The kids can and will eat that stuff up...but I'm not sure they will if it's weighed down by hip wry tone and ultra witty banter. Add to that the show bringing in a bunch of old cast members (who really really can't act for shit) from the original series, and I think the kids will be thrown off again. I know I was thrown off...does the show want the young un viewers? Or do they want me? Teens and twenty somethings looking for some soaptastic escapism? Or aging Gen X's with fond memories of a show they used to love?

I don't know anymore...but if the producers think a new tone and stunt casting will get them both, my fear is after big premiere numbers due to the curiosity factor, by trying to snare everyone, they'll end up with no one.



p.s. The new title sequence should probably look like THIS...but might end up looking more like THIS.

Still At The Beach...

...so I got...I got...yeah, I got nuthin'...except for some more sexy summer fun courtesy Life's Sarah Shahi...

EDIT: And for the female readers, Life's Damian Lewis reaching for a towel...



And let's close with some wild wacky scooter-driving fun...courtesy director Gérard Pirès on Luc Besson's Taxi.




Stay cool.

H/T to Drew Potter

Missing The Moon (That Was Bloodgood)

It's summer, finally....and so heading out of wifi range for a few days to take in that which is cottage country. But because it's summer, it felt like something was missing here at Uninflected Images, but I couldn't quite put my finger on what it was...

Oh yes, now I know what's been missing.



Introducing Sarah Shahi - we noticed her in Alias...we liked her in The L Word...and now we're really digging her in NBC's Life.

And she's not adverse to gracing the pages of Maxim magazine...





Niiiice.

Enjoy your week.

Sound And Visionaries

"If there isn't a monster on my call sheet, I won't show up to set."
Guillermo del Toro

I love seeing films that the director "...directed the shit out of" (as Ken Girotti so aptly put when describing Wanted's Timur Bekmambetov) --- I watch in awe and wonder with even a little jealousy thrown in...more than just 'how did he/she do that?', but 'how did he/she even think of that??' I felt that way last night watching director Guillermo del Toro's work on Hellboy II: The Golden Army.

CGI is everywhere in our theatrical features today...and more often than not it tends to take me 'out' of the film rather than draw me in. The same evening I saw the trailer for the upcoming installment of the Mummy series, and it left me feeling kinda cold in that way...on the outside looking in.

But some directors seem able to effectively blend the 'artificial elements' of computer generated images with the human elements of character, plot, and story to create genuine drama and suspense and tension for the viewer. You are 'moved and transported', which always makes for the best kind of film-going experience...del Toro accomplishes that in spades.

I first saw del Toro's talent at work in Mimic, a little horror creepfest filmed in Toronto around 10 years ago. Someone I knew was working on it or an editor I knew was involved (I can't remember now), and I was able to see some dailies and rough cuts. Needless to say, I was very impressed (since I knew how small the budget was).

The Devil's Backbone, Pan's Labyryth, and the Hellboy films have successfully continued del Toro's march onwards and upwards...and we now have his take on The Hobbit to look forward to. Always a master of craft and technique, there's also mucho heart and soul rooted deep at the core of his films...and when you put it all together it's called 'vision'.

Another director today who crackles with vision is Alfonso Cuaron...his work on Children of Men and Harry Potter and the Prisoner of Azkaban blew me away...and not surprisingly he and del Toro are close friends. But what is perhaps surprising is that they (along with Alejandro Gonzalez Inarritu) are from Mexico. Oh...and their films not only look great, they sound great as well. Visually and audibly they feel, well...designed for a purpose, as opposed to orchestrated for effect (usually very LOUDLY).

Anyway, I find it fascinating that what appears to be our French New Wave of today came from the USofA's neighbour to the south. Do we (Canada) have 3 filmmakers that measure up not only in terms of being visionary, but also are close friends and collaborators? If so, I'd love to be enlightened as to who they are...our feature industry could seem to use more of that kind of thing.

Nevertheless, now you can treat yourself to an entertaining hour on film and friendship with these three Mexican filmmakers: Alfonso Cuaron, director of "Children of Men", Alejandro Gonzalez Inarritu, director of "Babel", and Guillermo del Toro, director of "Pan's Labyrinth" --- as moderated by Charlie Rose.



It's a long one...(and unfortunately the audio starts to lose sync after a while - I believe its also included as an extra on the Children of Men dvd), but if you can take the time to stick with it, prepare for a really uplifting and enjoyable experience...it's like eavesdropping on three smart funny passionate friends discussing life, art, and the movies.

I'll admit even a little envy as I viewed this...when you can form these kinds of connections and relationships in both your life and your work, it almost makes it all worthwhile.

International Man of Mystery No More

Soooo...spent the last day and a bit up close and personal with friend, colleague, and fellow blogger in crime Jim Henshaw (aka The Legion of Decency) when his cross country drive back to Toronto from the left coast took him through Buttkick.

Jim (or Jimmy, as my parents still say) lived here way back when, and was one of my fathers fav acting students during Jim's stint in our University drama department program. So I was just a kid when I first met him...just before Jim headed off to LA and then Toronto to try to make it as a film and stage actor. I still remember how excited we all got when he appeared with Jack Nicholson in the opening minutes of the The Last Detail. And all got excited again when he was cast as the voice of Tender Heart in the Care Bears TV series (hey...it was a big deal! At least for the kids...).

Then, like fifteen years later, I found myself living in Toronto just after finishing film school and working in a downtown video store...and who should walk in to rent some porn was Jimmy (okay, it wasn't porn...but it could've been!). I reintroduced myself, and instead of backing out and getting the hell away from this fawning newbie, Jim was kind enough to invite me out to visit the set of a new series he was story editing for....Adderly...as he'd recently crossed over to the writing side of television. It was a long subway trip followed by a long bus ride out to the studios, but well worth it just to see the machine at work.

I moved back home, but a couple years later was back in TO attending a Robert McKee-like weekend session on directing, and there was Jim sitting in the crowd. We had lunch and within a couple weeks he'd helped coordinate a director observer position for me on the new series he was now on...Friday the 13th - The Series. And then a couple years after that he gave me my first two freelance writing assignments for the CBS show he was running...Top Cops.

All major career boosters for me...and what did I give back? Hmmm...I guess a story editing gig on my first movie Guitarman.

I think I came out ahead in that deal.

Anyway, we've remained friends over all these years (even though we actually haven't worked together that often - funny how that is)...probably mostly to do with our mutual love/hate relationship with all things that are the Maple Leafs. It was great to spend some face time together.

And Jim was even gracious enough (or too road weary to argue) to let the cameras come out (since he is picture-less over at the Legion)...to capture this rare photo op.

We started out striking the 'cool bloggers who are going to take over the biz' pose...

...then jumped on the computer to co-write the 'tell all post to beat all tell-all posts' about the Canadian film/TV industry...



...but the Canadian Club and cokes kicked in shortly thereafter and the evening quickly degenerated into a bad version of the Beavis and Butthead show...



Ah well - good times were had...and there's always another day for that monster post.

Drive safe Butthead....see you after the jump.


And it's some Austin Powers-inspired Friday Fun..."Daddy Wasn't There" (with Matthew Sweet!)





H/T to Juniper for pointing the cam and clicking.

Even YouTube Had To Start Somewhere

Though I'm sure most of us couldn't imagine life without it, YouTube has only been around for about 3 years. Isn't that wild? Who'd have thunk a video sharing website where users can upload, view, and share video clips could take the world by storm...but boy, did it ever.

And I don't know if anyone will ever be able to duplicate YouTubes's success, but I'm here to direct you to a recently launched Canadian 'online film portal' called Super U.

From their website:

SuperU.ca is an online community fostering the development of Canadian short film content in both French and English. Super U encourages filmmakers at all levels. Unique Contests challenge your film making skills and inspire your creative vision. Winners receive big cash prizes and the chance to have films broadcast on Super Channel, Canada’s only National Pay Television service.
Thousands of people will see your short film on Super U – and you’ll get respectful, constructive feedback direct from your audience. Or you can choose that your films only screen to private, invited audiences – the perfect way to distribute a rough cut or reel. You can also upload screenplays, film music, even your resume or bio. Super U is not limited to above-the-line. Every film enthusiast, craftsperson and support person is welcome at Super U.

Yeah, there's the Super Channel connection, but don't regard this as just shameless self promotion --- the two entities are very loosely connected. I'd say Super U is of primary interest to the blossoming Canuck film/video maker or film student...a place to expose your short film to viewers beyond your basement apartment, receive some feedback and/or criticism, and with some talent and a little luck you might actually get noticed.

Super U recently awarded a round of prizes for comedy submissions, and the winning video from a Calgary filmmaker can be seen HERE.

Hmmmm....well, it seems to have borrowed a page from the Roxbury Guys, and doesn't pack the punch of Matt Dancing...but at the end of the day, it probably has as much of a chance to go viral as the next video. Because nobody really knows why some clips click and others don't, though I'm sure those that do succeed has something to do with what McGrath said in his Dancing Matt post..."(it) speaks to me with all that is important and key about video content on the internet: it must punch, and be immediate, and evocative, and most of all -- convey its message in a short, sharp burst."

Wise words that wannabe's should take to heart...and with a site like Super U, the opportunity at least exists for your Canadian short vids to get out there and go wide.

Check out Super U HERE.

Tripping Over My Morning Jacket

So ill today....sooooooo ill, one of those 'just put me outta my misery now' kinda days. Damn.

But being sick didn't keep me from continuing to groove on Evil Urges, the new release from My Morning Jacket. I fell for this band hard after their 2005 effort Z ("Keep it off the record, baby, off the record!")....and Urges hasn't disappointed.


But why....what makes this band stand out for me so much? They do some funk, alt country, classic rock and prog rock...I'm sure I'm not the first to try to pinpoint this Kentucky bands' sound as Wilco meets Prince meets Radiohead, but that's what I came up with. And yes their first single 'I'm Amazed' is more Wilco than anything else...




...until you hear the songs 'Evil Urges' or 'Highly Suspicious' from the same cd, and pinning them down becomes much more difficult.

I'd definitely liken them to two other young American bands I've enjoyed of late, Band of Horses and TV On The Radio...what with all the psychedelia-influenced classic rock with lotsa falsetto vocals --- my only real complaint about all these artists is the length of time between releases...3 years?? Too long, boys...too long.

But go trip out on My Morning Jacket...you'll be glad you did.

And I'm feeling better already.

Censored Summer Fun

In lieu of a real post, enjoy some 'Toe Jam' from Fatboy Slim's new project Brighton Port Authority featuring David Byrne & Dizzee Rascal and some very imaginative use of the black censorship bar...



Great beach tune. Or nude beach tune even.

Makes me wanna catch some rays...

Johnny Hammer Sticks meet Captain Tying Knots...

Friday Fun invites you to join musicians Dan Deacon & Liam Lynch on an acid trip inspired animated short ride to the other side...



...because it makes me smile.


Via Diane Kristine

Light Me Up, Babe...

Those of us stuck out in the sticks or the boonies (or just not lucky enough to be part of any cable package in Canada that offers the AMC network) have had to endure months of listening to everyone else exalt the praises of Mad Men. That is until CTV began to broadcast the series last month on Sunday nights. But I've already missed a couple of episodes, so it was with much delight I purchased the DVD box set of Season 1 when it was released this week.

To coincide with the release, TV critic Alan Sepinwall gives it a nice write up, and today Jaime Weinman does up another one of his most excellent 'Better Know a Writing Staff' pieces over at TV Guidance.



And to ensure the cool factor award, it's packaged in a classy silver and black flip-top case...you know, like a Zippo lighter. Mmmm....Beavis has got himself something hot to watch this summer.

F***in' With Sesame Street...

I know these sorts of laughs are so so soooooo cheap and easy, but the Beavis in me still can't help sniggering...




Found via Anon

Make, Release, And Catch 'The Nines'

Thanks much to John August for his very informative yet terribly sobering wrap up to his journey that was The Nines. And because his feature directing debut and its subsequent theatrical/DVD release was so firmly rooted in the world of the small independent film, thus making it like pretty much all Canadian feature films, I thought it worth excerpting some of Mr. August's wisdom.

A quote from Mark Gill in the LA Times last week would seem discouraging for independent filmmakers:

Of the 5,000 films submitted to Sundance each year — generally with budgets under $10million — maybe 100 of them got a U.S. theatrical release three years ago. And it used to be that 20 of those would make money. Now maybe five do. That’s one-tenth of 1%. Put another way, if you decide to make a movie budgeted under $10 million on your own tomorrow, you have a 99.9% chance of failure.

There are lots of ways to criticize his logic. For starters, most Sundance movies are way under $10 million. Many are under a million. And he seems to omit a figure for how many indie films are getting a theatrical release now as opposed to three years ago.

We need to ask, “Failure for whom?” Even a movie that doesn’t earn its budget back will likely make money for its distributors, once you factor in video and TV sales. More crucially, a good indie film generates future work for its stars and filmmakers. So there’s a lot of success to be found in that 99.9% failure.

All that said, he’s kind of right.

He's kind of right...shiiiit. That's some bad odds. August goes on to say that his movie turned out just the way he wanted, but the release of the movie was deeply disappointing. Thankfully though, he doesn't do a lot of finger pointing but instead lists several crucial stages in the The Nines release, from Sundance screenings to the DVD hitting the shelves, and then explains what he might have done differently at each stage vs. what actually went down.

Take Sundance for example --- August lists all the other films in addition to his that had buzz when he was there, and then lays out how they ultimately performed.

Eighteen months later, it’s fascinating to see how little the festival buzz mattered. Prices for these movies — a key component of buzz, as in, “Did you hear how much it sold for?” — were all over the board, from the low six-figures to $7 million for Son of Rambow.

But it made no difference. They all pretty much tanked.

Waitress sold quickly, was released quickly, and made the most by far at the box office ($19M).3 Second place was Under the Same Moon ($12.5M), followed by Once ($9M) and How She Move ($7M). Son of Rambow will likely end up in fifth. It’s currently in release, and made $8M overseas.

In terms of box office, none of these are hits in the way Little Miss Sunshine was. But you’d be happy being any of them, because beyond those five, the other movies on the list fell off a cliff. None of them made a million. In fact, most didn’t make it over $100,000. The Nines didn’t, despite opening well.

But at least we opened. At least we sold. For our year, 3,287 feature films were submitted to Sundance, of which 122 played. Roughly 20 played in theaters.

Wow. That's some kind of seriously depressing numbers game going on. And here I was last week criticizing Canadian release Young People F**king for only mustering up around a 300,000 gross over the past month (this considering all the free publicity surrounding the film and Bill C-10) ...but damn, perhaps I was a little harsh.

Or maybe, as August says later in his post, "(for the small independent feature)...theatrical release is kinda bullshit."


I get a lot of questions every year from students or up and comers about why does the Canadian feature film biz suck... or why aren't more Canuck features in theatres... or how easy or hard is it to make a low budget feature film... and the takeaway is it's really f**king hard for everyone. And then you have to try to get people to see it, which in many ways can be even harder than making the damn thing.


Thanks for sharing John...the post in all its honest and straightforward entirety is entitled 'Sundance, The Nines, and the Death of the Independent Film', and you can read it HERE.