Posts Tagged ‘studio’

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Oliver Stone Talks About Critical Responses…

 

“We moved to Germany because we did not feel comfortable in the U.S. We felt like we were at risk here. We didn’t know what the NSA might do… These problems were consistent, and out of the blue. It felt really wrong. All the studio heads, the script was good, but then they say, ‘Okay, I’ll get back to you with numbers.’ That’s what they do. A few days go by, you don’t hear a thing. What happens? It goes upstairs to all these corporate boards that run this country, and these corporate boards all said no, because some lawyer somewhere, somebody who hates Snowden, took exception.”

“It’s a very strange thing to do an American man like this and not be able to finance this movie in America. It wouldn’t have been made [without foreign financing], and that’s very disturbing, if you think about it — its implications for any subject that is not, call it ‘overtly pro-American’… They say we have freedom of expression, but thought is financed. Thought is controlled. The media is controlled. And this country is very tight on that. There’s no criticism allowed at a certain level. You can make movies about civil rights leaders who are dead, but it’s not easy to make about a current man.”

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No comment necessary.

Youtube Space

Posted: July 14, 2013 in -
Tags: , , , , , , , , ,

 

It’s free — but you have to have 10k subscribers to play there.

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http://www.youtube.com/watch?v=wOzy5Zu_C4M

 

I was quite put off by this WTF mess of a trailer but the following review has changed my mind .

Cannes: Is Ari Folman’s ‘The Congress’ The Most Anti-Hollywood Movie Ever Made?

“Has there ever been a movie so aggressive toward Hollywood power structures? From Budd Schulberg’s 1941 novel “What Makes Sammy Run?” to Robert Altman’s “The Player,” storytellers have constantly assaulted the studio system, but Folman makes its evils come alive with phantasmagorical effects that force viewers to see the argument from the inside out.”

 

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Tim Robbins in The Player

 

Ted Hope’s 17 Things to Know about the Broken Film Industry

International territorial licensing of American independent feature films has dropped by approximately 60% over the last decade. Major territories no longer buy product. Most have given up on “American Indies.”

 

As have I. I’ll only watch the cream of the crop with festival approval stamped on them.  America is a vapid, bloated, ignorant culture and so are most of its artisitc efforts.  Foreign indies are a much safer bet for my precious time.

 

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Screenwriter Doug Richardson’s “real life morality tale of thievery, bullying, and unchecked arrogance.”

The Smoking Gun
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part 4

 

A recurring theme around here, I found this must-read study of government war propaganda in Hollywood:

Lights, Camera… Covert Action: The Deep Politics of Hollywood, By Matthew Alford (Jan 2009)

“The major exception here is the Department of Defense, which has an ‘open’ but barely publicized relationship with Tinsel Town, whereby, in exchange for advice, men and invaluable equipment, such as aircraft carriers and helicopters, the Pentagon routinely demands flattering script alterations. Examples of this policy include changing the true identity of a heroic military character in Black Hawk Down (2001) due to his real-life status as a child rapist; the removal of a joke about “losing Vietnam” from the James Bond film Tomorrow Never Dies (1997), and cutting images of Marines taking gold teeth from dead Japanese soldiers in Windtalkers (2002). Instances such as these are innumerable, and the Pentagon has granted its coveted “full cooperation” to a long list of contemporary pictures including Top Gun (1986), True Lies (1994), Executive Decision (1996), Air Force One (1997), The Sum of All Fears (2002), Transformers (2007), Iron Man (2008), as well as TV series such as JAG (1995-2005).”

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The CIA is also active in feeding misinformation and insider access to Hollywood.  Witness the recent Zero Dark Thirty fiasco.

“…Now, more than ever, we need the CIA.”

“…Kelbaugh’s discussion of the 2003 thriller The Recruit, starring Al Pacino. The review noted that, according to Kelbaugh, a CIA agent was on set for the duration of the shoot under the guise of a consultant, but that his real job was to misdirect the filmmakers: “We didn’t want Hollywood getting too close to the truth,” the journalist quoted Kelbaugh as saying.”

“…On October 17 [2001], in response to 9/11, the White House announced the formation of its “Arts and Entertainment Task Force,”and by November, Valenti had assumed leadership of Hollywood’s new role in the ‘War on Terror’. As a direct result of meetings, Congress sought advice from Hollywood insiders on how to shape an effective wartime message to America and to the world.”

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See also:

Propaganda in the Cinema

Articles Tagged “Propaganda”