— Junot Diaz on storytelling and representation
Looking forward to seeing the upcoming Destination Planet Negro - sci-fi ridiculousness from Kevin Willmott. (Because who doesn’t want to see George Washington Carver build a rocket ship to Mars?)
Isn’t there some form of torture that involves death via a thousand small cuts? The first sentence â indeed, the entirety of this latest edition of Letters
Vulture discussing the possibility of having three black Best Actor nominees at next year’s Oscars. (Personally rooting for Fruitvale Station to get as many directing and acting accolades possible - it deserves them.)
Made me laugh. (via Ava DuVernay)
A good point from Ted Hope
“The film industry has not found a way to match audiences with the content they will most likely to respond to. It doesn’t even look like this is a priority for the business. Everything is spaghetti against the wall, marketed in the same way & only to the most general demographics of race, gender, & income. In order to reach the people who might respond to a film, the film industry remains dependent on telling everyone (including those who could care less) about each new film. It is a poorly allocated dedication of resources. We spend more money telling those who will never be interested, than focusing on those who have already demonstrated support. There is no audience aggregation platform exclusively for those who love movies, no place where all people who love movies engage deeply about films – if there was, marketing costs could shrink.”
My article on Issa Rae and her major career rise is in the Spring 2013 print edition of Filmmaker Magazine, on stands now.
— So true. (via Indiewire)
— Some interesting remarks from Marc Schiller on treating the indie filmmaking business “like a rockstar” would. But as long as major media outlets only review movies that have traditional theatrical releases, we’re never going to move past the “middleman” hump. Without a P&A budget or a major review, the majority of people will not find the work you’re trying to sell. But I couldn’t agree more that theatrical box office numbers will mean little down the road. Part of me thinks, though, that instead of making the theater experience even more limited and precious-feeling, theaters should move into a subscription model, so people see content more freely and filmmakers don’t feel beholden to technical gimmicks or the need to pander to certain genres.