Category: Movies

A More Dynamic Labor Market May Be the Answer to Italy’s “Quo Vado?”

(p. A19) ROME — A balding government clerk in his late 30s has one true love: “il posto fisso,” a job for life. He doesn’t want to compete in the labor market; he has no urge to move on. He doesn’t even want to earn more. Give him a desk, a chair and a 9-to-5 job in the “pubblica amministrazione,” and he’s happy. Clocking in late, chatting with colleagues, accepting small bribes from taxpayers (most favored: quail), a regular salary — that’s life!
And, of course, there are rubber stamps. The clerk loves them. Slam! Slam! Slam! When his boss, who wants to get rid of him, asks angrily: “What have you contributed to this department?” he shows her his stamping prowess, and almost demolishes her glass table.
This is, more or less, the story of “Quo Vado?” a new comedy that has smashed Italian box office records. It had its premiere on Jan. 1, and in its first week made $39 million; “Star Wars: The Force Awakens,” in three weeks, reached just $23 million. According to The Hollywood Reporter, “Quo Vado?” — or “Where Am I Going?” a modern spin on the Latin question “Quo vadis?” (“Where are you going?”) — is on course to beat the box-office record for an Italian film in the country, currently at $56 million, set by 2013’s “Sole a catinelle.”
. . .
Italians aren’t afraid of a more dynamic labor market. There is still the dream of making it in the private sector, even if it is less secure than the public-sector jobs that have long been the backbone of the Italian work force. Two out of three workers, according to a recent survey in the Turin newspaper La Stampa, wouldn’t mind taking a risk, as long as it meant the prospect of career advancement.
To foster this more proactive mood, Prime Minister Matteo Renzi — who has seen “Quo Vado?” with his family — last year introduced labor-market legislation known as the Jobs Act (in English, mysteriously). It makes hiring and firing easier, but only in the private sector. For state jobs, like Checco’s, things stay the same. Once you’re in, you’re in.

For the full commentary, see:
Severgnini, Beppe. “More Popular than ‘Star Wars’.” The New York Times (Sat., JAN. 16, 2016): A19.
(Note: ellipsis added.)
(Note: the online version of the commentary has the date JAN. 14, 2016, and has the title “The Secret Behind Italy’s Favorite New Film.” Where there are minor differences between the print and online versions, the version above follows the online version.)

How to Monopolize a Dead Technology

(p. C3) LOS ANGELES — When Quentin Tarantino’s “The Hateful Eight” is released in a special roadshow version (with overture, intermission and additional footage) on Dec. 25, it will represent a feat worthy of the heist in the director’s “Jackie Brown.”
The film is scheduled to open on 96 screens in the United States and four in Canada, all in 70-millimeter projection, a premium format associated with extravaganzas of the 1950s and 1960s.
Yet from a theatrical standpoint, the technology is nearly obsolete. Last year, “Interstellar” opened in 70 millimeter at only 11 comparable locations. There were only 16 in 2012 for “The Master,” which renewed interested in the format. No film has opened with 100 70-millimeter prints since 1992. According to the National Association of Theater Owners, 97 percent of the 40,000 screens in the United States now use digital projection.

. . .
“We looked around for anybody who was selling them,” said Erik Lomis, Weinstein’s president of theatrical distribution and home entertainment. “We tried to keep it as quiet as possible as to why. Eventually word leaked out why we were looking for them, and then the price went up.”
. . .
“We’ve been accused of actually cornering the market on 70-millimeter projectors,” Mr. Cutler said. “It’s probably pretty true. There probably aren’t too many out there that we didn’t find.” Most of them were destroyed, he added, during the conversion to digital projection.
. . .
Ultra Panavision also produces subtle aesthetic effects, unusual even to viewers familiar with 70 millimeter. The lens “for lack of a better word is a softer lens,” Mr. Sasaki said. During a screening of test footage for the film, he pointed out the impressionistic qualities of the focus and explained how the image catered to our eyes’ natural depth cues.
With projectors found and lenses made, the next hurdle is labor: Most theaters no longer have projectionists with a working knowledge of these machines. Mr. Cutler’s company will provide training for each site. “One way or the other, we will fulfill this need,” he said. “It will be a combination of house staff that we can train, professional projectionists that we can bring in, projectionists that we can find locally, and potentially some technical staff that we’ll bring in.” Every theater showing the film will get a spare set of belts, fuses and light bulbs, and instructions. Mr. Cutler’s staff will also be standing by for calls.

For the full story, see:
BEN KENIGSBERG. “In a World Gone Digital, Room for a Lost Format.” The New York Times (Thurs., NOV. 12, 2015): C3.
(Note: ellipses added.)
(Note: the online version of the story has the date NOV. 11, 2015, and has the title “Tarantino’s ‘The Hateful Eight’ Resurrects Nearly Obsolete Technology.”)

Disney Used Money from His Cartoons to Fund the “Audacious” Breakthrough Snow White

(p. C2) The 1920s were no doubt a time much like our own, full of people who could see ways to advance and exploit new technologies, and Disney was one of those. But plenty of people have ideas; only a few manage to make them reality. Like many an Internet entrepreneur, Disney was able to do so because of a combination of serendipity and tenacity. You can read a lot into that sketch of a mouse he came up with.
“He doesn’t have the financial backing to support what it is he’s doing,” Carmenita Higginbotham, an art historian who teaches at the University of Virginia, says of his early career. “He wants to be a bigger voice than he is. And it’s a perfect metaphor, him being this small mouse, this seemingly insignificant figure or individual within this big industry that he wants to break into.”
The parallel to the Internet age is also evident in the speed of his ascension. His “Steamboat Willie” cartoon featuring Mickey Mouse in effect went viral after its premiere at the Colony Theater in New York in 1928, propelled by its innovative merging of image and sound.
That gave him enough credibility and money to try something audacious: “Snow White and the Seven Dwarfs,” a project that, we’re told, he outlined to his staff in 1934 by calling a meeting and enacting all the parts himself.
“What Disney was proposing had never been done, never even been tried: a feature-length, story-driven cartoon,” says the narration, read by Oliver Platt. There followed a typical Hollywood story of cost overruns and jeopardized deadlines — the animation technique used required more than 200,000 separate drawings.

For the full review, see:
NEIL GENZLINGER. “The Mind that Built the House of Mouse.” The New York Times (Sat., SEPT. 12, 2015): C1-C2.
(Note: the online version of the review has the date SEPT. 11, 2015, and has the title “Review: PBS’s ‘Walt Disney’ Explores a Complex Legacy.”)
(Note: Genzlinger is reviewing the two part documentary on “Walt Disney” that aired on the “American Experience” series of PBS on Mon., Sept. 7 and Tues., Sept. 8, 2015.)

Producer of “The Godfather” to Make Six Hour TV Version of Atlas Shrugged

(p. D1) LOS ANGELES — It took a while — more than 40 years, actually.
But Albert S. Ruddy, a movie and television producer who does not like to quit, has landed rights to make his passion project: a screen version of “Atlas Shrugged,” Ayn Rand’s Objectivist bible.
Mr. Ruddy, whose canon includes films as varied as “The Godfather” and “The Cannonball Run,” almost had a deal back in the early 1970s, when he wooed Ms. Rand personally while sitting on a small couch in New York.
But Ms. Rand, who had left the Soviet Union in the 1920s and feared the Russians might acquire Paramount Pictures to subvert the project, wanted script approval; Mr. Ruddy, as adamant as she was, declined. “Then I’ll put in my will, the one person who can’t get it is you,” Mr. Ruddy recalls being told by Ms. Rand, who died in 1982.
. . .
The main thing, Mr. Ruddy said, is to honor Ms. Rand’s insistence on making a film for the future. That means redrawing its capitalists and creators, who go on strike against creeping collectivism, as figures more familiar than the railroad heiress and industrial titans who figured in a book that was first published in 1957.
“When you look at guys like Jeff Bezos, he’s not only doing Amazon, he wants to colonize Mars,” Mr. Ruddy said. He spoke by telephone last week of his plan for a mini-series in which an Internet blackout led by Bezos-like figures might shut down cellphones, banks and almost everything else.

For the full story, see:
MICHAEL CIEPLY. “Film Producer Lands Rights to ‘Atlas Shrugged’ Novel.” The New York Times (Mon., NOV. 2, 2015): B8.
(Note: ellipsis added.)
(Note: the online version of the story has the date NOV. 1, 2015, and has the title “Producer of ‘The Godfather’ Lands Rights to ‘Atlas Shrugged’ Novel.”)

For Movies, Film Option Survives Digital Advance

(p. B1) Faced with the possible extinction of the material that made Hollywood famous, a coalition of studios is close to a deal to keep Eastman Kodak Co. in the business of producing movie film.
The negotiations–secret until now–are expected to result in an arrangement where studios promise to buy a set quantity of film for the next several years, even though most movies and television shows these days are shot on digital video.
Kodak’s new chief executive, Jeff Clarke, said the pact will allow his company to forestall the closure of its Rochester, N.Y., film manufacturing plant, a move that had been under serious consideration. Kodak’s motion-picture film sales have plummeted 96% since 2006, from 12.4 billion linear feet to an estimated 449 million this year. With the exit of competitor Fujifilm Corp. last year, Kodak is the only major company left producing motion-picture film.
. . .
Film and digital video both “are valid choices, but it would be a tragedy if suddenly directors didn’t have the opportunity to shoot on film,” said Mr. Apatow. director of comedies including “Knocked Up” and “The 40 Year-Old Virgin,” speaking from the New York set of his coming movie “Trainwreck,” which he is shooting on film. “There’s a magic to the grain and the color quality that you get with film.”

For the full story, see:
BEN FRITZ. “Movie Film, at Death’s Door, Gets a Reprieve.” The Wall Street Journal (Weds., July 30, 2014): B1 & B8.
(Note: ellipsis added.)
(Note: the online version of the article was dated July 29, 2014.)

Disneyland “Immersed the Viewer in the Story Itself”

(p. A11) On July 17, 1955, about 28,000 people (roughly half of whom had been sold counterfeit tickets) walked, for the first time, through the gates of Disneyland and into history. To say it didn’t go smoothly would be an understatement: The temperature was 101 degrees (hot, even for Southern California) and difficulties with both the plumbing system and the labor unions made it impossible for anyone to get a drink. Only a handful of the rides and attractions were open at all, and most of those were continually breaking down and closing. Even the animals–the horses and mules in the Wild West attractions–refused to cooperate. That walk may have been historic, but it was made even more difficult by all the asphalt–poured only a few hours earlier–that kept sticking to everyone’s shoes.
. . .
With Disneyland, Walt Disney took the concept of narrative to the extreme: Rather than merely showing the viewer a story, even with the heightened naturalism of sound, color and a combination of cartoon characters and real actors, the theme park actually immersed the viewer in the story itself.
. . .
Walt Disney–who famously said, “Disneyland will never be completed. It will continue to grow as long as there is imagination left in the world”–would be pleased that in the half century since his death, his creation has been constantly tinkered with. Although very little remains of the park that opened in 1955, he would still recognize it, and love it.

For the full commentary, see:
WILL FRIEDWALD. “CULTURAL COMMENTARY; Finding Disneyland; Celebrating 60 Years of Disneyland, a Park that Was ahead of Its Time.” The Wall Street Journal (Sat., July 15, 2015): D5.
(Note: ellipsis added.)
(Note: the online version of the commentary has the date July 14, 2015, and has the title “CULTURAL COMMENTARY; Celebrating 60 Years of Disneyland; In honor of Disneyland’s 60th birthday, a look back at a park that was ahead of its time.”)

George Bailey Wanted to Make Money, But He Wanted to Do More than Just Make Money

(p. 219) Actually, it’s not so strange. The norm for bankers was never just moneymaking, any more than it was for doctors or lawyers. Bankers made a livelihood, often quite a good one, by serving their clients– the depositors and borrowers– and the communities in which they worked. But traditionally, the aim of banking– even if sometimes honored only in the breach– was service, not just moneymaking.
In the movie It’s a Wonderful Life, James Stewart plays George Bailey, a small-town banker faced with a run on the bank– a liquidity crisis. When the townspeople rush into the bank to withdraw their money, Bailey tells them, “You’re thinking of this place all wrong. As if I had the money back in a safe. The money’s not here.” He goes on. “Your money’s in Joe’s house. Right next to yours. And in the Kennedy house, and Mrs. Backlin’s house, and a hundred others. Why, you’re lending them the money to build, and they’re going to pay you back, as best they can…. What are you going to do, foreclose on them?”
No, says George Bailey, “we’ve got to stick together. We’ve got to have faith in one another.” Fail to stick together, and the community will be ruined. Bailey took all the money he could get his hands on and gave it to his depositors to help see them through the crisis. Of course, George Bailey was interested in making money, but money was not the only point of what Bailey did.
Relying on a Hollywood script to provide evidence of good bankers is at some level absurd, but it does indicate something valuable about society’s expectations regarding the role of bankers. The norm for a “good banker” throughout most of the twentieth century was in fact someone who was trustworthy and who served the community, who was responsible to clients, and who took an interest in them.

Source:
Schwartz, Barry, and Kenneth Sharpe. Practical Wisdom: The Right Way to Do the Right Thing. New York: Riverhead Books, 2010.
(Note: italics in original.)

Technicolor Entrepreneur Kalmus Was Visionary, Stubborn and “in It for the Long Haul”

(p. C15) Judy Garland opening a door from black-and-white Kansas into Technicolor Oz is one of the most enchanting effects in all of movies. But as film historians James Layton and David Pierce relate in “The Dawn of Technicolor: 1915-1935,” the technology that made “The Wizard of Oz” possible came from people who were looking to start a business, not to make art.
The creators of Technicolor–engineer W. Burton Wescott and MIT graduates Daniel Comstock and Herbert T. Kalmus–were visionary, though stubborn is just as accurate.
. . .
In 1934 Fortune magazine wrote, “Businessmen regard Dr. Kalmus as a scientist, and scientists regard him as a businessman.” Comstock and Westcott eventually left the company in the mid-1920s, but Kalmus was in it for the long haul. . . .
Once perfected, Technicolor had a virtual monopoly on color Hollywood productions, and it did indeed make Kalmus and his investors rich. But it took steel nerves to put money into the unprofitable, ever-tinkering Technicolor of the early days.

For the full review, see:
FARRAN SMITH NEHME. “The Very Thought of Hue; Early color films gave viewers headaches. It took decades to develop a process that didn’t simply look odd.” The Wall Street Journal (Sat., April 11, 2015): C15.
(Note: ellipses added.)
(Note: the online version of the review has the date April 10, 2015.)

The book under review is:
Layton, James, and David Pierce. The Dawn of Technicolor: 1915-1935. Rochester, NY: George Eastman House, 2015.

Feds Allow Hollywood to Use Drones

(p. B1) LOS ANGELES — The commercial use of drones in American skies took a leap forward on Thursday [Sept. 25, 2014] with the help of Hollywood.
The Federal Aviation Administration, responding to applications from seven filmmaking companies and pressure from the Motion Picture Association of America, said six of those companies could use camera-equipped drones on certain movie and television sets. Until now, the F.A.A. has not permitted commercial drone use except for extremely limited circumstances in wilderness areas of Alaska.
Put bluntly, this is the first time that companies in the United States will be able to legally use drones to fly over people.
The decision has implications for a broad range of industries including agriculture, energy, real estate, the news media and online retailing. “While the approval for Hollywood is very limited in scope, it’s a message to everyone that this ball is rolling,” said Greg Cirillo, chairman of the aviation practice at Wiley Rein, a law firm in Washington.
Michael P. Huerta, the administrator of the F.A.A., said at least 40 similar applications were pending from companies beyond Hollywood. One is Amazon, which wants permission to move forward with a drone-delivery service. Google has acknowledged “self-flying vehicle” tests in the Australian outback.
“Today’s announcement is a significant milestone in broadening commercial use,” Anthony R. Foxx, secretary of transportation, told reporters in a conference call.

For the full story, see:
BROOKS BARNES. “Drone Exemptions for Hollywood Pave the Way for Widespread Use.” The New York Times (Fri., SEPT. 26, 2014): B1 & B7.
(Note: bracketed date added.)
(Note: the online version of the story has the date SEPT. 25, 2014.)

“The Lone Commando Who Answers to No One and Breaks Rules to Save Patients Is No Longer a Viable Job Description”

(p. D5) A keen sense of loss permeates “Code Black,” an affecting love letter from a young doctor to his hospital. Over the years, plenty of similar romances have been immortalized in book form, but this may be the first to play out as a documentary, and is surely the first to emerge from our newly reformed health care climate. You’d think you’d be in for some celebration.
But not in the least. In fact, among all its familiar themes, the film’s most striking is the profound sense of estrangement between the young doctors on the screen and all the recent efforts at improving the health care system. The spirit that brought them to medicine and keeps them there, they say over and over, was never even part of the national discussion.
. . .
. . . , as their department chairman points out, the day of the cowboy doctor is over; the lone commando who answers to no one and breaks rules to save patients is no longer a viable job description. Newly smothered in paperwork and quality control, many of these young doctors grieve for a self-image that has ridden off into the sunset.

For the full review, see:
ABIGAIL ZUGER, M.D.. “Saving Lives and Pushing Paper.” The New York Times (Tues., July 1, 2014): D5.
(Note: ellipses added.)
(Note: the online version of the review has the date JUNE 30, 2014.)