My Pet Peeve with Piracy

     My biggest pet peeve that comes attached to the movie industry is the madness that is called piracy.  Piracy comes in many different forms leeching from the entertainment industry.  Bootleg DVD’s, websites that offer “free” movies, streaming movies from illegal websites, I mean come on its crazy.  What I mean by that is that the hard working people within the entertainment industry don’t get to see a dime when films are pirated.  I know this has been ongoing for years, but it’s gotten pretty ridiculous in regards to it. 

     After going over the MPAA website (Smith, 2011), I caught a glimpse of an article regarding their efforts to curb piracy.  There are many countries that are suspect, even here in the U.S.  In my experience and travels, I’ve come across many of people trying to sell me bootlegged current films, mainly from the parking lot of a grocery store or gas station.  It bothers me because, if that were my film (that I worked hard in writing and directing it) and someone were to come up to me saying “do you want to buy this new recent movie” and its mine…well let’s just say that I might be going to jail that day for bodily harm.          

     It disgusts me when I see things like that take place because I work in the entertainment industry and I’ve seen the hard work that people have put into a lot of films.  Whether it would be mainstream or direct to video, it doesn’t matter.  There are a lot of hard working people who work on these films who don’t command a million dollar paycheck, but they do make a decent living from making the films and for someone to come along and use a “camcorder” in a theater or pilfering streamed footage…it’s not right and it’s not fair.   Also that would affect the marketing of a film, say if the film was put out "pirated style" before it was released, would take away from the box office.  I would say a good example would be Ang Lee's 2003 film, HULK and the backlash that it received because it was unfinished, and then it affected it box office receipts.  I mean just plain stupidity on the person who put it out there. 

     I don’t know, maybe I’m just ranting about this subject matter, but I know that the MPAA is stepping up its efforts to curb this disease that affects the entertainment industry and applaud them for it.  For those out there who buy these pirated videos, don’t.  You would be taking away from the people who make a living off from making films.  I want to stress hard-working people who build the sets, work in the editing room, do the computer designs for a film, who do catering on the sets to feed the hard working people.  I’m not taking away or even bad-mouthing the above the line talent, but my biggest issue is taking away from the below the line workers who don’t get the recognition but make major contributions to see that everyone is entertained on the big screen, TV screen, phone screen, I can go on and on.   People please don’t patronize pirates.  It’s not fair and it’s not right. 

Link to post: http://www.mpaa.org/resources/53df70a5-8c97-44dc-baa7-211bd9b448c4.pdf

"The Mystery Box" lecture and my thoughts on the matter

 “The Mystery Box” by JJ Abrams (lecture from TED.com 1/14/2008)

     I just watched a profound lecture given by JJ Abrams (from TED.com) regarding the “Mystery Box” (Abrams 2008) in which he spoke of in fond remembrance of his grandfather.  His passion came out when he spoke of his grandfather and the "Mystery Box" that he bequeathed him.  You can like him or hate him, but JJ Abrams has a hell of a track record of films and TV shows under his belt (Lost, Alias, Star Trek [2010 version], Cloverfield, just to name a few…) and that what got me excited about hearing this lecture is the idea of the "Mystery Box."  He pointed out to a blank sheet of paper and stated “that the blank sheet of paper is a mystery box” just for the fact alone is that the sheet of paper is the writer’s canvas upon which to work on.  Myself being a writer and director, I never looked at the sheet of paper as a “mystery box” it was more of a canvas to me than anything.  But now, after seeing JJ’s lecture, I see that you have to look past certain key tools to understand and go in depth for the meaning and also create it. 

     To the average person, a blank sheet of paper is just simply…a blank sheet.  However to the artist (depending on your passion), that sheet of paper is more than that.  For the musician, it is a means to put lyrics and music notes on page, potentially creating a masterpiece.  For the screenwriter, the blank sheet is a means to put together a story that the director can then bring to life on screen.  I mean the possibilities are endless.  All just because the fact that a sheet of paper is considered a “mystery box”.    The “mystery box” can also be interpreted as what is not seen, but shown in a different context. 

     After viewing many films in my lifetime (and I’ve seen quite a few) and also shooting my own projects, I'm starting to look at things a little differently upon watching JJ’s lecture.   Abrams also stated that the mystery box can also be handled in such a way where when shooting a film, you don’t give everything away on the screen.  He mentioned about the first Alien film in which Ridley Scott craftily avoided revealing the whole monster until the very end of the film, heightening the suspense and mood of the film.  After reviewing it again, and thinking about the many times that I’ve seen it,  I realized that he was right.  Basically, the motto that adds to JJ’s "mystery box" is the art of “showing it, without showing it.” 

     The mystery box can be opened by the average viewer if they look past the surface of the story  on film.  Not everything has to be given away on the screen.  If the story is written, directed, or produced properly, then the “mystery box” can be a great asset.  Mastering the “mystery box” to get the story across is the key, and therein lies the journey of not only for the creator, but the viewer who witnesses the story that plays out on the screen and goes along the journey with the creator.

REFRESHING

            It is refreshing in today’s Hollywood that older actors still have a staying presence in Hollywood.  After reading an article on Nikki Finke’s Deadline (1/18/2011) regarding older actors, it was good to know that older actors like Bruce Willis, Helen Miren, and even Arnold Schwartzengger are still in the Hollywood game making power moves to create films that doesn’t necessarily include younger actors under the age of thirty. “In a move that's not exactly surprising, Summit Entertainment brought back Jon and Erich Hoeber to write another installment of Red” (Finke, 2011).  What’s so refreshing about the article is that the older actors have not been counted out in today’s Hollywood arena.  In the age of reality TV in which wannabe actors in reality TV shows, such as Jersey Shore, have a cast of people, not actors, that get by on their good looks and charms getting deals based off as such, are not included in this mix of older thespians who have true talent.  With the older thespians, their presence on the screen is not based off their good looks or charms, but rather their abilities to show on the silver screen that they get into their characters without a hitch and its not based off some “reality” trend that the Hollywood industry has gotten so used to.

            With the success of Red, it shows that even if the actors are older, and don’t have as much drawing power at the box office, they can still act and make it known that they are the masters of their craft and not some reality TV wannabes that comes along and steal the spotlight, just because the camera is on them. There are times recently that the Hollywood box office bases their success from their young audiences, because it is a new generation as such, with the new talent that is out there, the older ones still have to make things work in concordance with the roles that they have been given.  In addition, Sylvester Stallone’s The Expendables is also another example to show that these actors may be older and wiser, but at the same time, they can still draw in a crowd to show the younger generation on how to do things properly and right once and for all. 

Reference: http://www.deadline.com/2011/01/older-thesps-show-staying-power/

BIG BUDGET FOR "THE HOBBIT" TIMES TWO

A return to J.R.R. Tolkien’s stories about ancient Middle Earth, which was preceded by The Lord of the Rings trilogy in the early 2000s,  will be followed up by The Hobbit which would involve two films shot back to back will soon be in production.  What is surprising, according to Deadline.com is that Warner Bros. will be picking up the majority of the production tab along with MGM for the two movies whose prices combined are “expected to exceed 500 million” (Finke, 2011).  In addition, Warner Bros. will also handle the worldwide distribution as well and MGM would handle the domestic.

            The good to come out of this is that the two major recognizable studios, MGM and Warner Brothers are getting their acts together to produce a product that has much to live up to in regard to the preceding Lord of the Rings Trilogy.  In addition with MGM getting their acts together with the new studio heads, Gary Barber and Roger Birnbaum (who also command a dominant presence in Hollywood with their production company, Spyglass Films), things are beginning to look up for not only the film itself, but also MGM as well.  Recently, MGM has just emerged from bankruptcy with Gary Barber and Roger Birnbaum taking the helm of running the studio, and with these two high profile films in pre-production, all eyes will be on them to produce the two films that would be worthy to follow in line with the films that have already come before. 

            As stated before, Warner Bros. will be paying for the hefty price tag for the films, and also handle its distribution as well.  What is also exciting is that the two studios are working as a team financially and creatively to bring about the best product that would be worthy of J.R.R. Tolkien.  In addition, Peter Jackson (the director of the Lord of the Rings trilogy) is now making his rounds to secure the original actors from the previous films so that the films would be consistent with its characterizations.  If Peter Jackson stays on that path, Jackson and the studios involved would have another major hit, times two, on their hands. 

Reference:

http://www.deadline.com/2011/01/warner-bros-taking-worldwide-distribution-on-the-hobbit/ 

Revamp, Retelling, Reimagining, Re-What??

Re-imagining.  Re-telling.  Re-model.  These are words used to describe part of the landscape that is Hollywood.   One has to wonder what it takes to sell a script, let alone put an original idea on the screen that hasn’t been seen before.  Inception (2010) is one of those rare films that comes out and is it refreshing to watch and it also makes you think as well, but also, it is not a retread of something that has come before.   

While reviewing Deadline.com (run by Nikki Finke) earlier today, I saw a particular short article regarding the sale of a spec script called The Rabbit (12/6/2010) that would be a starring vehicle for Chris Tucker.  What caught my eye is that the article stated, “think Midnight Run”.   Midnight Run was a film that I hold in very high regard with Robert DeNiro and Charles Grodin headlining the cast from back in the day. Until more details emerge,  it potentially stands to be another re-tread, re-make, re-imagining of the original film. 

I’ve noticed with many films that have come out of late, they have been remakes or re-imaginings.  Now, not all re-makes are bad (for example, The Thing 1982 version from its 1951 counterpart).  On the other hand, not all remakes are good either (think Planet of the Apes 2001 compared to its 1960’s version which was far more superior).

The Hollywood that I’ve seen has put out one remake too many compared to original ideas that up-and-coming screenwriters struggle to get out.  The studio system basically sticks to what is “safe” most of the time with its retreads, as opposed to venturing into new territory from fresh and up-and-coming new voices.  On the other hand, more films that have original content are usually independent and that doesn't get as much publicity or visibility like remakes do.  Will this trend continue?  That remains to be seen.  But as long as the public is willing to pay to see them, then the Hollywood machine will give the public what they want…as long as it contributes to their bottom line.   

What are your thoughts on the matter?

http://www.deadline.com/2010/12/another-spec-script-hops-to-warner-bros/