It’s a short Roundup this week – I wasn’t able to get to a lot of my blog reading this week, so I ended up focusing just on film items. I read some great stuff about film, though!
Freddie Francis on The Innocents by Freddie Francis at the Criterion Current
This is an excerpt from a book by cinematographer Freddie Francis, who shot The Innocents (recently released by Criterion) for Jack Clayton. I’m not a super-technical person, but I found his descriptions of how they achieved the effect they did fascinating, and easy to follow even as a layperson. A great read, and I’m curious to seek out his whole book now.
Although of course it is a CinemaScope picture, the audiences don’t usually realize it was shot in the process. By this I mean that there are no edges to the film; most, if not all, the content of the picture is concentrated in the center with the remaining area going off into sets, foliage, and darkness. The effect was that the action and images usually take place in the center. As far as Fox was concerned, they had a negative that was CinemaScope ratio, and as far as Jack was concerned, he had a film that was framed in normal film proportions. We never had any complaints.
It’s Time to Stop Blaming the Studios and Start Blaming Exhibitors for Hollywood’s Failure to Adapt by Todd Brown at Twitchfilm
There’s a common sense factor to this that’s hard to deny – exhibitors are the ones who have the most to lose by losing the theatrical window. On the other hand, I suspect the finances on this are more complex even than this, given the high percentage of box office take that the studios get, especially in the first few weeks. The suggestion to have the theatrical window only last the first three weeks (when movies make most of their revenue) would, I think, be highly problematic according to current arrangements, since theatres don’t see hardly any money from a film until AFTER that third week. Also, my bigger concern is not that new releases don’t get to VOD fast enough – the window is pretty damn short already (two to three months in most cases) – but that studios are doing a terrible job of making their catalog releases available for digital rental or subscription, and that doesn’t involve theatres at all.
Yes, they know that making people wait months on end for a legal VOD or home video release accomplishes nothing but fueling piracy. They know that you want what you want when you want it and they know that they’ve spent tens – in some cases hundreds – of millions of dollars convincing you to want their products now only to make you wait. And they understand that having a divide between theater and home video release is foolish. But they have no choice. And the legally enforced gap between the people who actually make the movies and the people who control how and when you get to see them is responsible for Hollywood’s glacial pace of change. It’s the exhibitors, bluntly, not the studios.