Sunday, April 18, 2010

Week 12: Documentaries



LITTLE EDIE
I can't stand being in this house. In the first place,
it makes me terribly nervous. I'm scared to death
of doors, locks, people roaming around in the
background, under the trees, in the bushes, I'm
absolutely terrified.

—Edith "Little Edie" Bouvier Beale in
Grey Gardens (Mayles/Maysles, 1975 USA)

Week 12
M 4.19/W 4.21: Documentaries
In-class: “A Survey of Documentary Film, Pt. II”
Screening: Dear Zachary: A Letter to a Son about His Father (Kuenne, 2008 USA)
Due: OSR 6 (Documentary Film)

UPCOMING:

M 4.26/W 4.28: Gay Cinema
In-class: “History of Gay Cinema, Pt. I”
Screening: The Talented Mr. Ripley (Minghella, 1999 USA)

Thursday, April 15, 2010

DVD Rental Revenue Falls, Delivering Another Blow to Home Entertainment Business

By Ben Fritz, The Los Angeles Times
April 15, 2010 | 12:51 pm D

VD rentals have gone from silver lining for Hollywood's struggling home entertainment business to yet another rain cloud.

The Digital Entertainment Group, a trade organization for the major movie studios, released its first-quarter data Thursday with the surprising news that U.S. DVD rental revenue fell 14% from a year ago. DVD sales account for about half the profits for a movie, so any decline portends financial worries.

During a very tough 2009 for home entertainment, consumers preferred to rent DVDs than purchase them. DVD rental revenue rose 4% in 2009, while sales dropped 13%. Both figures include high-definition Blu-ray discs.

The DEG did not provide the total amount of rental revenue for the first three months of 2009.

The group attributed the fall in rental revenue to the closure of physical stores as Blockbuster Inc. and Movie Gallery Inc. shut down locations rapidly. Both companies were struggling in 2009, however, when DVD mail subscription service Netflix and kiosk company Redbox accounted for nearly all of the rise in rentals.

The drop in rental revenue last quarter indicates that the two companies' rapid growth in 2009 may be slowing.

DVD and Blu-ray sales revenue, meanwhile, declined 11%, to a little more than $2.5 billion, dashing the hopes of many studios that comparisons with last year, when the recession was in full force, would cause the trend of falling sales to lessen or reverse.

The one major hit that launched on DVD in the first three months of the year was "The Twilight Saga: New Moon," which sold 4 million units the weekend it debuted.

In its release, the DEG noted that the comparison with the first quarter of 2010 was difficult because Circuit City was selling a large number of discs at a low price as part of its liquidation. Overall DVD and Blu-ray sales revenue was off 9% in the first quarter of last year despite that factor, however.

Blu-ray and digital remain bright spots. Sales of the high-definition discs were up 74%, and rentals were up 36%. Digital distribution revenue, which included download-to-own and video-on-demand rentals, grew by 27%, to $617 million.

Neither were nearly enough to make up for the drops in sales and rental, however. Overall consumer home entertainment spending dropped by 8%, to $4.8 billion. If that number doesn't improve over the next nine months, Hollywood could be looking at an even tougher year for home entertainment than 2009, when total revenue fell 5%.

"We are still facing a challenging environment but are very pleased to see positive indicators of stabilization in our overall business," Warner Home Video president Ron Sanders, who heads the DEG, said in a statement.

Sunday, April 11, 2010

Raabe, 'Wizard of Oz' Munchkin Actor, Dies at 94

By Polly Anderson, The Associated Press
Saturday, April 10, 2010

Meinhardt Raabe, who played the Munchkin coroner in "The Wizard of Oz" and proclaimed in the movie that the Wicked Witch of the East was "really most sincerely dead," has died. He was 94.

His caregiver, Cindy Bosnyak, said Raabe — pronounced RAH'-bee — died Friday morning at a hospital in Orange Park, Fla. He was one of the few surviving Munchkins from the 1939 film.

Bosnyak said he complained of a sore throat at his retirement community before collapsing and going into cardiac arrest. He was taken to Orange Park Medical Center, where he later died, she said.

"He had a headful of hair at 94 and he ... remembered everything everyday," she said. "To me he was a walking history book, very alert."

Raabe was one of the 124 Munchkins in the film classic and one of only nine who had speaking parts. He was 22 years old and a show business veteran, earning money for college as a "midget" performer, as they were called then, when the movie was shot in 1938.

Raabe portrayed the diminutive Munchkin official who solemnly pronounces the witch dead after Dorothy's farmhouse lands on her: "As coroner I must aver, I thoroughly examined her, And she's not only merely dead, she's really most sincerely dead."

His costume included a huge hat with a rolled brim, and dyed yak hair was used for his handlebar mustache and long beard.

In a 1988 Associated Press interview, he said he had no idea the movie would become a classic, because at the time of its release, it was overshadowed by "Gone With the Wind."

"It was only after CBS got the film in 1956 and used it for their promotions that it became as well known," he said.

"There is nothing in the picture that dates it," he said. "There are no old vintage cars or old vintage streetcars. ... It's a fantasy picture that will be fantasy for generations to come."

Raabe was about 3 1/2 feet tall when the movie was made. He eventually grew to about 4 1/2 feet. He toured the country for 30 years in the Oscar Mayer Weinermobile, promoting hot dogs as "Little Oscar, the World's Smallest Chef."

He also enjoyed going to Oz nostalgia events and getting fan mail.

"It's an ego trip," he said. "This is our reward, the nostalgia."

In 2005, his book "Memories of a Munchkin: An Illustrated Walk Down the Yellow Brick Road," co-written by Daniel Kinske, was published. In later years, he lived in a retirement community in Penney Farms, Fla.

In 2007, Raabe was one of seven surviving Munchkins on hand when the Munchkins were honored in Los Angeles with a star on the Hollywood Walk of Fame.

Raabe said he couldn't remember what he was paid for his role in the movie, but that it was very low.

"By today's standards, people would say you were crazy to work for that," he said.

Raabe, born in Watertown, Wis., in 1915, was a member of the Midget City cast at the Chicago World's Fair in 1934. He also performed at other fairs, including the San Diego Exposition in 1935.

"By working at these world's fairs as a midget, I was able to work my way through the university," Raabe said. He earned a bachelor's degree in accounting from the University of Wisconsin and, years later, a master's degree in business administration from Drexel University.

Raabe married Marie Hartline, who worked for a vaudeville show called Rose's Royal Midget Troupe, in 1946. She died in a car crash in 1997.

Raabe said some little people resented the word "midget," but that was the description widely used when he was in show business.

"My wife and I were both in show business, were both midgets. My wife worked from 1929 to 1932 as a member of Rose's Royal Midgets, the largest midget troupe in vaudeville," he said.

Raabe became a regular visitor to the annual OzFest in Chittenango, N.Y., the birthplace of "Oz" author L. Frank Baum, after reading about it in a magazine in the late 1980s.

"Meinhardt wrote us a letter and said, `You know I'm a Munchkin. I was in this movie. Would you ever be interested in having me come.' Of course, after we stopped screaming ...," organizer Barbara Evans said in 1998.

"Things didn't start to get really big until Meinhardt first came and we started getting the Munchkins to come," said Evans.

Week 11: Documentaries



MICHAEL MOORE
If you were to talk directly to the kids at Columbine
and the people in that community, what would you
say to them if they were here right now?

MARILYN MANSON
I wouldn’t say a single word to them,
I would listen to what they have to say.
And that’s what no one did.

Michael Moore and Marilyn Manson in
Bowling for Columbine (Moore, 2002 USA)

M 4.12/W 4.14
NO CLASS: WGHS Spring Break

UPCOMING:
M 4.19/W 4.21: Documentaries
In-class: “A Survey of Documentary Film, Pt. II”
Screening: Dear Zachary: A Letter to a Son about His Father (Kuenne, 2008 USA)
Due: OSR 6 (Documentary Film)

Tuesday, April 6, 2010

3-D Surge May Doom Movie Stars


The kinds of 3-D films generating big box office don't need big names to succeed.

By Patrick Goldstein, The Los Angles Times
April, 6th 2010

Ever since the astounding grosses for "Avatar" started rolling in, Hollywood has been pretty much going gaga over 3-D. At a time when DVD revenues have been plummeting, who would've believed that 3-D would help save the studios' bacon?

According to Warners distribution chief Dan Fellman, roughly 52% of the studio's box-office take for this weekend's "Clash of the Titans" was from 3-D ticket sales. According to industry marketers, the 3-D ticket price premium gave a huge boost to "Clash's " $61.4-million box-office take, which would've been closer to $41.4 million if it was only playing in 2-D.

The film, which was retrofitted with 3-D at the last minute, inspired my colleague Kenny Turan to write that "Clash" could be "the first film to actually be made worse by being in 3-D." The tech geeks seemed to agree. As Den of Geek's Duncan Bowles put it in his review: "I have never been so insulted by such a criminal intent to rob the public."

But I can pretty safely predict who are going to be the real haters when it comes to 3-D movies: movie stars. If there was ever a new technology that made movie stars feel even less indispensable and more outmoded than they already are, it would be 3-D. By definition, 3-D extravaganzas are genre films dominated by splashy computer-generated visual effects -- in other words, exactly the kinds of movies that don't need a movie star in the first place.

Put yourself in the position of a studio executive, staring at your profit-and-loss statement, as you ponder what movies to greenlight for your 2012 slate. Even before "Avatar," you were eager to avoid making pictures with movie stars, since most of the recent mega-hits (i.e., "Hangover," "Star Trek" and "Transformers 2") had triumphed without any true movie stars while scads of movie-star vehicles had crashed and burned, notable examples being "Land of the Lost," "State of Play," "The Taking of Pelham 123" and "Imagine That."

But now you are faced with greenlighting a drama, genre thriller or romantic comedy -- the three genres that rely the most heavily on movie stars to attract a sizable audience. And it turns out that those are also the three genres that lend themselves the least to 3-D treatment, since mania or not, no one is clamoring to see a Nancy Meyers comedy or a Clint Eastwood drama in shimmering 3-D. So when you start doing the math, you realize that it's even harder to justify hiring a movie star, since those 2-D genres will now be competing against 3-D extravaganzas that can effortlessly rake in tens of millions more bucks at the box office simply from the $5 extra moviegoers will pay to see them.

In other words, it's no longer a level playing field. You don't need George Clooney or Leonardo DiCaprio to make "Cowboys and Aliens" or "Spider-Man 4" or "Happy Feet 2" or any of the other 3-D vehicles making their way through the system. In fact, why spend any money on a movie star when the vast majority of 3-D films already have their own built-in marketing hooks?

"If the business is bifurcating into small, under $30-million films largely financed by outside money and the big 3-D visual effects-driven studio tentpoles and franchises, where does that leave movie stars -- it leaves them in the lurch," said one studio chieftain who asked to remain anonymous, saying he didn't want to field a tsunami of grumpy phone calls from agents and managers already unhappy about seeing most of their clients taking huge pay cuts over the past year.

"3-D is great for everyone's bottom line, but it's just going to put more downward pressure on the movie-star business," the chieftain added. "You can make so much more money with 3-D that it essentially puts a tax on 2-D dramas, romantic comedies and other projects, since they just won't project the same kind of box-office potential."

It's actually a double whammy for movie stars, since it's hard to imagine that Brad Pitt, Clooney or DiCaprio are clamoring to be in a 3-D movie in the first place. If DiCaprio wants to play J. Edgar Hoover in Eastwood's upcoming biopic, he's going to find himself working for even less money than he would have a year ago, since the 3-D Comic-Con movies are going to be viewed as the cash cows of the business for the foreseeable future.

James Cameron has loudly been complaining that Hollywood is getting it wrong, especially when studios keep telling filmmakers like Michael Bay that they want their franchise films to be hastily converted into 3-D. But if you study the history of the movie business, Hollywood is getting it right.

3-D might someday be an art form. But right now it's a trend. And in Hollywood, judging from past experience, when a trend is red hot, you can bet that the money people will follow that trend everywhere, even if it eventually takes them sailing off a cliff.

Week 10: Documentaries



RICHARD
If you aren't an activist,
you're an inactivist.

—Richard O'Barry in
The Cove (Psihoyos, 2009 USA)

Week 10
M 4.5/W 4.7 Documentaries
In-class: “A Survey of Documentary Film, Pt. I”
Screening: The King of Kong: A Fistful of Quarters (Gordan, 2007 USA)
Due: OSR 5 (Foreign Film)

UPCOMING:
M 4.12/W 4.14
NO CLASS: WGHS Spring Break