Two or three days ago Cameraimage festival director Marek Żydowicz made a huge political error by writing, boiled down, that enforcing DEI gender quotas (i.e., more women directors and dps) could lead to “mediocre film productions” in place of the proverbial good stuff.
Industry progressives have freakedout over this. Directors Steve McQueen (Blitz) and CoralieFargeat (TheSubstance) have bailed on attending the forthcomingPolishfestival as a protest against Zydowicz’s statement.
Politically ill-advised as Zydowicz’s11.8.24article obviously was, saying that DEI quotas allow for potential mediocrity in the ranks is not a lie or a misstatement. It’s true in theory, and anyone who states that artistic quality is more important or more valuable than equity and representation is not standing on shaky ground.
BadDayatBlack Rock (‘55) is a good, strong John Sturges film except for one thing. Nobody in that tiny little desert backwater is doing Anne Francis.
It makes no sense that Francis would even BE there, as a woman this fetching would never settle for a grim existence in a dinky little ghost town like this. Life is short — you have to go for the gusto and the goodies.
But even if you accept that Francis’s “Liz Wirth” would be content to live in this dusty hell hole, human nature dictates that someone in that miserable hamlet would’ve stepped up to the plate and said to her, “I’m your man and we can make beautiful music together and have all kinds of nice plants on the patio.”
Someone always steps up and seals the deal in these situations. It happened in each and every cave settlement in prehistoric times, in every village in ancient Judea, in every clay-hut, grass-roof settlement in medieval Europe. Not that a knockout like Francis would’ve rubbed shoulders with everyday European villagers or Judeans or cave-dwellers.
If I was Spencer Tracy, I would’ve sized things up and sauntered over to Robert Ryan or Lee Marvin or Walter Brennan or Wirth’s brother Pete, who works at the hotel, and said, “Are you telling me that noone’s giving Anne the high, hard one, or at least trying to? Because that really goes against basic human nature.“
I recognize that Wicked‘s appeal is primarily to under-40 women (right?), but what kind of box-office is it likely to earn? I’m sensing it’s going to connect big-time but what do I know?
I just figured this out. For weeks THR‘s Scott Feinberg has been heavily in the tank for Tim Fehlbaum‘s praise-worthy and respectable September 5, but not just because of the Israel empathy factor, but also because of Feinberg’s physical resemblance to costar John Magaro, who was born in ‘83.
Feinberg and Magarao are about the same height. Similar eyes, same dark hair (though not the same length), same semi-stocky build. They don’t quite look like brothers, but they could be cousins.
For the last couple of months, THR hotshot columnist Scott Feinberg has been insisting that Tim Fehlbaum‘s September 5 (Paramount, 11.29) is the Best Picture contender to beat…a claim that has triggered quizzical responses here and there.
I’ve never thrown the least amount of shade at September 5 — it’s a reasonably sturdy, more-than-moderately-engaging TV journalism film — I just don’t share Scott’s conviction that it’s a Best Picture Oscar winner waiting to hqppen….it’s good but not holy-shit, cartwheels-in-the-lobby good.
Last night an industry friendo saw September 5 on the Paramount lot (thumbs up), and during the lavish post-screening reception he spoke to Fehlbaum, who directed and co-wrote the script with Moritz Binder and Alex David.
Friendo: “Fehlbaum said that Paramount only started to take the film seriously AFTER Scott Feinberg’s raves. He said ‘I would not be here were it not for the Hollywood Reporter declaring the film as their top contender’…the gist being that “once the Feinberg prediction came out it seemed that suddenly Paramount mounted a campaign.”
“Nonetheless there was a poor turnout of Academy members at the half-full screening and reception,” friendo goes on. “A huge number of vacant seats for the film, which has to battle the Gaza of it all. And needs much more careful handling than Paramount has given it thus far.
“The friends I invited as my plus-one all said they’d never heard of the film. Paramount needs to quickly up their game.”
What filmmakers have declared that support from this or that Oscar-season handicapper was an important or crucial factor in their award-season strategies? It happens from time to time but not routinely.
I think some bought into the idea that my praise for Errol Morris‘s The Fog of War (‘03) made a slight positive difference. A decade ago I was told by a colleague of Russian producer Alexander Rodnyansky that he felt that my excitement over Andrey Zvyagintsev‘s Leviathan was influential within the industry. I know that after I did somersaults over Alfonso Cuaron‘s Children of Men (’06), I suddenly seemed to become one of Alfonso’s journo bruhs. I know that several weeks after I raved about Carey Mulligan‘s career-making performance in An Education after the film’s Sundance ’09 debut, she sent me a hand-written, snail-mail “thank you” note.
