Today I had an eleven o’clock screening of Lapinthrope, followed by a lecture on arts filmmaking in the cinema department of Universidad Nacionnal in Bogotá…. I spoke about digital filmmaking and made a strong case for the future being digital and not chemical.
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For a long time, I’ve been mildly contemptuous of Claude Lelouche’s films. Eminently français, these tired tales of bourgeois hypocrisy and venality, had lost all optimism, all beauty.
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Why should flexibility in Grand Rights negotiation necessarily result in poor quality productions.Such specious arguments suggest again that there are too many lawyers to feed here and that we are a long way from the composers.The next music publisher up at bat, Thomas Tietze of Bärehnheiter Germany points out that producers and publishers should not see one another as enemies but that open communication requires flexibility Czech composer Zbynek Mateju recounts that he had had problems with my own work…. The system must change from flat fees per country to a percentage of what the producer receives.Otherwise, Hungarian TV offers $1K for rebroadcast but since the music publisher wants $2K no sale can be made and it is impossible to get these works shown in smaller countries.In Dr. Moritz’s opinion, license fees are not the barrier now, but publishers’ fees.Chris Hunt head of Digital Classics in the UK sent in a written statement: of the thousands of hours of programming for which Digital Classics own the rights for there are hundreds of hours with Grand Rights attached.
Leave a CommentL’Intrus (The Outsider) is a relatively long film at just over two hours.Claire Denis came in and gave a lovely introduction to the film, telling us about how she had carte blanche after Beau Travail from Arte Television and decided to take full advantage of it to make a visual poem she had been working on for four years. That film was L’Intrus.
Leave a CommentThe world’s best cinemathèque – although not the biggest – is found here in Vienna. The variety and quality of its programming is unparalleled.
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Danseuse Anna Hein, chorégraphe Xavier Perrez and réalisateur Alec Kinnear sous la tour Eiffel dans les recherches d’un nouveau film chorégraphique. Deux tiers de l’équipe de lapinthrope.Photographes Valérie Simphal.Anna Hein, Xavier Perrez and Alec Kinnear sous la tour Eiffel dans les recherches d’un nouveau film chorégraphique.Photographes Valérie Simphal.
1 CommentVideodanse is one of the five or six largest dance film festivals in the world…. There are a dozen external broadcast monitors, as well as a projection room with three good quality video projectors all projecting the same thing.
Leave a Commentand if you don’t put these innermost thoughts on the screen then you are looking down on not only your audience but the people you work with, and that’s what makes so many people working out there unhappy…. so many people have so much to say and there are so many really worthwhile things to say that it seems impossible that we could cut ourselves off from this whole avenue of enormous excitement.”
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