198 replies to this topic

[Christian U]

He's a politician talking on a subject, about which, he knows very little. Pretty standard behaviour for a politician.

There's a case to be made for having different kinds of government support for a film industry. There can be cultural support, the equivalent of funding for a gallery or a theatre group. This is money that the government doesn't expect to get back, its support for the cultural infrastructure of a nation.

Films though, can make a lot of money. The industry loves to brag about it's profits and a lot of the glamour of the "film business" comes from the conspicuous consumption and luxury lifestyles of it's stars.

Politicians see this and think, "Why do they need a handout from the tax payer?"

What they don't appreciate is that this is just the showy tip of the iceberg for the industry, even in the American industry.

The end result is that (broadly speaking), the Left only wants to give money to "art films" because they think the mainstream can take care of itself while the Right wants to invest in the "mainstream films" so they can make a profit, leaving art to the galleries etc. which they don't ever expect to be profitable.

Yeah, but the thing is that the British film industry is one of the most vibrant and successful ones in the world, and regardless of the line between art and success, it's been putting out a lot of films in recent years that are both very good and very successful commercially, so I don't understand what he's wining about. If these guys tried to be Hollywood - like he apparently wants them to - they'd fail.

But what would Bay do with a story like 'Kes'?

Yeah, that's what I'd really want to see. Then again, I still haven't seen Emmerich's Anonymous...

[Steve Sensible]

I wonder if the release of this film will turn into another piece of performance art for Mr. Kaye.

[Christian U]

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I wonder if the release of this film will turn into another piece of performance art for Mr. Kaye.

He's hopefully over all that. It's nice to see him actually managing to come back to film-making.

I am very underwhelmed by the trailer, it all seems a bit obvious and overly sentimental. But I do like the talent involved and I'll definitely see it as some point.

[Steve Sensible]

He's hopefully over all that. It's nice to see him actually managing to come back to film-making.

I'd be surprised if he's a completely reformed soul. Upsetting the apple-cart seems to be part of the process for him. Which is probably why I like him. I don't think he's a particularly great film-maker or anything, but he's certainly an interesting character. And how can you not love someone who currently looks like Alan Moore's slightly madder brother:

[steveuk]

Yeah, but the thing is that the British film industry is one of the most vibrant and successful ones in the world, and regardless of the line between art and success, it's been putting out a lot of films in recent years that are both very good and very successful commercially, so I don't understand what he's wining about. If these guys tried to be Hollywood - like he apparently wants them to - they'd fail.

<SNIP>

The UK film industry is always in crisis. It will never be self-sustaining in the way that Hollywood is.

Financing in the UK is a patchwork of small companies and institutions. That's why things like government and National Lottery funding matter. They can account for half the budget of a UK movie.

We have painted ourselves into a corner really. We are snobs about making "commercial" films and its a big reason why the industry will bring out a Ken Loach, who has stayed in the UK but has difficulty with someone like Ridley Scott, who went to America.

A thousand Ken Loaches cannot generate the income needed to support a film industry.

What is thriving in the UK film industry is largely the the production and post production service sectors. Indigenous production is still a struggling area. New British films are hard to get made and tend to be small.

Even if someone wanted to, they couldn't get the money to make 'Transformers' in London for example. Big UK set movies are all financed and run from overseas. The 'Harry Potter' films were produced by an British producer but they are Warner Bros movies.

Cameron wants a self-sustaining industry that makes big exports and covers its own costs. It's not going to happen.

[Christian U]

We have painted ourselves into a corner really. We are snobs about making "commercial" films and its a big reason why the industry will bring out a Ken Loach, who has stayed in the UK but has difficulty with someone like Ridley Scott, who went to America.

A thousand Ken Loaches cannot generate the income needed to support a film industry.

What is thriving in the UK film industry is largely the the production and post production service sectors. Indigenous production is still a struggling area. New British films are hard to get made and tend to be small.

Even if someone wanted to, they couldn't get the money to make 'Transformers' in London for example. Big UK set movies are all financed and run from overseas. The 'Harry Potter' films were produced by an British producer but they are Warner Bros movies.

Cameron wants a self-sustaining industry that makes big exports and covers its own costs. It's not going to happen.

We have the same situation in Germany, really. Only German films are mostly crappier than British ones.

[Ulf Imwiehe]

Yeah, it’s a bit sad really. Just today my wife and I had a discussion about German movies that impressed us in the recent past. I came up with The White Ribbon, The Lives of Others, Rammbock, Krabat and… uhm, that’s about it.

[Arjan Dirkse]

Possibly not entirely safe for work (or safe for anything) Zombie Ass: Toilet of the Dead

[steveuk]

We have the same situation in Germany, really. Only German films are mostly crappier than British ones.

And that's a big part of the problem.

It would be different if the choice was between commerce and art, but its not that simple. We don't make lots of excellent little films that only appeal to a small audience, we make mostly pretty average movies that don't really appeal to anyone.

At least when Hollywood makes an average movie it spends enough money to make it shiny and attractive and escapist on a very simple level.

We can't match that financially.

If the majority of UK producers don't feel comfortable making the cinematic equivalent of a McDonalds hamburger then that's up to them, but most of them can't actually make the chateaubriand steak they're aspiring to.

[Christian U]

Yeah, it’s a bit sad really. Just today my wife and I had a discussion about German movies that impressed us in the recent past. I came up with The White Ribbon, The Lives of Others, Rammbock, Krabat and… uhm, that’s about it.

And I don't even liked The Lives of Others much...

I'm meaning to catch the new Andreas Dresen while it's in theatres, he's one of the very few German directors working in Germany right now who are worth paying attention to.

Edited by Christian U, 15 January 2012 - 09:14 AM.

[Ulf Imwiehe]

That one is rather good. Given the tragic premise it would have been the easiest thing for the actors to ham it up. Thankfully the performances are brilliant, understated even, which just adds to the emotional impact.

[Christian U]

I loved Halbe Treppe. Dresen gets incredible performances out of his actors. Apparently, he uses a similar method to Leigh, starting with the characters and improvisation and developing the film's story from there.

[Robert B]

The Edge of Heaven was a recent German film that I really liked (at least, I'm pretty sure it was at least partly German).

[Christian U]

The Edge of Heaven was a recent German film that I really liked (at least, I'm pretty sure it was at least partly German).

Yeah, I really have to watch Faih Akin's movies... I have sort of avoided them ever since I saw Solino, because for some reason I really disliked that one. It's probably not noticeable if you're not German, but there's always something artificial about the performances in his movies (I have a similar problem with another German director who is otherwise rather good, Dani Levy.)

[Robert B]

Yeah, I really have to watch Faih Akin's movies... I have sort of avoided them ever since I saw Solino, because for some reason I really disliked that one. It's probably not noticeable if you're not German, but there's always something artificial about the performances in his movies (I have a similar problem with another German director who is otherwise rather good, Dani Levy.)

That "artificalness" was definitely the case with his most recent movie, Soul Kitchen. But The Edge of Heaven is great. It's a lot like an Allejandro Innuito (sp?) movie, although I liked it better than Babel and the like.

[Steve Sensible]

So, did anything of note come out of the Golden Globes last night?

[Christian U]

I keep reading that a French silent movie won everything, but that can't be right, can it?

[steveuk]

The British Film Industry!

WARNING; CONTAINS BOOBS.

[Steve Sensible]

I keep reading that a French silent movie won everything, but that can't be right, can it?

The Artist.

It's getting far more attention that it deserves because it's a bit of a novelty. From what I've heard, it's actually not that special if you've ever seen any really good silent movies from the time before talkies.

[Paul F]

I kind of want to see The Artist, but it only opened in Dublin here. I don't know if I'll like it, but I'd still like to know, considering its supposed to be the favourite for the Oscars.

Joss Whedon’s Next Film Will Be a Supernatural Romance

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