April 21, 2021
On Tuesday, April 20th at 5pm, we finally learned that for once, a jury did the right thing, and was holding a cop accountable for killing a man in cold blood. It’s pretty clear that wouldn’t have happened without the cellphone video taken by Darnella Frazier that showed Derek Chauvin kneeling on the neck of George Floyd, killing him over the course of 9 minutes and 29 seconds on May 25, 2020. Everyone I know was on the edge of their seat until the verdict was read, which says a lot about how much further we need to go in the US until we approach justice. The verdict gave me some sense of hope, not as much for our Country, as in the power of the moving image, because over the past year it has seemed that the power of the moving image to affect change has been under assault. This proved that sometimes, against all odds, the moving image can change the narrative and make a difference. Keep them cameras rolling.
ACADEMY A..WHATS
Perhaps the Academy should take note, and dedicate the entire upcoming Oscars to the courage of Darnella Frazier as she held up that camera, kept a steady hand and then posted it to Facebook, igniting a movement. That would at least give some meaning to these awards, which they sorely need as everyone outside (and inside) of the industry wonders why they’re taking place this year at all, if they’re even aware that they’ll be this Sunday.
I have a few friends with films up for awards, and I am happy for them, and know it matters to them. But as has been reported nearly everywhere, the audience for this year’s Oscars are expected to be the lowest on record. While many of the films are quite good, they just didn’t enter the public consciousness in any way this year – we had more important things to worry about this time. As the NYT reported, only 18% of active film watchers – at home and online – had even heard of MANK. That other 82% are lucky to have missed it. JUDAS AND THE BLACK MESSIAH is faring best of all with 46% awareness, proving once again why Hollywood needs to diversify its offerings. It’s a pity that in a year where many diversity records are being set, few people will watch the show or even care who won.
Another milestone was reached at 5pm on Tuesday the 20th- it was the deadline for Academy members to vote – meaning all of those annoying FYC advertisements suddenly stopped filling my inbox. I’m not even a member of the Academy, but I’ve spent the past several months inundated with the most annoying ads ever made. Most of them are spam, being foisted upon us by trade publications and nonprofits who make so much money on this crap that they forget that their readers/members are humans, and like other cognizant beings, they tend to hate ads. That’s why we use ad blockers, and why the most successful platform in our space doesn’t have ads on its service. But Netflix will gladly fill up your inbox and the pages of Variety Penske Media with their ads, for what seems like six months of the year.
I honestly don’t understand it – I visit a shit-ton of online publications every day, but the most annoying pop-up ads that take up your screen, wiggle and waggle, and even take over the sides of your article, only seem to be placed by Hollywood on film industry publications. If you want to take a masterclass in how to annoy someone, just try to read Deadline Penske Media or Indiewire Penske Media or god forbid, The Wrap, on your phone in the months prior to the Oscars.
But the money does flow. Some estimates say that it can cost $30M to market just one film for an award. A few years ago, numbers-analyst Stephen Follows ran the numbers for how much it costs to buy and Oscar. That was in 2015, and I'm sure the costs have outpaced inflation. The dirty, not-so-secret truth is that the trades live off this spending, as does probably half of the industry.
This has led Firelight Media to ask – is the system broken? It’s an obvious question, but it will be debated more fully in their upcoming panel timed to the Oscars - "In a system that is largely driven by money, access, and influence, what kinds of films and filmmakers are being left out of the awards conversation? What possibilities exist for a more democratic nominating process? And how can we bring the awards system back to its roots, recognizing masters of their craft?" Get more info on the panel and register to attend here.
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Film
China Figures out how to Produce Propaganda Films People Want to Watch: The WSJ (paywall) reports on Mining Town, a Chinese series about the party's efforts to alleviate poverty, which scored well with audiences - even better than Queen's Gambit. Now they want to make more. as icky as this is, don't forget- the US and Hollywood were doing the same thing decades ago, and some argue they're still doing it.
Only 10% of GenZ ranks TV/Movie Watching as a preference - way behind Gaming, Music, browsing the net and social media, according to a new survey from Deloitte as reported in Variety. No surprise here, and it's one reason why those Academy Awards viewership numbers will be dismal.
Penske Media (Variety, IndieWire, RobbReport, etc.) buys into SXSW: You got to give it to Penske - he is making the bold moves that someone needs to be making in this space. After consolidating the film press (among others), he's now buying into SXSW and I'd be surprised if this is the last of his big moves. A lot of people in my FB feed have been complaining that this is a big conflict of interest. I'm torn - SXSW was kinda born out of another seeming COI - the Austin Chronicle - and needs the support. And publications are launching events left and right. But it does raise some eyebrows and questions. Penske Media, er.. Deadline reports.
Netflix and Ghetto Film School Launch Fellowship: From the PR sent to me by my friend Sharese Bullock-Bailey at Ghetto Film School: "The Netflix Nonfiction Directing and Producing Fellowship, developed in partnership with Ghetto Film School, will invest in a cohort of select directors and producers with a sustained career development curriculum, coaching and production company placements for 12 months. The Fellowship will provide an all in experience for directors and producers ready to advance their craft and careers, including the opportunity to shadow a director or producer on new and returning nonfiction series. Creative career planning, high level networking and professional development resources will drive the Fellowship experience. Fellows will gain immersive directing and producing mentorship and coaching, placements with production company partners and will receive weekly compensation from Netflix. Ghetto Film School will administer the program and leverage their industry connections and leading talent. Although the fellowship is open to all qualified applicants set out in the criteria, a central focus of the fellowship is to create opportunities for burgeoning nonfiction directors and producers who tell stories from the BIPOC perspective." That's a lot - but it all sounds good to me.
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Every now and then I interrupt the news and opinion to report on Sub-Genre projects, and I'm very excited to announce that we have two projects coming out now. The first is LAST MAN FISHING, which is now available on all digital platforms. We just finished distributing the film to community groups and via hosted screenings, and it's now available for anyone to buy/rent. LAST MAN FISHING is about small-scale fishermen across America working to build a fair seafood system in an industry plagued with fraud and consolidation. Narrated by best-selling author Mark Bittman (Animal, Vegetable, Junk; How to Eat; New York Times) and directed by JD Schuyler, with support from Sitka Salmon Shares. You can rent or buy the film here.
And on April 30th THE OUTSIDE STORY hits all digital platforms via Samuel Goldwyn Films. I produced this film with my friends Frank Hall Green and Joseph Stephans and it was directed by my friend Casimir Nozkowski, who I've known for years as we were both on the board of Rooftop Films. The film is a real love-letter to Brooklyn, and it's already getting great reviews (and 100% on Rotten Tomatoes) We were lucky to get an amazing cast, including Brian Tyree Henry (Atlanta) in his first leading role. Here's the synopsis: Brian Tyree Henry takes on his first big screen lead role as Charles Young, a broken-hearted video editor. Perceiving a betrayal of trust as a sign his girlfriend Isha (Sonequa Martin-Green) is leaving him, Charles preemptively blows up his relationship and sequesters himself at home. The fates do not comply and Charles locks himself out of his apartment. Stumbling into a transformational, timely odyssey exploring his community, Charles meets a dynamic ensemble of previously avoided neighbors (including Sunita Mani, Olivia Edward and Asia Kate Dillon) who show him everyone’s got issues and it never helps to keep them all locked up inside. Pre-order now on iTunes and AppleTV, and it will be on all digital platforms on April 30th - and in the Tribeca Film Festival in June, as last year's premiere was delayed. Trust me - after a year of lockdown, you'll enjoy this film about a man being locked outside all day.
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Branded Content
 Headspace Launches 45 Minute Arcade Fire Song: Talk about original branded content strategies, Headspace - a mindfulness app that has made meditation shows for Netflix, is now launching original music. According to Endgadget, they've partnered with John Legend to curate a playlist that includes an original piece by Arcade Fire, called "“ Memories In The Age Of Anxiety." Arcade Fire noted that it offers "meditative vibes to help you focus and feel inspired." According to the article: "Along with Arcade Fire and Legend, Headspace has worked with a number of other artists, including St Vincent, Madlib, Sudan Archives and Hans Zimmer." I love the idea, but am not sure if this is a sign of marketing genius, or of the impending "pop"-ing of the tech bubble, or both.
How Product Placement May Soon Be Added to Classic Films: The BBC Reports on how new technology can now be used to add advertisements into almost any empty space in classic films. This isn't too surprising considering we'll soon also be inserting digital versions of different actors into both old and new films, but it's another sign that advertisers will screw up even the best of life to sell us a Coke. I mean seriously, what kind of schmuck sits around and thinks - you know what would be a great addition to this Steve McQueen film is a logo that was never there before? Luckily, questions over artistic integrity and copyright are already being raised.
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