“Watch your thoughts, they become words. Watch your words, they become actions. Watch your actions, they become habits. Watch your habits, they become character. Watch your character, for it becomes your destiny.” — adapted from the memoirs of Hiram Withington, in The Iron Lady screenplay by Abi Morgan. Continue reading The Iron Lady – thoughts
Amazing Grace (dir. Michael Apted, written by Steven Knight) seems to be the first major film to depict the life and activism of Wilfred Wilberforce. I was reluctant to write any review because I’m not sure of the historical accuracy of Wilberforce’s life. However, from a creative point of view, I find the use of flashback interesting.
Many biopics, from made for tv movies to big budget blockbusters, use flashback as a creative device. At one extreme you have The Iron Lady, where almost every other scene is the elderly Thatcher remembering her rise and fall. Then there’s the TV movie like Coco Chanel, where flashbacks are used intermittently to show a character still in her prime remembering how she got where she was while preparing a show.
The classic, however is a film like Gandhi (Dir: David Attenborough, writer: John Briley, 1982), where we start at the death of the main character, then tell the story in sequence, introducing the protagonist just before that fateful first decision is made. But, all these devices open a story toward the end of the story, not in the middle. Continue reading The use of Flashback in Amazing Grace
When The Hollywood Reporter asked producer Janine Jackowski if she was disappointed that Toni Erdmann didn’t win the foreign language Oscar, she said no. She expected it, when she heard the news of “Trump’s travel ban.”
“Two hours later I talked to Maren and we both said, ‘It’s gone.’ We knew the Academy would want to send a signal with the Iranian film. Up to that point, Toni Erdmann was one of the favorites.”
A Special Purpose Vehicle, or Single purpose vehicle, is a company that is created for a single project.
Single Purpose Vehicles are used in construction, public works and many other ventures. While they are becoming less popular for other ventures, SPVs have become increasingly popular in film production.
Now, in the old days, film companies shied away from Special Purpose vehicles. When film producers also owned the cinemas and actors were on contract, it made little sense to create more paperwork for each film.
But today, with changes in the way a film is financed and sold, a special purpose vehicle can be extremely useful.
Films can carry with them many long term obligations, from credits and percentage points for the actors to content agreements and more. As most production companies don’t distribute their own films, it often makes little sense for them to continue dealing with a film after it’s made.
The “vehicle” keeps the film separate from the production company’s other activities. When the film is finished, the SPV can be sold to a distribution company, allowing the production company to focus on the next project. It also allows investors to benefit from tax breaks.
There’s a mention on the British Film Commission’s website.
So, while Ptara is the company that produces films, does a lot of paperwork and runs our office, another company, an SPV, may be the one that you invest in or sign a contract with.
When the SPV is taken over by a distributor, the distributor will take over the SPV’s obligations and Ptara will concentrate on new projects.
On occasion, an SPV continues as a company on its own and produce more films.
You might have a great graphic designer, an artist at your company, who can draw anything that you can imagine. You may have someone else who is handy with the camera, and creates videos that look and sound amazing. But, sometimes simply looking good is not enough. Sometimes, you need images that fit a strategic context, that make sense within a whole, and that tell the message you want to convey. Sometimes, you need something that is interesting to watch, and sometimes you need more than that.
You don’t always need to design an audio visual work. Here’s a video that was unplanned, shot and edited within a day:
It works well enough for footage for a news story, but not much else.
Ptara can help you design a video that does what it’s supposed to do.
We’re growing tired of remakes. Some rehashes claim to be better than the original, but we’re not sure “better” is the right word.
Do we need another Karate Kid, another Dr Doolittle, another Ghostbusters, another Charlie and the Chocolate Factory, another Steel Magnolias? What was wrong with the first film?
(The second Karate Kid was okay, but “Pick up your coat” is incredibly lazy compared to “wax on, wax off.”)
However, some remakes add something, and in some ways improve upon the original. A few, in fact, are so good that we sometimes think that the remake is the original. Continue reading 5 Remakes that pass for originals
INT. VIDEO RENTAL SHOP
VASCO, accompanied by a SMALL CHILD, walks up to the counter looking lost. Two of the EMPLOYEES take a step backwards before he says a word, the third is transfixed to the television set, watching reruns of “Friends”.
Excuse me, do you have Pee-Wee’s Big Adventure.
One of the employees rolls her eyes.