Posts Tagged ‘filmmaking’

Bananazelandia.

datePosted on 09:48, October 28th, 2010 by Pablo

There is a small island country in which, in spite of their avowedly private market-oriented ideology, government leaders have directly involved themselves in negotiations with foreign film makers in order to keep production of a film series on the islands. The foreign studio bosses threaten to take their production elsewhere; the famous director–a local boy made good– fumes and blames union organisers for raising production costs (in a film that is mostly based on computer animation and special effects rather than humans acting, in a country where the local currency is less than 80 cents of the US dollar). Although the film production is no long-term investment and will not bring employment stability or trickle down benefits beyond those connected to its production and its purported positive impact on tourism (supposedly because foreign tourists will come to the islands to see a movie set called “Hobbitown” in which gnomes abound), the government agrees to offer the foreign studio bosses NZ$100 million in tax and marketing breaks and to change local employment law so that actors are classified as contractors rather than employees while working on feature films (should the law apply to all actors this could well extend to TV, stage and radio actors working on local productions as well).

Although the film industry is currently an significant source of revenue for the country and has spawned a considerable technological base associated with it, it does not add to the long-term national development growth of the island state. Compared to core national industry, it is much like a diamond in a coal mine–a source of pride and joy but not a basis for long-term prosperity.

All of which is to say: foreign corporate masters involved in an industry that does not add long-term value to a nation’s economy have managed to get the island country’s leaders to bow before them in order to secure short term economic gain for a small local industry with limited direct ancilliary impact and a more hypothetical than concete follow-on revenue generation effect. To do so, not only was money offered to appease the foreign masters. The basic law of the land was changed at their behest as well.

Since the country has been engaged in a long-term debate about changing its national flag and its status relative to its colonial master, perhaps it is time to also consider changing its name.

Bananazelandia. Say it with a Spanish, French or Portuguese accent and it just rolls off the tongue.

Life mimicking art: Hollywood Shrugged

datePosted on 09:18, June 2nd, 2010 by Lew

[Update: It occurred to me that I missed an opportunity for wordplay in the title of this post, so I’ve belatedly changed it. Groan away.]

Via Not PC, the news that Atlas Shrugged is finally being made into a movie. Or three movies, as is appropriate.

After decades of studio procrastination, the principals of the project have decided to simply go it alone and produce it as an independent project. They have plenty of money, but no name actors, a debutante director and an inexperienced production team, and are working to a shooting deadline which doesn’t permit any detailed production planning. The names are John Aglialoro, Brian O’Toole, David Ellison, Dan Pritzker, Stephen Polk. (Who? Yeah.)

This is foolhardy in the extreme. As the making of one of the greatest American films of all time illustrates, filmmaking is hard, especially when you’re working with complex, well-known (and well-loved) source material. Even when you have the resources of a studio system behind you, and the ability to pick up the phone, drop a name, and have things be done, making a single feature is the sort of undertaking which destroys people. Making a trilogy? Wow.

Atlas Shrugged is a story of superhuman struggle against mediocrity; succeeding despite the interference and opposition of the whole world, a David-and-Goliath stick-it-to-the-Man fable for our time. Its protagonists achieve the impossible by sheer force of will. The story rests on deus ex machina devices — a “free energy” machine which powers the revolution; a cloaking system which hides it; a means of extracting bounteous yields from exhausted oilfields; self-destructing high-tech equipment; individuals of perfect and apparently limitless genius who just up and invent these things as and when they’re needed, etc — and the backers of this project seem to be relying in real life on the same sort of narrative logic to get them through. They appear to think that, if one just wants something hard enough and is sufficiently single-minded in pursuit of that goal, it will be so. As commenter Double0seven says on the release announcement story:

This is truly hilarious. A study in hubris or as the kids these days call it – EPIC FAIL. So we’ve got no stars, a director who is actually an unknown actor, a producer by virtue of wealth and two weeks of prep for a June 11th start date? And then, underlying material that is ridiculously hard to crack. Don’t get me wrong, like many of you I fell in love with Rand’s objectivism in my angry young 20s, but look at the material and consider the economic climate, even if they get this movie made and released, think about movie going demographics – there are not enough teabaggers to support an opening. Perhaps like in the book, this film will open on one screen in a hidden valley in the rockies, where industrialists will pay their admittance in gold. Good luck John Galt.

Perhaps unusually among non-Objectivists (and non-converts to objectivism), I enjoyed Atlas Shrugged and I think it’s a pretty important piece of our political-philosophical culture. I want good movies made of it. I’m bemused but not surprised that the vaunted market of the Hollywood studio system has entrusted such an ambitious and important project to moneyed dilettantes who think themselves Atlases. And (as the comment thread I excerpted above goes on to discuss), there’s no use in citing the filmic Galileo Gambit of Orson Welles, George Lucas, and other Hollywood wunderkinder — for every one of them there are a thousand who were crushed by the machine they set in motion but could not control.

There’s the faintest glimmer of hope that this project will be a genuine bolter, but with this degree of expertise, time and talent involved, the most likely outcome is a blend of the worthy but unpolished products of the 48-hour Furious Filmmaking Festival, an embarrassing Ed Wood-esque schlock-fest, and the earnestly didactic bombast of the films TV channels screen on Easter morning and at Christmas, partly because they feel like they should, and partly because it’s a ratings desert anyway. Objectivists, bless them, seem to lack any sort of humour about the objects of their affection, so while the rest of the world might not mind this latter result (for one film, at least), I fear the self-declared mavens of philosophical and aesthetic rectitude will make fools of themselves defending the cinematically indefensible. It would be a shame to see these people prove that they’re really just Twi-hards with lofty ideals and better argumentation.

But hey, it’s their risk to take, and their choice to make fools of themselves if they want. Galt knows (as they say), they don’t need the approval of us moochers. So let them boldly stand in the path of the machine, and more power to them. But my sense is that a few exultant idealists are about to discover that unflagging self-belief and unlimited money just isn’t the deus ex machina in real life that it is in fiction.

L