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Show H s MARCH Independent Film Gets Down arid D.ity lame, and Hie (.; By Peter Biskind Simon and ici. j:, 544 pages Si ICA .V.ATHSWS BY J cufsr wen 1 it man races as three n en a dj-.v- L'rar.?!! hct-.-- hallway l nv him. ypllirg Ti e ir:ar. s the fire ,1!!' f .1. out into the rainy escape a;ui i dewn the night. Soaking stairs with his eel! phone, he hears, "You can't be out on the fire escape." w-t- . f" Or? W. A ill Wtf PETER BISKIND n greed-drive- passive-aggressiv- Utah Museum of Fine Arts, 0 Thursdays from p.m. PRESENT : 6:00-9:0- COFFEEHOUSE If" t OPEN y? I jessicared-mag.co- Ci litis through Ots i clear that Miramax may have peaked as an independent film force, it does not quite feel like indie film has run its course. Since the publication of this book, surprising Oscar nominations and an exceptionally good Sundance have made it seem like the art of independent film is blooming again. Keeping that in mind, this is an addictive read for anyone who can take the film industry with a healthy dose of cynicism and wants great stories to tell his or her friends while browsing at the video store. tactics in negotiating, editing, Oscar campaigning and breaking people's spirits. Despite his fits of rage and abusive behavior, Biskind manages to create some sympathy for the man who in recent years lost his golden touch. Somehow, while much better behaved, Redford comes off as less sympathetic. Biskind paints him as a e control freak who is afraid to make any decisions, for whom Sundance is merely a vanity project that is dropped whenever something more important comes along. These repre- - n 5 ' its independence. Disney's purchase of Miramax and the "Pulp Fiction" phenomenon changed the expectations of independent film. Biskind isn't shy about giving his opinion. He is almost merciless to Weinstein, whom he compares with the exploding diner from "Monty Python's The Meaning of Life." That is certainly not the worst thing said about Harvey monster a sort of who wants to devour as many films as he can. Biskind reveals his monstrous y lesser-know- Harvey THE ASUU PRESENTER'S OFFICE sentations are pretty harsh, and the world Biskind portrays is one where bad behavior creates success. When a book is full of as much juicy gossip as this one, it will raise the question how much of it is true. I noticed two factual errors while reading the book. While they are irrelevant, they could both have been checked on the Internet Movie Database. It makes one doubt other information and wonder how the writer of Easy Riders, Raging s Bulls does not know that "Taxi Driver-waStreets." "Mean after released Biskind's history ends at last year's Oscar ceremony with a postscript about the screener controversy. While it is and Dirty1 D own Tarantino and Kevin Smith, and those whose experiences with the Weinsteins left scars, like Bernardo Bertolucci, Todd and many Haynes, Merchant-Ivordirectors. more The book begins as Steven Soderbergh arrives at the 1989 Sundance Film Festival with "sex, lies and videotape." The film would make stars of Soderbergh, Miramax and Sundance, but more importantly, it announced that there was money to be made in independent film. The indies had lost their innocence. Biskind sees the events that aided the rise of independent film as the ones that took away Oscar. Miramax R4 When a book is full of as much juicy gossip as this one, it will raise the question how much of it is true. d THE RISE MlSAMAH.SJNDANCCAND Of INIjEftSDtNT HIM 2004 Weinstein is clearly the star, an antihero who dominates this book with his insatiable appetite for food, films and profit. Sundance's more subtle founder Robert Redford is featured less. Eingham Ray, of October Films, is the a idealist who believes more in film than in money (uh oh). Biskind also interviews filmmakers about their experiences. Even a Sundance success like Steven Soderbergh has some problems with Robert Redford. There are Miramax lovers like Ouentin The man yells back, "I'm talking to " Harvey Weinstein "Oh, OK!"This isn't a film, it's the film business. In theory, independent film is an artistic escape from the money making world of Hollywood But Peter Biskind's Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film reveals that the industry behind the independents is just as dedicated to money as the major studios and being small can make them even more ruthless. While Biskind's classic look at the new hollywood of the '70s, Easy Riders, Raging Bulls, looks at filmmakers jacking the system, Down and Dirty Pictures is, for the most part, about how the system is jacking independent filmmakers. Biskind's fascinating history follows the people with the real power, those who control which films will get seen. This cynical look at how success changed the indie film will be an addictive read for anyone who uses Miramax as a verb. Through a series of anecdotes, is able to form an enthralling dark history of independent film. Sometimes the stones behind the acquisition of films are just as interesting as the films themselves. Somehow "The Apostle" seems more interesting after reading that desperate executives chased the rep around a Toronto hotel in a bidding war. Plus, you'll find out how Roberto Benigni managed to win the best actor Sun .',rumajr. 11, Don't miss this great opportiinity to see the Middle East through the t?je of its filmmaker? These selected films will be shown and their social context discussed by U of U faculty. AA March 11 - Iran Marooned In Iraq March 25 - Morocco Ali Zaoua: Prince of the Streets Si x, if. FILM DESCRIPTIONS CAN BE FOUND ON THE MEC WEB PAGE: WWW.HUM.UTAH.EDUMEC J it m f'c r h, FREE AND OPEN TO THE PUBLIC The Fine Arts Cafe will be open prior to the film. Featuring SEKOU (THA) MISFIT - from Def Poetry If TOMORROW NIGHT-8:00pm the Union Panorama Room West In foth floor of the is FRE- E- Student Union) - FREE 10:00 Bon Off k Opens at: Fri Sat 300WFO V 10:J0Sun-Th- Secret Window (P613) Mil1, 2: Dettnation London Spartan (R) FREE-FR- EE It Stardcy 4 IS 7 First Dates !0 US '2 (PG13) J 0 JS DrfflUTAH '7 00! WHIN THIRI THf 1 1 !75iM)tOIC SurslryMuttli(PGI3) 4 00 S90l61O7.10!5 twisted (R) (I2 2C420 The fission of the Ovist (R) dwre m&jttt to The Kings: CTiC 1:30 LARGE FORMAT et 4 Return of the lung t IS 117 70!7 109'S5 4:1516 Two tears (PG) Vt7 PSSOGi Twisted IS Lord of the f in Rings: The Return of MEGAKEX17 I The Lord of the Rings: The Return of the King 290 8:15 (R) 10 10 PW 9 the King :2jo;3s BLOCKBUSTERS 13 5 10) 7 20 (PG13) Mystery of (PG13) tc (PG) 8 20 1025 I0035C164O925 1:00 6:00 The Best 45 J 00 The , 15 i(W5) ThSdnaof ' V-- ' ItrK SOFrstDateslPGU) Rush: Risk AdranaMnt PF f 45 The Best two Hears (P613) 1iM2.!52O)7a0 9:S3 Confessiom of a leenage Drama Queen 5S 10K 1C: 'WiB-:- of the 'QIC (PG1 3) MEGAfUXU rttc Mvdium PrxKom FHEE Dnert or Apoctaer reO flflQ NO MOW ROOM IN MIU W1U DEAD nrac !IMCnfSl?l 3) I0 !iU517l-SO2:4- tn fc I0C0 CS 7 rest ind Secret Window (PG1 ilMS1SO4 0ri1t1O7S "Hidalgo 9dku1 VjOM. (Tiib' aronworrv aarnbs fltrokr vufcf fortarir; (isao for mom FREE Bibte And Mi undo- - s Ticfatu Aviithk ban offa or Confeuions of a leenage Drama Queen a guest are invited to see i ! Movk 35! I (POH) CHRONICLE You and i 5 I Destination London (PC) 2 M23C7irj:173G70 2 The Lord D M n) The Pauion of Die Christ (R) 'II "WJiGdOGt '00 8JO Mirade (PG) i!1K ' 00 7 nr 8 (fll Mutdl SO WHEN THERE'S NO MORE ROOM IN HELL, THE DEAD WILL WALK. THE EARTH. 'C Agent Cody Banks I u 1 J r Agent Cody Banks 2: Destination London (PG) March 15th 11:30 AM Midalso (P6H) ill tT J RIO GHANOI toiOffictemnS wwwrmeaariBraheMR&am j? CLUDS !l!S7.'CW7ft y f kjfSSOUTH Bkvyaur 6rJrel !'" I (PO) ....41 wM62MBaiiBijajii:' V iTil' I I 5 K;t-.- 'Agent Cody Banks I'lll IllWUi 11 MB 9400 SOUTH STATE STREET THl WAUL EARTH. Tuey, March 7:113 m IS Mow, with Night Minutes that start at 7 pra instead of 9 pm. 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