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Why There’s Nothing New with Kevin Smith’s “Red State” Self-Distribution Plan

Why There’s Nothing New with Kevin Smith’s “Red State” Self-Distribution Plan (photo)

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Early reaction out of Kevin Smith’s “Red State” premiere at Sundance has suggested the film isn’t the horror movie that its director had touted it as, but that would hardly be the only thing that was misleading about the film’s premiere on Sunday night. Instead of auctioning off the film’s rights in public as he suggested he would do, Smith announced that he would self-distribute the film, which may not have pleased the assembled buyers in the crowd, but falls squarely in line with the approach he’s taken with “Red State” all along.

After finding interesting ways of eating away at the cost of the $4 million film like offering a “Red State Club” for $100 in Los Angeles to join his podcasts, Smith is taking the unusual, but not unprecedented step of releasing his latest film by going on a 15-city tour beginning in March in advance of a traditional theatrical release on October 19th, eschewing paid advertising for what he can accomplish on all of his own social media accounts. (It’s all in the manifesto he and producer/former Miramax exec Jon Gordon lay out on — what else? — the film’s Web site.) In the 25-minute spiel that followed the end credits of “Red State,” Smith described a distribution system for indie films that he saw as broken and went so far as to say that he’ll retire after his next film to concentrate on helping other filmmakers follow in his path.

What was surprising in all the reactions on the social media sites that Smith will employ to hype the “Red State” run is just how many people appear to believe self-distribution is a new idea, which does a disservice to those brave or well-funded enough in the past to try the same thing or the smaller distributors for which the release of every film is a new battle. There’s no doubt that Smith continues to inspire people as he did when he made “Clerks” on a shoestring budget in a New Jersey convenience store 17 years ago, but Smith is hardly a pioneer and sounds a bit disingenuous when he talks of “producing a film distribution apparatus that can stand apart from the cost-prohibitive studio model” after building his brand off the backs of a clever Miramax marketing department in their prime. (As Devin Faraci at Badass Digest writes, it’s not a stretch to think Harvey Weinstein will lend a helping hand even now.)

Of course, Smith wisely parlayed his notoriety as a filmmaker into something even more substantial as a personality and as my colleague Matt Singer rightly pointed out on Twitter, the asking price of “6, 7, maybe 10 times [a normal ticket price]” that Smith plans on charging for the roadshow version of “Red State,” in which he’ll probably put in a personal appearance not unlike those on the “Evening of Kevin Smith” DVDs, is about what it would cost ordinarily for one of his performances plus a $10 movie ticket.

While Smith has the unique advantage of having the fan base to command that price, it’s not all that far away from the $70 Arclight Cinemas and likeminded exhibitors charged for “Sex and the City 2”-themed nights around the country last summer, the $25 that our corporate sibling IFC Films was charging to see longform films like “Che” or “Carlos” in their entirety, or the total dollars taken in by self-distributed indies such as “Anvil! The Story of Anvil!”, which piggybacked its theatrical rollout on the back of the heavy metal act’s concert tour (and vice versa). Smith should be applauded for using his appeal to find a better way towards profitability than relying on the traditional spend on marketing, but while the scale of “Red State”‘s distribution may be larger, it can’t be called a revolution, or for that matter, something other filmmakers without Smith’s pull could easily attempt and have immediate success at.

Smith also made a point of saying he would reach out to potential exhibitors by offering more favorable terms than the traditional studio release would, and according to Anthony Breznican’s account at Entertainment Weekly, used the example of his own film “Cop Out” to say, “”We want to partner up, man. We won’t screw you over. We won’t be like, ‘You gotta fucking take this piece of shit. If you want ‘The Dark Knight,’ you better take this piece of shit ‘Cop Out.'”

But that’s a double-edged sword. Smith shouldn’t have any trouble booking theaters, but what he might prove troublesome is collecting from them. Whether the quality of “Red State” is more like “The Dark Knight” or “Cop Out,” Smith doesn’t have a continual pipeline of films to keep the exhibitors honest. Looking at one of the best-case scenarios of self-distribution, Mel Gibson’s “The Passion of the Christ” made $370 million in the U.S. and employed the savvy Bob Berney, then at Newmarket, to help bring the film to the public. Ultimately, Gibson’s Icon Distribution had to sue Regal Entertainment to the tune of $40 million after the film was released because they felt the theater chain was holding back on the profits. It’s not likely “Red State” will become a phenomenon like “Passion,” but it certainly wouldn’t be surprising if it fell victim to the same business practices since there’s no incentive, other than Smith’s next (and allegedly final) film “Hit Somebody,” to pay up.

Smith is absolutely right when he suggests anyone can release a film, but that was just as true a decade, if not decades ago as pointed out by Cole Abaius on Film School Rejects, though they rarely have the publicity that Smith can muster. In 2001, I can remember when an indie called “The Debut” played at the local AMC theater and director Gene Cajayon was onhand to greet anyone who bought a ticket for any of the film’s shows during its weeklong run. I imagine he did that at nearly every weeklong run the film had at theaters around the country until it made a tidy $1.8 million under the radar and got a DVD distribution deal with Sony the hard way.

It should be celebrated any time a filmmaker decides to carve out their own path and often it takes a filmmaker with the fame of Smith to lead the way, but in the case of “Red State,” it’s unfortunate that he appears to be claiming the idea as his own.

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Thank Azaria

Best. Characters. Ever.

Our favorite Hank Azaria characters.

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GIFs via Giphy

Hank Azaria may well be the most prolific voice and character actor of our time. The work he’s done for The Simpsons alone has earned him a permanent place in the pop culture zeitgeist. And now he’s bringing another character to the mainstream: a washed-up sports announcer named Jim Brockmire, in the aptly titled new series Brockmire.

We’re looking forward to it. So much so that we want to look backward, too, with a short-but-sweet retrospective of some of Azaria’s important characters. Shall we begin?

Half The Recurring Simpsons Characters

He’s Comic Book Guy. He’s Chief Wiggum. He’s Apu. He’s Cletus. He’s Snake. He’s Superintendent Chalmers. He’s the Sea Captain. He’s Kurt “Can I Borrow A Feeling” Van Houten. He’s Professor Frink. He’s Carl. And he’s many more. But most importantly he’s Moe Szyslak, the staple character Azaria has voiced since his very first audition for The Simpsons.

Oh, and He’s Frank Grimes

For all the regular Simpsons characters Azaria has played over the years, his most brilliant performance may have been a one-off: Frank Grimes, the scrappy bootstrapper who worked tirelessly all his life for honest, incremental, and easily-undermined success. Azaria’s portrayal of this character was nuanced, emotional, and simply magical.

Patches O’Houlihan

Dodgeball is a “sport of violence, exclusion and degradation.” as Hank Azaria generously points out in his brief but crucial cameo in Dodgeball. That’s sage wisdom. Try applying his “five D’s” to your life on and off the court and enjoy the results.

Harold Zoid

Of Futurama fame. The crazy uncle of Dr. Zoidberg, Harold Zoid was once a lion (or lobster) of the silver screen until Smell-o-vision forced him into retirement.

Agador

The Birdcage was significant for many reasons, and the comic genius of Hank Azaria’s character “Agador” sits somewhere towards the top of that list. If you haven’t seen this movie, shame on you.

Gargamel

Nobody else could make a live-action Gargamel possible.

Ed Cochran

From Ray Donovan. Great character, great last name [editorial note: the author of this article may be bias].

Kahmunra, The Thinker, Abe Lincoln

All in the Night At The Museum: Battle Of The Smithsonian, a file that let Azaria flex his voice acting and live-action muscles in one fell swoop.

The Blue Raja

Mystery Men has everything, including a fatal case of Smash Mouth. Azaria’s iconic superhero makes the shortlist of redeemable qualities, though.

Dr. Huff

Huff put Azaria in a leading role, and it was good. So good that there is no good gif of it. Internet? More like Inter-not.

Learn more about Hank Azaria’s newest claim to fame right here, and don’t miss the premiere of Brockmire April 5 at 10P on IFC.

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Flame Out

Brockmire and Other Public Implosions

Brockmire Premieres April 5 at 10P on IFC.

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There’s less than a month until the Brockmire premiere, and to say we’re excited would be an insulting understatement. It’s not just that it stars Hank Azaria, who can do no wrong (and yes, that’s including Mystery Men, which is only cringeworthy because of Smash Mouth). It’s that the whole backstory of the titular character, Jim Brockmire, is the stuff of legends. A one-time iconic sportscaster who won the hearts of fans and players alike, he fell from grace after an unfortunate personal event triggered a seriously public meltdown. See for yourself in the NSFW Funny or Die digital short that spawned the IFC series:

See? NSFW and spectacularly catastrophic in a way that could almost be real. Which got us thinking: What are some real-life sports fails that have nothing to do with botched athletics and everything to do with going tragically off script? The internet is a dark and dirty place, friends, but these three examples are pretty special and mostly safe for work…

Disgruntled Sports Reporter

His co-anchor went offsides and he called it like he saw it.

Jim Rome vs Jim “Not Chris” Everett

You just don’t heckle a professional athlete when you’re within striking distance. Common sense.

Carl Lewis’s National Anthem

He killed it! As in murdered. It’s dead.

To see more moments just like these, we recommend spending a day in your pajamas combing through the muckiness of the internet. But to see something that’s Brockmire-level funny without having to clear your browser history, check out the sneak peeks and extras here.

Don’t miss the premiere of Brockmire April 5 at 10P on IFC.

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Mirror, Mirror

Portlandia Season 7 In Hindsight

Portlandia Season 7 Now Available Online and on the IFC App.

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Another season of Portlandia is behind us, and oh what a season it was. We laughed. We cried. And we chuckled uncomfortably while glancing nervously around the room. Like every season before it, the latest Portlandia has held a mirror up to ridiculousness of modern American life, but more than ever that same mirror has reflected our social reality in ways that are at once hysterical and sneakily thought-provoking. Here are just a few of the issues they tackled:

Nationalism

So long, America, Portland is out! And yes, the idea of Portland seceding is still less ludicrous than building a wall.

Men’s Rights

We all saw this coming. Exit gracefully, dudes.

Protests

Whatever you stand for, stand for it together. Or with at least one other person.

Free Love

No matter who we are or how we love, deep down we all have the ability to get stalky.

Social Status

Modern self-esteem basically hinges on likes, so this isn’t really a stretch at all.

These moments are just the tip of the iceberg, and much more can be found in the full seventh season of #Portlandia, available right now #online and on the #IFC app.

via GIPHY

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