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on audiovisual translation, subtitling, and the French & American film industries

Personal sidebar: ‘The Town’

'The Town' promotional pic

'The Town' promotional pic

Yup, you read that correctly.  Though the film is not suffering financially (far from it), I was compelled to recommend this film as a writer for not only how well it succeeds within its genre context (gangster/bad guy POV and redemption), and as an action film, but ultimately the way it combines a personal story with a thrilling ride (no giveaways here, folks, you’ll have to go out and see it).

Earlier this summer I went to a seminar sponsored by the Writers Guild Foundation, where a number of established film scribes indirectly channeled established, name-brand actor complaints about the lack of meaningful roles, as Hollywood churns out more films about machines conflicting with people, versus good old-fashioned people versus themselves.  The Town is a rare film that succeeds at showing both conflicts in a very compelling way.

Filed under: divers, US film industry, , , , ,

If You Can’t Beat ‘Em: The Sequel

The synergy of distributors, agents and producers joining forces is even more marked on the TV side in France, as witnessed at the recent TV France International sales meet in Biarritz.  Several major projects, including a Versailles drama to be written by Mad Men Co-Executive Producers Andre and Maria Jacquemetton, assembled financing through a variety of continental and international partners.

Moreover, a renaissance, if only looking at numbers based on the previous two years, seems possible for French TV drama.  Producers are reaching outside the (hexagonal) box, drawing on U.S. talent to stir things up in what has traditionally compared poorly to the ever dynamic and resurgent French film industry.

Filed under: French film industry, , , , ,

If You Can’t Beat ‘Em: Brave New World of French film sales

This one article from Variety is a great tutorial in the ups, downs and sideways of French film distribution today as seen through the prism of Toronto.  The upshot is inevitably the end when Régine Hatchondo, head of Unifrance, utters the ‘V-word’, but it’s nevertheless fascinating to see how, knock-on-wood, the market for character-driven French (and other national) and indie content seems to be coming back (even with a bidding war for Werner Herzog‘s 3-D doc about French cave art, no less).

Filed under: French film industry, VOD, , , , , ,