When the multihyphenate attended the Oscars as a nominee for directing 1960s Sons and Lovers, he was competing with the likes of Billy Wilder and Alfred Hitchcock, who was seated next to him. Hitch looked at him and says Youre a cameraman, says McCall. So Cardiff went from being someone a director like Hitchcock could work with to somebody whos competing for jobs, McCall adds. Prestige and compensation also figure into the equation. Freddie Francis (Tales From the Crypt as a helmer; The Elephant Man as a lenser) once told me: We didnt get paid very well as d.p.s; I wanted to make more money, McCall says. But the commitment of ones life that comes with being a director can cancel out those gains, says agent Gregg Dallesandro of Sheldon Prosnit, who reps cinematographers. If youre a director developing a project, youre talking about years of time in script development, casting, locations, he notes. And for many cinematographers who are used to being constantly busy on other peoples films, all that prep time can be a drain on the spirit. Its a very difficult thing for cinematographers who love the set and love the kind of creative chaos and energy of being on set, says Bailey, whos admittedly ambivalent about his own directing experiences. Its hard to think about giving all that up to deal with all the logistics and the negotiations you go through to be a director. Adds Deschanel: If youre a shooting addict, like me and a lot of other cinematographers, theres something exciting about going from one project to another. Directing is a different mentality, because a lot of it is behind-the-scenes work that needs to be done in order to get a project off the ground. DAmecourt points to leadership as a key skill a d.p. needs to be a good director the ability to create a certain atmosphere on the set and to communicate ideas forcefully. The person really has to be extroverted and charismatic and be able to tell a story in a really convincing way, says dAmecourt. Because when you send an accomplished d.p.
James Franco on small versus big movies, and why he digs Instagram
And that is certainly the case when it comes to movie rentals. Plenty of people have long abandoned their Blockbuster membership and shifted from renting discs to streaming shows Netflix now has almost 30 million paying members but plenty havent. In households where the TV is still king (and not connected to a computer or the internet), DVD rental is still going strong. Take Redbox, which rents DVDs from its more than 43,000 vending machines located in grocery stores across the country. Stock in its parent company, Outerwall Inc., is down 12.5% today after it issued updated guidance last night, lowering estimates for revenues and earnings. A big reason for the downward revision was rentals at Redbox were not as high as expected. But even then, they were pretty high : Rentals for July and August grew year over year 13.4% and 15.7% respectively, with July representing Redboxs best rental month in its history, with approximately 74 million rentals. Redbox continues to expect both rentals and revenue per kiosk to increase compared to comparable periods in 2012. In addition, unique credit and debit cards used in July and August increased 11% year over year, while rental frequency improved in July and August compared to the same periods in 2012. 74 million rentals in July. Aside from working on an old-school TV setup, Redbox rentals can be a pretty cheap option compared to whats available online: $1.20 a night for one of their discs, compared to $2.99 upward for a streaming movie from places like Amazon or Apples iTunes store. Netflix subscriptions cost $8 per month, although that gets an all-you-can-eat streaming buffet. Redbox doesnt see its customers jumping ship anytime soon, regardless.
Directing Movies: Few Know More Than the Cinematographer
Franco was at the Outremont Theatre shooting a scene in which the characters played by him and Marie-Josee Croze go to see a Patrick Watson concert. There are similarities. You usually have a camera. You usually have other actors, unless its 127 Hours. You usually have a script, though some movies like This Is the End have a lot of improvisation. But there are essential things whether its a large or small movie. What I try to do is when I sign on to a movie now, I look at what the director wants to do and also at the kind of film Im entering. So for example, two movies that came out within weeks of each other were Oz the Great and Powerful and Spring Breakers. Very different movies. Just a little bit, I chimed in. With Oz, its a Disney film, and theres a tacit understanding that everyone on that set has because its a Disney film. It would be foolish and stupid of me to go in there and say I want to do some stuff like Spring Breakers on this set. It mightve been cool, suggested one of the ink-stained wags, to laughs all round. Yeah wasnt Spring Breakers a remake of Wizard of Oz joked another journalist. Yeah of course you could find similarities, admitted Franco. Two fantasy worlds. Then he got serious.