We here at HAPPY PRODUCT INC© are always looking for analytical data about how to make humans HAPPY©. Nikki Finke of Deadline Hollywood asked a group of well-established writers, executives and dealmakers to list the factors preventing originality in Hollywood films, which some believe makes the general movie going population very un-HAPPY©. Here is what they told her:
(Text is Nikki’s, the illustrations were generated by the HAPPY PRODUCT INC.’s STATISTICAL ANALYSIS ENGINE©)
A) An aversion to risk-taking which is a lingering byproduct of the recession and credit crunch. “Studio executives are always afraid of taking risks unless they can point to a big success,” said one writer’s agent. “If a Western did well, they’d want another Western, and they’d get a lot of bad Westerns.”
B) An over-reliance on “branded” properties that became prevalent over the last several years. Rights holders got first dollar gross deals and say over creative issues and release deadlines, even though they don’t know the first thing about making a good movie.
C) The rise of one-step screenwriter deals and sweepstakes pitching (where multiple writers compete for a job by pitching ideas for the same assignment). Several writers admitted to me that when their priority is advancing to the next draft, originality goes out the window. They try to please studio executives and producers who thrive in a comfort zone of sameness.
D) The growing influence of marketing executives in the selection of films that get made. Those executives favor films they know how to sell, which means films they’ve sold before.
The HAPPY PRODUCT INC STATISTICAL ANALYSIS GENERATOR concludes: Take risks, be original, keep your committee as small as possible and give the audience what it doesn’t know that it wants.
I think everyone should see Banksy’s documentary movie about the street art movement EXIT THROUGH THE GIFT SHOP for some reason, but it’s not sure why.
MARK OSBORNE© suspects that in EXIT THROUGH THE GIFT SHOP Banksy pulls off the ultimate con. Or does he? Something is not quite legit about this, but you’ll be puzzling it out for days. It is from the mind of Bansky after all. Brilliantly executed, this doc is a true one of a kind filled with amazingly rare footage of street artists at work.
“Graffiti’s always been a temporary art form. You make your mark and then they scrub it off. I mean, most of it is just designed to look good from a moving vehicle. Not necessarily in the history books. But maybe all art is about just trying to live on for a bit. I mean, they say you die twice. One time when you stop breathing and a second time, a bit later on, when somebody says your name for the last time.”
Check out more of Banksy’s own words on the film and street art in general HERE.
Buy the DVD HERE.
After many years of silence, some of the greatest mysteries surrounding the collaboration that resulted in the creation of the Star Wars universe are finally put to rest by Star Wars and Emipre Strikes Back producer Gary Kurtz.
Geoff Boucher from the LA Times renders this amazing interview filled with tons of forehead slapping revelations that I think all of us Empire die-hards suspected or knew to be true in our hearts all along. Not to say that I didn’t love the toys as a kid, I sure did, but I didn’t know what the true cost of those toys was going to be.
Check out the full article (borrowed from LA Times HERO COMPLEX):
Did ‘Star Wars’ become a toy story? Producer Gary Kurtz looks back [Updated]
Aug. 12, 2010 | 12:00 p.m.
“Star Wars” was born a long time ago, but not all that far, far away. In 1972, filmmakers George Lucas and Gary Kurtz were toiling on “American Graffiti” in their San Rafael office when they began daydreaming about a throwback sci-fi adventure that channeled the old “Flash Gordon” serials as opposed to the bleak “message” movies that had taken over the genre.
“We had no idea what we were starting,” said Kurtz, who was the producer of the first two “Star Wars” films and also a second-unit director. “That simple concept changed Hollywood in a way….”
There was a bittersweet tinge to Kurtz’s voice, and it’s no surprise. This year is the 30th anniversary of “The Empire Strikes Back,” the “Star Wars” sequel that many fans consider the pinnacle moment in a franchise that has pulled in $16 billion in box office and merchandising. But 1980 was also the year that Kurtz and Lucas realized the Jedi universe wasn’t big enough for the both of them.
“I could see where things were headed,” Kurtz said. “The toy business began to drive the [Lucasfilm] empire. It’s a shame. They make three times as much on toys as they do on films. It’s natural to make decisions that protect the toy business, but that’s not the best thing for making quality films.”
He added: “The first film and ‘Empire’ were about story and character, but I could see that George’s priorities were changing.”
This weekend, Kurtz steps back into the “Star Wars” galaxy as a special guest at Star Wars Celebration V, a massive convention in Orlando, Fla., organized by Lucasfilm and expected to draw thousands of fans who will come to buy collectibles, attend panels, get cast-member autographs or even visit the event’s themed tattoo parlor or wedding chapel.
Kurtz’s presence speaks to his vital role in the franchise’s history — he is, for instance, the one who came up with the title for “The Empire Strikes Back” — but the Lucasfilm leadership is already fretting about the Jedi galaxy expatriate’s appearance. They may have good reason; during a recent visit to Los Angeles, the filmmaker, who just turned 70, showed a willingness to speak out against the priorities of an old partner.
“The emphasis on the toys, it’s like the cart driving the horse,” Kurtz said. “If it wasn’t for that the films would be done for their own merits. The creative team wouldn’t be looking over their shoulder all the time.”
No fan of conflict, Kurtz has remained relatively quiet through the years but over coffee on a sunny Southern California afternoon he spoke at length about his lightsaber days.
Like many fans, Kurtz — who characterizes his relationship with Lucas as “professional” — was too invested in the “Star Wars” universe to skip the second trilogy: 1999’s “Star Wars: Episode I — The Phantom Menace,” 2002’s “Star Wars: Episode II — Attack of the Clones” and 2005’s “Star Wars: Episode III — Revenge of the Sith.” (Lucas retitled the three original movies as “Star Wars: Episode IV — A New Hope,” “Star Wars: Episode V — The Empire Strikes Back” and “Star Wars: Episode VI — Return of the Jedi.”) But as he sat in the dark with the follow-up “Star Wars” films, he squirmed in his seat.
“I don’t like the idea of prequels, they make the filmmakers back in to material they’ve already covered and it boxes in the story,” Kurtz said. “I think they did a pretty good job with them although I have to admit I never liked Hayden Christensen in the role of Anakin Skywalker. I just wished the stories had been stronger and that the dialogue had been stronger. It gets meek. I’m not sure the characters ever felt real like they did in ‘Empire.’”
A spokeswoman for George Lucas said he was unavailable for comment.
Kurtz’s sentiments speak to a churning pop-culture debate about the enduring legacy of Lucas and the trajectory of his still-unfolding “Star Wars” mythology. The first trilogy of films ended in 1983 with “Return of the Jedi” and the second trilogy brought a whole new generation into the universe but also left many fans of the original feeling sour or disengaged. A seventh feature film, an animated movie called “The Clone Wars,” was released in 2008, which, along with video games and toys, speaks to a young 21st century constituency that may be only vaguely aware of the 1977 film.
The same passion pulling fans to Orlando also stokes the debate about Lucas and his creation. Alexandre Philippe is the director of “The People vs. George Lucas,” a documentary that just had its West Coast premiere at the Los Angeles Film Festival. He says that Kurtz has become a figure of integrity to the fans who believe that Lucas has followed the wrong path.
Philippe said the departure of Kurtz was a major moment in “Star Wars” history and deeply unsettling to all involved. “The cast and crew were crushed when George and Gary went their separate ways,” said Philippe, who added that Mark Hamill, who portrayed Luke Skywalker, later explained it in broken-family terminology. “He said it was like mom and dad getting a divorce. They were both equally loved and respected on the set.”
For Kurtz, the popular notion that “Star Wars” was always planned as a multi-film epic is laughable. He says that he and Lucas, both USC film school grads who met through mutual friend Francis Ford Coppola in the late 1960s, first sought to do a simple adaptation of “Flash Gordon,” the comic-strip hero who had been featured in movie serials that both filmmakers found charming.
“We tried to buy the rights to ‘Flash Gordon’ from King Features but the deal would have been prohibitive,” Kurtz said. “They wanted too much money, too much control, so starting over and creating from scratch was the answer.”
Lucas came up with a sprawling treatment that pulled from “Flash Gordon,” Arthurian legend, “The Hidden Fortress” and other influences. The document would have required a five-hour film but there was a middle portion that could be carved out as a stand-alone movie. Kurtz championed the project in pitch meetings with studios and worked intensely on casting, scouting locations and finding a way to create a believable alien universe on a tight budget.
“Our plan was to do ‘Star Wars’ and then make ‘Apocalypse Now’ and do a black comedy in the vein of ‘M*A*S*H*,’” Kurtz said. “Fox insisted on a sequel or maybe two [to ‘Star Wars’]. Francis [Ford Coppola] … had bought the ["Apocalypse Now"] rights so George could make it. He eventually got tired of waiting and did it on his own, of course.”
The team of Lucas and Kurtz would not hold together during their own journey through the jungles of collaborative filmmaking. Kurtz chooses his words carefully on the topic of their split.
After the release of “Empire” (which was shaped by material left over from that first Lucas treatment), talk turned to a third film and after a decade and a half the partners could no longer find a middle ground.
“We had an outline and George changed everything in it,” Kurtz said. “Instead of bittersweet and poignant he wanted a euphoric ending with everybody happy. The original idea was that they would recover [the kidnapped] Han Solo in the early part of the story and that he would then die in the middle part of the film in a raid on an Imperial base. George then decided he didn’t want any of the principals killed. By that time there were really big toy sales and that was a reason.”
The discussed ending of the film that Kurtz favored presented the rebel forces in tatters, Leia grappling with her new duties as queen and Luke walking off alone “like Clint Eastwood in the spaghetti westerns,” as Kurtz put it.
Kurtz said that ending would have been a more emotionally nuanced finale to an epic adventure than the forest celebration of the Ewoks that essentially ended the trilogy with a teddy bear luau.
He was especially disdainful of the Lucas idea of a second Death Star, which he felt would be too derivative of the 1977 film. “So we agreed that I should probably leave.”
Kurtz went straight over to “The Dark Crystal,” a three-year project with old friend Jim Henson, whom Kurtz had brought in on the creation of Yoda for “Empire.”
After that he shifted into a lower gear as far as his career and, relocating to England, turned to British television productions. He’s now working on a ramping feature-film project called “Panzer 88” that he says will begin filming later this year and will feature visual effects by Weta, the same New Zealand outfit that populated Middle-earth in the “Lord of the Rings” trilogy.
The producer said that huge films hold little allure for him now and that he is more interested in smaller, more nimble productions that put an emphasis on “human stories.” That might speak to his alienation from the “Star Wars” universe, but when he talks about Lucas and their shared history the stories are still tinted by nostalgia, admiration and affection.
On casting the 1977 film: “We had a lot of people, hundreds, that we saw. It was quick and dirty. You talk to each person, jot down a note or two. Are they a score of five or higher? Do they deserve a callback? On those lists were a lot of interesting people — John Travolta, Sly Stallone — who were great but just not right. I went to New York to do an interview with Jodie Foster, for instance, but she was just too young for Leia. A lot of it comes down to luck and timing.”
On Harrison Ford, who became a Hollywood icon after “Star Wars” but keeps the fervent fandom at arm’s length: “He’s always been somewhat cynical, since the beginning of his career, about everything. In a way he tried not to take notoriety or the fans too seriously. Movies are movies and real life is his ranch.”
On the moment he knew that “Star Wars” was becoming a pop-culture sensation: “On opening day I was on the East Coast and I did the morning-show circuit — ‘Good Morning America’ and ‘Today’ … in the afternoon I did a radio call-in show in Washington and this guy, this caller, was really enthusiastic and talking about the movie in really deep detail. I said, ‘You know a lot abut the film.’ He said, ‘Yeah, yeah, I’ve seen it four times already.’ And that was opening day. I knew something was happening.”
Kurtz isn’t sure what to expect in Orlando but he says that “Empire” may be the shining moment of his career, the confluence of commercial and artistic success. His work as a second-unit director and his hands-on efforts with the visual effects make him especially proud.
“I took a master class with Billy Wilder once and he said that in the first act of a story you put your character up in a tree and the second act you set the tree on fire and then in the third you get him down,” Kurtz said. “ ‘Empire’ was the tree on fire. The first movie was like a comic book, a fantasy, but ‘Empire’ felt darker and more compelling. It’s the one, for me, where everything went right. And it was my goodbye to a big part of my life.”
– Geoff Boucher
Wow. That’s all I can say. I would totally like to buy this man a beer.
The HAPPY PRODUCT INC’S STATISTICAL PROCESSING MAINFRAME has determined that Master Storyteller Ira Glass of THIS AMERICAN LIFE has made some very insightful videos on the subject of storytelling. Analysis of the talented human’s methods and theories will surely result in success.
Human factory employee MARK OSBORNE© claims that THIS AMERICAN LIFE on NPR is probably the most consistently engaging and entertaining radio ever. Ira Glass was interviewed about what he’s learned about making such good radio and we here at the HAPPY PRODUCT CORPORATION found that almost all of it applies to story telling on film as well. Check these videos out for some excellent insight. Part #3 is by far the wisest bit of encouragement, where Mr. Glass explains the gap between your good taste and your ambition to do great things, and the tremendous amount of painful work that it takes to close that gap. Excellent advice.
Part 1 – The Basics of Storytelling
Part 2 – On Getting Started
Part 3 – On Good Taste
Part 4 – Beginner’s Pitfalls
To check out the radio show, go to THIS AMERICAN LIFE: www.thisamericanlife.org
I think that you must watch this very cool video for the Japanese Popstars featuring Green Velvet for the track LET GO. It is very handmade and very interesting. We know humans like things that are obviously made by other human hands, so statistically speaking, you will like this.
The Corporation that created this music video has a website that can be found here: www.davidwilsoncreative.com
Apparently, this music video was created in only 20 days, a fact the HAPPY PRODUCT STATISTICAL PROCESSING ENGINE© finds staggering and impossible. Even the fastest factory workers under the most extreme conditions cannot turn out HAPPY PRODUCTS that quickly. Our analysis? The human that made this music video is lying. Either that or he is a very good and hard working factory worker with magical powers.
Check out how the human behind the process, someone named David Wilson Creative, lies about how it was made. Either that or he is using some of his magic to glamour us.