And, finally, there is now the possibility of distributing and marketing through film-on-demand companies. Gone are the days when the studios had complete vertical integration: ownership of the content, stars and directors on contract, financing power and control of the distribution channels. What has not changed in this century-old industry is its underlying premise: that people care about and are moved by stories. The dramatic arc of a life, if told in a compelling way, can touch even the most cynical of viewers. Perhaps because character determines the outcome of any given story, and the fact that the human character is infinitely unpredictable, we never really know where a story will lead. But we wonder, and that keeps us watching.
historic photographs : courtesy sun valley company
/ napolean dynamite photograph : craig wolfrom
a public chord, they can be grossly profitable as well. “Iron Man 3,” for instance, chalked up a profit of $432.6 million. When Stewart was an executive at Warner Brothers, they were making 25 to 30 movies per year. Now, most studios make eight to 10 per year. Both the quality and quantity of the fare is ever more limited. At the same time, advances in technology and innovative financing and distribution models are driving a second, more expansive storyline. Today, over 80 percent of movie screens across the globe are digital. This reality removes the burden and cost of making a movie with film. Digital cameras, iPhones, tablets, laptops and other devices offer highquality audio-visual, editing and mixing capabilities at relatively low costs. The era of the micro-budget film is dawning. As Stewart pointed out, “If you can make a film at the right price point—as the Internet is expanding and pay-per-view is expanding—there is a growing value in content. And that’s exciting.” What’s more, with a range of financing options available— debt financing, equity financing, crowd-source funds and pre-sale agreements—the possibilities for aspiring filmmakers have expanded considerably.
Clint Eastwood breaks the Hollywood mode and films “Pale Rider” (Warner Brothers) on location in the Boulder Mountains north of Ketchum.
“Dark Horse” (Republic Pictures International) directed by former local David Hemmings, stars Ed Begley, Jr., Mimi Rogers, Ari Meyers and Donovan Leitch, with scenes filmed in Ketchum (at Louie’s and Creekside Bar, both now gone), as well as in Picabo and over Trail Creek.
“Town & Country” (New Line Cinema), starring Warren Beatty, Diane Keaton and Nastassja Kinski, becomes the last big budget movie to be made in Sun Valley.
“Napoleon Dynamite” (Fox Searchlight Productions), which was an indie film shot in 22 days and edited on producer Jeremy Coon’s Macintosh using Final Cut Pro, becomes a cult classic. Jon Herder was reportedly paid $1,000 to play Napoleon Dynamite (the film grossed over $40 million in the U.S.). It features the longest cast credits in movie history—all 181 student extras were listed by name in the closing credits.
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