Dizzy Pursuit Evaluation

KEY MEDIA COVERAGE AT RAINDANCE WORLD PREMIERE 3 & 4 October at the Vue Piccadilly, London

Campaign and Evaluation by tpr media consultants August to November 2018

DIZZY PURSUIT AT RAINDANCE 2018 3 & 4 October at the Vue Piccadilly, London

‘It’s a vital and, most importantly, enjoyable piece of independent cinema’ ★★★★ Loose Lips ‘This hilarious comedy playfully explores the creative process of filmmaking.’ ★★★★ Shadows on the Wall

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Arthouse v blockbuster Will Hollywood’s superheroes wipe out serious movies?

From Mamma Mia to the Marvel universe, blockbusters have now dominated our screens for months. But claims that this means cinema is dumbing down are patronising nonsense, the top Hollywood director Joe Russo tells Vanessa Thorpe

I

n Dizzy Pursuit, an offbeat comedy that will premiere next month at the Raindance film festival in London, a series of unwanted family guests, a cockroach infestation and generally cramped living conditions all contend with limited production funds to prevent an aspiring young American film director from making his artistic mark.

The film amplifi es the difficulties of small-scale independent production for comic effect, but for many of those watching at the festival, or who are attending the 75th Venice international film festival this week-

end, the joke will be painfully felt.

Film-making without the backing of a big Hollywood studio is an unglamorous struggle.

And yet figures released last

week showed how lucrative the cinema business has been recently. A run of carefully timed blockbusters, including Mamma Mia! Here We Go Again, The Meg, The Equalizer 2 and Incredibles 2, resulted in a 94% increase in last weekend’s takings at British cinemas compared with last year. And this sort of improvement has been evident all summer. Despite the heatwave and the World Cup, cinemagoers have been turning up in larger numbers. The same trend has been seen across the US and Canada, where 2018 has set a record of $11.6bn in box-office takings.

So the space between two apparently separate film economies, running side by side, has never gaped so wide: one half has delivered a string of comic-book heroes and popular remakes to commercial success; the other has provided fresh and more

thoughtful fare for the critics and the arthouse crowd with films such as BlackKkKlansman, The Children Act, Apostasy or Paweł Pawlikowski’s Cannes prize-winner Cold War, which opens this weekend.

As Vanessa Redgrave said last week, the morning after she picked up a Golden Lion award for lifetime achievement at Venice, funding is heavily slewed in favour of the comic-book franchises, sequels and the kind of remakes once seen as suitable for children and teenagers, while serious independent film makers must battle to find investors.

Joe Russo, who, with his brother Anthony, is the co-director of Captain America: Civil War, and of this year’s even more profitable Avengers: Infinity War, has heard the allegation that he is infantilising his audience. And he doesn’t like it.

Speaking from Los Angeles this

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weekend, he said: “That is just reductionist and it sounds like sour grapes. We have a lot of unsavoury elements and reductionist talk around now, and we really don’t need any more of that pejorative attitude. Good film-making is always about trying to find the emotional truth. Why crap on one major section of the audience because they like fables and react to that kind of storytelling?”

It is true Russo has a vested interest in comic-book extravaganzas, but as a leading director who once had his own big break at the Slamdance festival, he is also prepared to pay his dues. He and his brother have produced Dizzy Pursuit after spotting director Jay Alvarez’s work at Slamdance, just as director Steven Soderberghfirst spotted the Russos in 1997 and produced their work (Welcome to Collinwood) with George Clooney.

In order to finance Alvarez’s film, the brothers launched a crowdfunding campaign, offering fans of Marvel Universe the opportunity to visit the set of Infinity War. “Jay’s film was imaginative, and I thought he had an ear for a stylised kind of dialogue I had not heard since [the director] Whit Stillman,” said Russo.

The British film industry analyst Charles Gant is also unpersuaded by the idea that the industry has split and that only blockbusting franchise films like those of the Russos will survive. “The award season tells you a different story. The difference is that those prestige films that win acclaim are now rarely being fully financed by one studio as they once were. So it is just more complicated to get them made,” he said.

And, of course, any talent that emerges in one sector will often move between the two worlds.

A film director such as Alfonso Cuarón, for example, who has just taken his new film Roma to Venice, is also the director who made the space thriller Gravity, an Oscar win-

ner and a box-office hit.

“It is true that in north America this summer the number of films based on original intellectual property is disappointingly few,” said Gant. “but those original films that do get made don’t all do badly. And summer is only half the story anyway.”

Gant also points out that last year’s Darkest Hour, with an Oscarwinning Gary Oldman as Winston Churchill, made more than £20m in the UK, taking more here than the Star Wars outing Solo.

What is more, Gant adds, a summer blockbuster is not always a sequel or a remake, as The Meg has proved. And big studios in Los Angeles are always on the lookout for new directing talent from the indie world. “They would rather take a chance on one of these names, say someone like Rian Johnson, who made Looper [and went on to direct Star Wars: The Last Jedi], because they need fresh ideas. A box-office success is usually a skilful blend of the familiar and the new.”

For Screen International’s Americas editor, Jeremy Kay, the gulf between the commercial prospects of arthouse films and tried and tested studio “tentpoles” has been evident for years. Yet he agrees this “gulf” has come into sharper focus because of the studios’ focus on mostly franchise properties, together with the emergence of streaming platforms.

“There is little appetite for risk at the studios,” said Kay, “and while there are always exceptions, it’s extremely hard for independents to cut through the cacophony of mainstream cinema and compete.”

For Kay, the starry lineup at Venice and at the Toronto festivals, where new work premiered includes renowned film-makers such as Cuarón (Roma), Damien Chazelle (First Man), Bradley Cooper (A Star Is Born) and Yorgos Lanthimos (The Favourite), complete with their A-list casts, would make anyone wonder

whether festivals should be doing more to champion true “discoveries” made by relatively unknown filmmakers. “Some do more than others but it’s still incredibly hard for the backers of these films to make a splash at a festival,” he said.

R

usso ably defends the superhero glut as part of a wider, inevitable drive towards spectacle. It is, he believes, a response to the competitive entertainment market. “In this digital age, the only reason to go to a movie theatre is for the effects and the experience. There has to be an element of fomo (“fear of missing out”) about it. That is what drives social media interest in a film,” he said.

“But there is always a place for smaller stories which have a different pace,” he said. “It depends what you want to do as an artist. It is a function of the industry that smallscale storytelling supports the rest of the industry by feeding it with talent. And we owe a karmic debt to that world. We came from that world and we know it.”

He and his brother now run their own studio, where they support new talent and have recently made a film in Arabic about Mosul, the Iraqi city.

Last month it was not just a top creative name like Russo’s that was responding to the great chasm opening up between the two worlds of cinema. The Academy of Motion Picture Arts and Sciences itself, the Hollywood organisation behind the Oscars, also moved to create a new awards category “for outstanding achievement in popular film” to help bridge the gap. It also brought forward the date of the ceremony to early February and will shrink the telecast down to three hours.

Many observers of the film-making world detect in this a panicked reaction to Hollywood’s growing alienation from the art of cinema. It is not yet clear how this new prize category will be judged, whether on

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budget or box office, but its arrival may also mark a less noble attempt to draw money from the big, moneymaking studios back into the institution of the Oscars.

The Children Act The adaptation of the Ian McEwan novel, starring Emma Thompson, did well but is not in the top 10. Its initial earnings were £517,378.

‘In north America, the number of films based on original intellectual property is disappointing’ Charles Gant, analyst Now showing …

Summer blockbusters Mamma Mia! Here We Go Again The Abba musical’s box office is up to t £58.7m in Britain after adding £1.7m last weekend, taking it to £ within w £10m off the first film’s total.

Incredibles 2 In The Pixar animation has taken more than £51m in seven weeks. m

M Mission: Impossible – Fallout Fa Tom Cruise’s latest action outing has made £22m in five weeks and is the biggest earner of the series in Britain. serie

The Meg The shark s shocker has swallowed more than £11m in three weeks.

Christopher Robin The Disney film stayed top of the British box office over the bank holiday weekend and has made £7m so far.

Summer awards contenders BlacKkKlansman Spike Lee’s movie has made £1.2m so far and this weekend goes into more multiplexes. It has already beaten his 1992 film Malcolm X.

ABOVE Rachel Weisz in The Favourite, which premiered at Venice.

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LEFT Samuel L Jackson as Nick Fury from frrom the rece ent recent all-con nquering all-conquering Avengers Avenge ers films.

B BELOW M Mark Ruffalo, w p y the who plays Hulk H in the M Marvel Avengers frranchise. franchise.

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RIGHT Chris Evans, who has appeared as Captain America in a number of the recent Marvel movies.

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RIGHT Chadwick Boseman as the Marvel ck superhero Black Panther.

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LEFT Scarlett Johansson n Avengers: in Avenger Infinity W War.

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BELO BELOW Mamma Mia! Mam Here We Go Again, Again one of many sequels that dominated the su summer.

RIGHT Chadwick Boseman as the Marvel superhero Black ck Panther.

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Working with the Russo Brothers: A Conversation with Jay Alvarez for DIZZY PURSUITthefancarpet.com/interview/working-with-the-russo-brothers-a-conversation-with-jay-alvarez-fordizzy-pursuit/

Reviews

TV, Radio & podcasts Interview with Jay Alavrez by Nick Hilton is available on CineVue and other selected podcast platforms audioboom.com/posts/7026239-how-tomake-a-modern-mumblecore-hit-with-jay-alvarez

Interview with Jay Alavrez on Insanity Radio 103.2FM ‘Visualising Radio Since ‘17’. Their footage was also released on the Turn Up BC socials. https://youtu.be/pHy-ca_5BD8

Pre-awards coverage

• www.ukfilmreview.co.uk/single-post/Raindance-Film-Festival-Announces-2018-Line-Up

Elliot Grove, Raindance Founder, “Independent film matters more than ever. Our varied programme of the very best of independent, uncensored cinema has the power to transport from our place of overwhelm – breaking down barriers and allowing us to understand how people with very different circumstances from all over the globe live, work and play. We are proud to give a voice to the outsiders, the rebels, the dreamers and the poets and to celebrate films of dissent, which challenge society.”

The festival received a record-breaking number of submissions (8929 total) this year from over 118 countries, the highest it has received to date and will screen almost 250 projects – including features, shorts, webfest, VR and music videos selected by our team of 20 programmers, who watched over 4000 hours of footage. A champion of independent filmmaking, Raindance is the largest independent film festival in Europe and has consistently been a great supporter of the UK film industry.

Along with Judi Shekoni, this year’s competition films will be judged by a panel of a number of eminent industry professionals such as writer John Harris Dunning, filmmaker and music producer from Japan Mike Rogers and Alex Hoffman (Global Executive Producer, Head of Music for VICE UK) plus high profile supporters such as Michael Flatley (Blackbird), Ray Winstone (The Departed, Indiana Jones and the Kingdom of the Crystal Skull), Jonathan Pryce CBE (Game of Thrones, Tomorrow Never Dies, Pirates of the Caribbean), Carmen Ejogo (Fantastic Beasts and Where to

Find Them, Selma), Adrian Lester OBE (Hustle, The Day After Tomorrow), Aisling Loftus (Mr Selfridge, War & Peace), Gareth Edwards (Rogue One: A Star Wars Story, Star Wars: The Last Jedi), Juliet Stevenson CBE (Truly, Madly, Deeply, Bend It Like Beckham), Rufus Sewell (Dark City, A Knight’s Tale), Greta Scacchi (Presumed Innocent, White Mischief), Sienna Guillory (Resident Evil: Retribution, Resident Evil: Apocalypse), Jenny Agutter (Logan’s Run, An American Werewolf in London, The Avengers), Annabelle Wallis (The Mummy, Peaky Blinders), Laura Carmichael (Man in an Orange Shirt, Downton Abbey), Karen Bryson (Shameless), Genevieve O’Reilly (Rogue One: A Star Wars Story, Tin Star), Madeleine Mantock (Charmed, Into The Badlands) and Rupert Evans (The Man in the High Castle, Hellboy).

In recognition of the outstanding achievements of this year’s filmmakers, the jury will watch each of the films nominated in the following categories: Best International Film, Best UK Film, Best Director, Best Performance, Best Script, Best Cinematography, Discovery Award and Best Documentary.

Films nominated for Best International Film include the Opening Night film,Princesita (Chile/Argentina/Spain); Israeli director Veronica Kedar’s Family (Israel/Germany); Kosai Sekine’s debut feature-length film Love at Least (Japan), a radical, stupid and very real love story; Sophie Fillières’ When Margaux Meets Margaux (France); Rene Eller’s We (The Netherlands/Belgium); directorial debuts from the Far East include Aya Igashi’s A Crimson Star (Japan) and Fog Forest’s The End of Wind (China); in Sean Hamish’s Saint Judy (USA), executive produced by Alfred Molina and starring Michelle Monaghan, we follow episodes of a fictitious regime change when, for an exceptional moment, power is held by ordinary people; Christopher Greenslate’s Saviours (USA) follows a young woman who embeds herself in a white power group in order to find her adoptive African-American mother; Sara Forestier’s M (France) is an opposites attract love story of Lila and Mo. Films vying for the Best Documentary Award include Ballet Now (USA), directed by Steven Cantor, executive producers include Elisabeth Moss (Mad Men, The Handmaid’s Tale), which follows dance sensation Tiler Peck is a behind-the-scenes look at the creative process involved in curating a three-day dance series, seeking to push boundaries; Editor-in-Chief of Kino-Zeit, the largest German-language publication for arthouse cinema, Beatrice Behn and René Gebhardt have collaborated on The Artist & the Pervert (Germany), a groundbreaking film documents the lives of a renowned composer of symphonic music, descended from Nazi ancestors and his wife, an African-American kink educator, who engage in a controversial role-play game between a white master and a black slave; Jeff and Michael Zimbalist’s Nossa Chape (Brazil, Colombia, Spain) tracks the rebuilding of the Chapecoense football club in Brazil after an airplane crash left only three players alive; Denali Tiller’s Tre Maison Dasan (USA) is an intimate portrait of three boys growing up, each with a parent in prison; Rumble: The Indians who Rocked the World (Canada), directed by Catherine Bainbridge, is a feature documentary about the role of Native Americans in popular music history.

Other noteworthy films playing at the festival include Jay Alvarez’s Dizzy Pursuit (USA), exec produced by Anthony and Joe Russo, where a young couple receives unwanted visits from family members while trying to cast their independent feature film; Peter Medak’s The Ghost of Peter Sellers (Cyprus), is a tragicomic documentary about young director desperately tries to complete a film on the open sea, while battling its star actor, who is trying to sabotage the film; directed by his wife, Saskia Boddeke, The Greenaway Alphabet (Netherlands) is a deeply personal and powerful portrait chronicling conversations between the renowned filmmaker and his daughter.

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