They should have done this much sooner. Have you all seen the devastation of the blown dam since last night? It’s an ecological and human disaster that will last decades and is likely to mean worldwide food shortages in the coming months. What is happening in Ukraine is affecting us all. The poison needs to be stopped.
It’s likely too soon. The release is this year. It can take over a year to find some type of distribution. https://www.justwatch.com/us/movie/dry-ground-burning
That’s not what they said or even implied. They referred to the Vision as a stand-alone computer. I guess we’ll all find out in January when we buy it for ourselves!
Uh, that’s what they say here, on the official site. The thing is a screen enhancement.
You are misunderstanding their point. Would you call the iPad a screen enhancement?
How would you define the Vision Pro?
For me, it’s more like a touch screen option because you are essentially expanding the view or changing the view of the screen within its interface. Is it like the iPad in functionality? No, because it doesn’t seem to have a built in type pad for gesture typing. It still requires the computer connection to be traditionally productive, like typing in spreadsheets, etc. Though it does appear to have voice capabilities that could render AI text, but then how would you edit that text without additional attached apparatuses? Maybe there will be a voice function for that added?
With my iPad I can be all-inclusive, though if I want to be more productive I do add a keypad accessory. The Vision Pro’s focus seems to be more on the AR/VR screen “canvas,” as they mention on the website and in the promo videos.
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Most actors are used to not having a job. They can strike forever. I say that SAG-AFTRA should get EVERYTHING they ask for.
they're asking for some legit things but also can we just acknowledge how terrible things have to be for them to put boundaries on fucking self-tape requests? some of those turnarounds sound like a fucking nightmare
I don’t think they should ask to be paid for auditions unless they are going to now be “performances.” That would have terrible consequences for the acting community, and actually for everyone, especially indie projects.
But the isolation of self tapes, the number of pages and short turnaround, the turning of agents into quasi CDs who spend more than half of their day doing quality control on tapes (it’s stupid and should be stopped), the necessity of finding a reader and doing perfect lighting and setup — it’s anti actor. They’ve turned us into machines instead of artists.
Two years ago, I sat in a zoom with an agent from one of the big 5 who said he would fire any f’cking client who couldn’t turnaround a 10-page audition in 4 hours and to his satisfaction, completely memorized, because he f’cking worked too hard to review all those tapes.
While I have tremendous respect for Gail, I do think the upcoming generation does not support the status quo.
It shouldn’t be normal, as she suggests, to have to audit your employer in order to get paid. It shouldn’t be normal, in the age of digital libraries, to have your creations dumped in the trash bin just because they didn’t reach a 20% profit margin for an extended time.
That said, she is right on most other points, especially the parts about how we need happy creators who can make a solid living with their craft.
The episode also brings up another point about the strike endangering theatrical. And I can tell you that next summer’s theatrical is already pushed to fall releases. There will be a huge post backlog too, which will make it worse the longer this goes on.
Note to the companies: if you’re only about 1-2 upcoming quarters where you please the hedge-fund minded shareholders, and then everyone cashes out, then kill us all with the strikes (including actors here) and show who you really are. But I wager there’s at least a couple of studios left whose heads still have a conscience and see a business opportunity at the same time, to draw in the best of the creatives and change the balance of Hollywood power. This only happens once in a blue moon. And I’m talking to you, Apple.
Anyone have a transcript or can summarize what is said? It’s too early to have a rage aneurysm listening to producers talk about why we don’t deserve a living wage so I want to know what I’m getting into by listening lol
The companies, not “the producers” — a big difference. See Deadline’s Strike Talk “Week Five.”
Miss Saigon -- I saw its revival on Broadway a few years back, before COVID. And I really hadn't looked into it other than that I knew it was a well-known musical. I was shocked. It was racist, misogynist, and really outdated in terms of what we now know about the war and also in representation of women and the Vietnamese people.
Some musicals/plays should just be retired -- https://www.theatreartlife.com/acting-singing/is-miss-saigon-problematic-uk-theatre-debate-ensues/
Worth noting that hiring a director for a certain “vision” is, itself, a producer’s choice to bring a film together.
There are a lot of reasons a producer might hire a certain director. Having a “vision” is probably low on the list.
Don’t get me wrong…Vision is good and focusing on it gives a great mystique to the process.
However, the ability for a director to bring good ideas, add perspective, communicate, organize, stay on schedule, build consensus, build a production team and work effectively to deliver on budget and by deadline are more important to most producers.
the ability for a director to bring good ideas, add perspective, communicate, organize, stay on schedule, build consensus, build a production team and work effectively to deliver on budget and by deadline are more important to most producers.
Thanks for this note and articulating this point of view which, at least on the particular film I'm on at the moment, closely aligns with how the production will need to go. The film vision is driven by the producer/writer. And this doesn't mean that the director isn't integral and critical to the project, but the director is not the primary creative vision force. This producer/writer is doing a careful dance of how much to steer the director.
As a general industry comment, so many directors, at least those still doing films, are director/writers. It used to be more common that the director and writer were different people, and there would be more trade/craft discussion about that relationship. It's harder now to find modern examples.
Completely depends on the project and producers. Some make creative choices some don’t.
This is a project in which the producer/writer is hands on as a creative producer and has tremendous vision but doesn’t want to crush the director in the process. The balancing is tough.
I'm actually curious about the details of the soft prep pay provision. Because, depending on how it is formulated, it could kill an important part of the indie film market (which plays into the companies being the only game in town and actually kills opportunities for talent development and creates a further unsustainable business).
Soft prep often requires development money, and development money has been nearly impossible to come by for indie film. It would also further undermine writers who are not directors who simply sell a project without being a director; translation, it would make nearly all indie film HAVE to be a passion project by a writer/director (and passion projects are usually very small budget and not very commercial).
Essentially, the DGA deal could kill what's left of the lower-mid-budget films that are indies (and which can't find development money; this type of money is very risky for the investor and further complicates the chicken/egg problem for the producer), giving the companies and tentpoles even more marketshare AND killing off opportunities for rising talent. I mean, you can't do a tentpole movie without learning how to do lower-mid-budget films first.
It's not that I want a director to do something for free, but this provision could shoot everyone in the foot if not looked at from not only a big picture but also tiers of budgets and types of productions (a studio film can afford this, an indie cannot).
Trophy Case (2)
Four-Year Club
