Francis Ford Coppola: You guys... know it’s me, right?

The only reason the VFX crew didn’t leave Episode 9 is ILM’s legally-binding suicide pact.

There was lots of stuff in there that I really, really liked, but it was such a chore to actually watch it that I only got half way through.

“We had access to too much money, too much equipment, and little by little, we went insane.”

I don’t know...a Coppola production with a completely chaotic, stressful shoot that goes wildly over budget amid grandiose proclamations? I don’t see that leading to a very good film.

Driver worked on Star Wars. He knows chaos-on-the-set when he sees it.

Relative to that debacle there’s no news. He’s not in a jungle, he’s not risking financial ruin, he potentially has a completed script, and Forrest Whittaker-crazy is completely different from Marlon Brando-crazy.

I really wanted to like this, but it was so.

An important part of the story is that he bought a pig as a pet, not understanding that they grow up to become regular sized pigs.

There’s no way a restaurant like this is doing 100 covers a night.  This is NOT a Wendy’s.

How many people do they serve per week? How many staff hours does it take to prep those meals? How much are staff paid?

It’s a lazy assumption to think that $500/plate should mean they’re rolling in it. There’s a reason restaurants go out of business so frequently.

“Nobody wants to work anymore. I mean, these beetles aren’t gonna fruit leather themselves.”

People are trying to recoup money from movies made in 1928. As of Jan 1st, movies made in 1927 or before are public domain, including the first talkie, “The Jazz Singer” (warning, blackface). Copyright is weird.

According to Sony they're still trying to recoup the money they spent making Men in Black.

Really? Do some people still be trying to recoup money spent for a film released in 1978?

Music clearance is a big one. I know in Dawn of the Dead’s case, it’s because the producer sank a lot of money into a 3D conversion of the film, right as 3D had peaked, and in order to recoup the sunk cost from that largely fruitless endeavor, his asking price to license has been very high. Criterion, for example, has…

Seriously, one of the best soundtracks for me growing up. If you don’t fall in love with Johnette Napolitano doing Everybody Knows with Concrete Blonde, you are tone deaf. It’s also where I got my first taste of the Pixies (I still love Wave of Mutilation and consider it the preeminent Rainy Day Song) and the Cowboy…

Isn’t the explanation why many of these movies aren’t on streaming is that getting the music clearances for the films on streaming would cost more than the revenue they would generate?

I love Pump Up the Volume. The soundtrack introduced a young me to Concrete Blonde and my life hasn’t been the same. 

ChatGPT Wrote a Terrible Gizmodo Article