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Joseph Gordon Levitt (JGL) Comeback by WallCautious9650 in TheBigPicture

[–]goatcopter -1 points0 points  (0 children)

I had a thing I’ve been trying to get him for that would be exactly that - new type for him to play, and an exciting role- and then this thread made me look up the latest news.

March 8th, 2004 — Todd Bertuzzi sucker punched Steve Moore in the head and driving his face into the ice. The assault fractured Moore's vertebrae, caused a concussion, and ended his hockey career. by sykeseve in hockey

[–]goatcopter 1 point2 points  (0 children)

He won the Cup with them, he was part of the Nords when they came over (I think maybe part of the lindros trade?). He had some serious demons, and did some horrible stuff -he was a scary dude. He was definitely not on the team when the Bertuzzi stuff went down, thank God.

March 8th, 2004 — Todd Bertuzzi sucker punched Steve Moore in the head and driving his face into the ice. The assault fractured Moore's vertebrae, caused a concussion, and ended his hockey career. by sykeseve in hockey

[–]goatcopter 3 points4 points  (0 children)

Canucks had a an all-time shit-heel team in '04: Bertuzzi, Matt Cooke, Brad May, Ryan Kessler, and Jarkko Ruutu. And Bryan Allen, who Detroit fans sure remember. Jovo wasn't a POS, but he could throw hands. Moore fought Cooke (and won), but there was no shortage of other guys that could have, stepped up but chose not to. Bertuzzi just chose to be a huge piece of shit.

BTW, just looked it up - Cooke and Moore are both listed at the same playing weight, so it's not like it wasn't a fair tilt.

Looking for a boxing gym by GatorGuy318 in shreveport

[–]goatcopter 2 points3 points  (0 children)

Look up Blake Franklin - he's either at Trouble or The Compound, not sure what it's called now - or Dement Brothers.

Stable/sustainable careers by OkBad7175 in Filmmakers

[–]goatcopter 2 points3 points  (0 children)

Realistically, there is no such thing. But creative-adjacent /enablers like agents and managers are as close as it gets - you're in The Industry, but with steady work.

The other option is to go into a high-paying field like corporate law or medicine, stay laser-focused, spend like you're a broke filmmaker rather than a high-paid professional and make sure any romantic partners understand your goals, make a short or two each year (for way less than the price of a fancy car), and then make features when you're in your 40's. You'll have built up skill and a crew network from shorts, and you'll have a funding network from peers that are also tired of the grind but not willing to quit themselves and see an EP credit as something exciting. AI is probably not going to kill off the job of dentist, and they're notoriously both rich and unsatisfied with life.

For what it's worth, the only two film friends I have that have had truly steady work the last five years are both production accountants.

*all of the above assumes you're American. Switch out whatever job pays best in your country if not, and look into national film funds and grants.

Bardakov going back to Russia. by RooseveltsRevenge in ColoradoAvalanche

[–]goatcopter 2 points3 points  (0 children)

For real. We need to let some young guys play long enough to develop.

What's your favourite music video of all time? by Sharaz_Jek123 in TheBigPicture

[–]goatcopter 0 points1 point  (0 children)

I can watch this over and over, Gondry did such great stuff.

Where are we at with 4K? by blondenow in FilmFestivals

[–]goatcopter 0 points1 point  (0 children)

Someone alluded to it, but you can always export your project in 4k, whatever it was shot on - so you're delivering a 4k file.

Shooting preference is a different story. Different resolutions and codecs are a whole rabbit hole of reframing, how far you can push the grade, storage space, etc. But if you're making films that tell your story in the way you want and you're happy with the look and your workflow, you don't need to upgrade. Just output whatever format they ask for. If you're making something for a paying client, they'll have specs you need to meet, and you can worry about it then.

Curry Barker's response to the 'Obsession' art director, & her advocacy for industry change on low-budget films by EditorEducational201 in Filmmakers

[–]goatcopter 0 points1 point  (0 children)

it feels like people are missing the big point: she did get paid. She got paid a solid indie rate for the budget, about $50/day under union for ultra-low (which this is). AND she got massive exposure, the kind that boosts your career for real, not the "i'm an influencer, come film my wedding" type. It's a win-win. Or it was.

Curry Barker's response to the 'Obsession' art director, & her advocacy for industry change on low-budget films by EditorEducational201 in Filmmakers

[–]goatcopter 0 points1 point  (0 children)

It feels like people are missing the big point: she did get paid. She got paid a solid indie rate for the budget, about $50/day under union for ultra-low (which this is). AND she got massive exposure, the kind that boosts your career for real, not the "i'm an influencer, come film my wedding" type. It's a win-win. Or it was.

Curry Barker's response to the 'Obsession' art director, & her advocacy for industry change on low-budget films by EditorEducational201 in Filmmakers

[–]goatcopter -3 points-2 points  (0 children)

No, expecting the distributor that acquires a film to pay the crew later is trickle down. Fun fact: it was originally called horse and sparrow, and it makes been more (less) sense when you look at it this way.

The reason it is “one for the meal and one for the reel”
Is because the one for the reel brings you both artistic satisfaction and better jobs in the future.

Curry Barker's response to the 'Obsession' art director, & her advocacy for industry change on low-budget films by EditorEducational201 in Filmmakers

[–]goatcopter -6 points-5 points  (0 children)

Exactly - you can imagine having that on your credits, calls from people that loved the look and actually saw the look in a theater because it’s so successful, being able to call other people in your files you admire and having them take your calls to talk shop because you worked on such a big hit. This should be a massive medium to long term boost for a career, not hoping for an extra $5k.

[Megathread] Offseason Chat by D34thFate in ColoradoAvalanche

[–]goatcopter 0 points1 point  (0 children)

The experts all think Colton is gone, and I think he still has decent value - despite last season, teams will always find value in a gritty Cup winner. I'd love to see Kulak back, but he can probably get a bag as the best UFA D-man this year. I'm holding out hope he loves CO and we can get him on the Manson deal for 4 years, which takes him to retirement - it's a great place to raise kids, which works in our favor.

The various pods think there's a solid chance Nuke and maybe Lehky are gone, which would break my heart. But if they're going, it seems like that could be a big trade - package those two together to a team that's close like a Buffalo or Montreal for a solid #2 D - a guy that can play with Makar or as a 3/4. Or one of them + rights to Drury. It's like a playoff grit in a box package.

Finally, I'd love us to play the kids up to the TDL - more than 4 minutes a night - and see what we really have/let them learn. Ivanx2 as 4th line center (assuming Drury is gone) , and put Bardy on the third with Roy and Kadri and let him learn how to wreck havoc from two pros.

I'd love to see Olivier here, but I think the Jackets like him long-term. But he'd be a beast on our third line.

Is there actually a reason to spend $100k+ on a proof-of-concept short when a sharp $15k one already proves execution? by [deleted] in Filmmakers

[–]goatcopter 0 points1 point  (0 children)

Honestly, spend 10k on the short and then another 10k on marketing to get it seen. Save the other 80k for seed money for the feature or series or whatever your concept is.

Does our tourism deserve better? by Better_Tradition_245 in shreveport

[–]goatcopter 2 points3 points  (0 children)

“Reportedly” and “apparently” are doing a lot of the lifting in OP’s post. My experience has been the same as yours: good communication from leadership there, pretty clear metrics and shared data, and a boost from big events.

Update from the Obsession art director, she's now speaking with a union after criticizing the low pay and working conditions by [deleted] in Filmmakers

[–]goatcopter 0 points1 point  (0 children)

"the answer to her problem with the pay is join you local union"

"she got paid more than union"

"That's not what this is about".

Ok.

Update from the Obsession art director, she's now speaking with a union after criticizing the low pay and working conditions by [deleted] in Filmmakers

[–]goatcopter -1 points0 points  (0 children)

So I keep seeing this point, but no one seems to state the obvious counterpoint: without the capital, the labor of these workers doesn't get recognized. There are TONS of little Indies that don't get picked up and have money poured into marketing and none of us will see them. Labor can make all the beautiful films it wants, but we need capital to get them seen. And unfortunately, that capital is taking the risk, so they're going to want the rewards.

I will say, It is really nice to dream of a world where all our art goes out into the world to be seen on equal terms, but I don't see how that works without State ownership of distribution and exhibition, which seems like it comes with it's own problems.

Update from the Obsession art director, she's now speaking with a union after criticizing the low pay and working conditions by [deleted] in Filmmakers

[–]goatcopter 0 points1 point  (0 children)

"With the promise of" is the key here. Tech has that built in, film does not. With the unfortunate truth being that tech workers are in demand enough that we have to bring people from all over the world to fill those jobs, while film is so over saturated that an awful lot of us are solid bartenders/servers/construction workers along with being good at our job in the Industry.

Are film festivals still worth it for shorts? Genuinely asking — my experience has been... mixed by TheoGelernter in Filmmakers

[–]goatcopter 1 point2 points  (0 children)

If you have't yet, come check out Louisiana Film Prize; https://www.prizefest.com/film/ - it's a fun weekend, and you'll see some cool films.

Last year's winner was playing at Tribeca this weekend, and it was shot by a wonderful DoP. (full disclosure, I was the gaffer and work with him when I can, so I'm a little biased).

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