The Matador
Like a Matador, Even Hit Men Kill with a Clean,
Quick Stroke

by The Blonde and The Maven
Film Columnists

Richard Shepard , the writer and director of this film, was originally due to film The Matador on digital video for $250,000. "It was an edgy, dark, funny and odd script. I didn't see how it could be made in the normal Hollywood system." Shepard's agent got the script to Pierce Brosnan's company and the, next thing anyone knew, Pierce was not only producing it, he was to star in it as well! Says Shepard, "The movie is still an 'indie,' and it is still odd and weird and original."

So, a hit man and a salesman walk into a bar in Mexico...The film, The Matador , always seems about to let you in on a joke, however, the punchline is not what you think it will be. Pierce Brosnan ( After the Sunset and The Thomas Crown Affair ) plays Julian Noble, a seedy, amoral contract killer who likes to call himself a 'facilitator of fatalities.' He is a man with no home, no family and no friends. He is also burnt out and likes lots of cheap booze and underage girls. Julian has to pay hookers to sleep with him because women can't stand him! Nobody wants to have a conversation with him because he is crude, rude and lewd. While in Mexico, Julian meets Danny Wright in a bar. Danny, played by Greg Kinnear ( Godsend and As Good As It Gets ) is a squeaky clean salesman who married his high school sweetheart and is presently in a very bad luck slump. The two men strike up a conversation and of course, Julian offends Danny right away. He apologizes, they talk some more and Julian does it again. He can't help it. The man is just that obnoxious! Danny leaves the bar. The next day, Danny is saying good-bye to his business partner. It seems that the company they are trying to sell themselves to is not ready to commit, so Danny has to stay in Mexico to finish the deal. They need this badly, as their business is not doing well. On his own now, Danny runs into a very apologetic Julian who happens to have an extra ticket to the bullfights. Their the conversation turns to business, and Danny wants to know what Julian does. After much cajoling from Danny, Julian reluctantly tells him his 'business.' Danny, of course, doesn't believe him, so Julian sets out to prove himself to his new friend. Along the way, an awkward friendship seems to develop, in a darkly, hilarious way. They have nothing in common, but they seem to need each other. Naturally, Julian offends Danny again and the two seem to go their own way, but don't despair, they will meet again.

Richard Shepard has a quirky story here, but he does manage to resolve a complicated plot. He leads you down some false trails and you will try to get ahead of him, trying to guess the next move. Don't waste your time; just watch the movie!

The Blonde: It's a good thing I took a nap before this film or I would have done so in the theater. Matador was like ìThe Sopranosî meets Analyze This  meets Twins meets The Hit Man ...This film takes its sweet time to let the viewer know where the story is headed. I think they took too much liberty in doing so here. I am grateful, however, that it did come to some sort of storyline in the end. It does FINALLY get good, or shall I say, better.

The Maven: I think the fact that this role was so far opposite what a star of Brosnan's caliber usually portrays makes his performance spectacular. He was funnier, edgier, and more neurotic than I've ever seen him. I didn't like Julian very much, but eventually I felt sorry for him. He was a lonely, sad man. Eventually I enjoyed the humor in the movie. I must admit, though, that I was bored throughout the first half hour. I kept wondering when I'd see the exciting part. The longer I watched, the more fascinating this character-driven film became for me.

The Blonde: Well then, Mav, you've pretty much described the same sentiments I wrote in my opening paragraph. I must confess that I had trouble with my favorite honey of an actor playing such an obnoxious, arrogant, vulgar, pompous character as Julian was. I felt as though I was spending the day with my first husband. Furthermore, I hated seeing 'MY' handsome Pierce look so out of shape, hard, tired, and scruffy. I know he wasn't supposed to be Bond, but WOW, did they go the other way. I SO like the gorgeous Pierce better! Having said that, he did show a different side of his acting abilities. He ranged from angry to gentle to crazy to strange, all the way to frightened, which included his crying scenes. I do think that those tears and the acting he displayed were not only real, but some of his best acting to date.

The Maven: I say kudos to Pierce for going the SCRUFFY way. No man wants to be loved for his looks alone. I guess he wants respect for his talents, too.

The Blonde: I guess George Hamilton and his tan don't feel the same way! I do think this movie will give him the respect you claim he craves. I wish he found a better film, though, with which to finally come out and display all the colors and versatility he obviously possesses.

The Maven: Greg Kinnear was a good foil for Pierce. I don't think that he is appreciated enough. He was great opposite Nicholson in As Good As It Gets , and his small role in You've Got Mail was cute.

The Blonde: I loved Greg in this role and in EVERY movie he has appeared. He is a precious man and a very talented actor. I hope he gets his due because he has earned it. He is always so darn likable and natural. I'll tell you one thing... I found it quite scary to think he was far sexier than Pierce in this film!

The Maven: I still think that scruffy is sexy. A scruffy Pierce to me is sexier than a cute Greg. But hey, that's just me. So, did you hear that Gwyneth Paltrow is pregnant again? Between her, Katie and Angelina, it will be baby headlines for months.

The Blonde: Isn't Gwyneth an ex-girlfriend of Brads? Maybe he is the father. He was disoriented after the breakup with Jen, and I completely threw him over the edge. Maybe he went on a little visit to Gwyneth's house for comfort?

The Maven: My poor, poor Blonde! Gwyn and Brad were over years ago and I doubt you wounded him that tragically!!! But, if you want to think that, GA HEAD! After all, you still think you have a chance with a prince.

The Blonde: Well, I do have my eye on Prince William and don't even get me started on Camilla!

The Maven: Don't you think that William is a little too much of a May/December romance? Even for the Blonde?

The Blonde: Funny, I think it is more of an August/December romance. Either way, I still have my eye on him!

The Maven: Like I said, if you want to think THAT, GA HEAD with that one too!

The Blonde: Hey Mav, Gwyn named her first child Apple. What fruit do you think she will name her second after?

The Maven: Oh, I don't know maybe Chastity if it's a girl, and perhaps Elton if it's a boy.

The Blonde: I was referring to a real fruit like Peach or Mango!

The Maven: THEY ARE REAL FRUITS AND PROUD OF IT!

The Blonde: WHATEVER! Speaking of sexual preference... I must interject that I loved the film Outback Mountain . It was so brilliant and deserves all its accolades as well as some Oscars!

The Maven: I do believe that our little Blonde is referring to the film Brokeback Mountain ! I think you got confused when I told you Keith was from Australia. Hence, the Outback reference.

The Blonde: Thank you for the cover, but no. I thought it was Outback ! Nevertheless, it was simply remarkable and quite outstanding. Keith and Jake gave simply stunning performances. They really displayed brilliance. The writing, directing and cinematography were equally fantastic. Everyone should see this film. It has many messages to its story and much to teach us all!

The Maven: Back to the film we started reviewing, I liked the way filmmaker drew the story out. He kept us guessing on a few things, let us get the wrong idea, then tied things up surprisingly and with some sensitivity. The Matador was a good story about friendship. Each guy added a little something to the other so they acutely helped each other to become better people. I never actually liked Julian, but liked Danny's wife. I would have asked to see his gun, too. You know me, I like offbeat movies. It took until the end of this film for me to appreciate it, but appreciate I did! I rate it a B for bizarre take on friendships!

The Blonde: I too was rooting for two hours for this film to have a good ending that would make the wait worth my while. It did, which changed my mind about the entire film. It had lovely messages and teaches us about unlikely friendships and trust. If you have the patience to sit through a film even though you have no idea where it will end up, then you will find some enjoyment in this film. The acting was marvelous. I rate Matador a B-. As far as your movie snacks, go ahead and drink some Red Bull and enjoy some Tootsie Roll pops because, like this film, it takes a while to get to the good stuff! ENJOY!

Munich

by The Maven and The Blonde
Film Columnists

It is the second week of the 1972 Summer Olympics in West Germany and the games have been dubbed, "The Olympics of Peace and Joy." You remember, Mark Spitz stunned us and gymnast Olga Korbut charmed us! Suddenly an extremist Palestinian group known as Black September invaded the Olympic Village, killing two members of the Israeli Olympic team and capturing nine others as hostages. The standoff played out in front of the world with multimedia coverage. Even the terrorists were watching as the events unfolded. Twenty-one hours later, the chaos ended with the haunting words of anchorman Jim McKay: "They're all gone." In Israel, the senseless death of eleven athletes was felt by all. Prime Minister Golda Meir and her generals made a decision to end the peace and seek retribution by organizing a covert hit squad known to Israeli Intelligence as "Operation Wrath of God."

The head of this unit is young Israeli patriot and intelligence officer, Avner. The son of an Israeli hero, Avner is played by Eric Bana ( Troy and Black Hawk Down ). He is approached by a Mossad officer named Ephraim, played by Geoffrey Rush ( Shine and The Banger Sisters ). Ephraim asks Avner to leave behind his pregnant wife, relinquish his identity and go underground on a mission to hunt and kill the eleven men accused by Israeli Intelligence of masterminding the murders in Munich. Avner leads a team of four diverse, yet skilled recruits. First there is the brash, tough, South African-born, getaway driver Steve, portrayed by Daniel Craig ( The Jacket and Lara Croft: Tomb Raider and the new James Bond). Then there is the German document forger, Hans, played by Hanns Zischler ( Walk on Water and Sunshine ). The explosive expert is a Belgian named Robert, played by Mathieu Kassovitz  ( Jacob the Liar and the director of Gothika ). Finally there is the methodical Carl, played by Ciaran Hinds ( Calendar Girls and Sum of All Fears ), whose job it is to clean up evidence after the others. The team circles the globe from Frankfurt to Cyprus and Rome, Paris and London to Beirut, taking down each terrorist with intricately plotted assassinations.

Through it all, the team only has each other, as they can't go home until their mission is completed. Amongst themselves they wonder who it is they are actually killing and will it end the terror. The longer they remain on the hunt, the more they are in danger of becoming the hunted. Munich is based on a novel, Vengeance , by George Jonas who was a 1956 Hungarian Freedom Fighter, now a conservative Toronto political writer.

Munich is directed by Steven Spielberg ( Schindler's List and Jaws ), who has taken a lot of criticism from the Palestinians as well as Israel, for not taking sides on this movie. There is a poignant scene between Avner and his mother when she says, "We had to take it because no one would ever give it to us. Whatever it takes, we have a place on earth at last." Spielberg showed his love for Israel with that statement. Munich also addresses a question which is plaguing America right now. Should we compromise our values to achieve our goals? Will the benefit be worth the cost? Was it for Israel?

The Blonde: I LOVE SPIELBERG! NO ONE CAN TELL A STORY LIKE HE CAN! He is clear, concise and exact. No one can make an audience feel and experience the plight of the characters as vividly as he does. Whatever project he is involved in is perfectly executed, important, fun, or creative. What genius work he has given to the world. He is a true master of filmmaking. Munich was like  Day of the Jackal meets Rescue at Entebbe meets reality! What made it so surreal to watch is that it was based and inspired by real events. I must begin by saying that Golda, portrayed by Lynn Cohen was stunning. Not only did she look the part but her mannerisms and facial expressions were so dead on. I think America could learn a lot from her politics, strength and courage as well. It blows my mind how this small country of Israel so many years ago, was that way ahead of the times to believe in a woman and give her total support and trust. I'll tell you one thing for certain: Golda would have found Bin Laden in a week! Mav, didn't you think it took courage for Spielberg to show a naked pregnant woman having sex? That was a bit different to see.

The Maven: There is no easy way to label this movie. It's like an espionage thriller by Ludlam or LeCarre. Yet, it is so layered with moral and ethical questions that the suspense sometimes plays second fiddle to the philosophy of tit-for-tat revenge. Every piece of dialogue is relevant to today's politics. Spielberg and his screenwriters, Eric Roth and Tony Kushner , have probably made the best movie of the year. In the film, Avner is given a list of names. He doesn't question where the evidence is that led to this list. He assumes his government knows what they are doing. When he follows (and subsequently kills) these men, he doesn't see them planning terrorist attacks. He sees a scholarly writer or a dignified professor. Eventually, Avner wonders how morally just his mission really is. Sound familiar? Our government gave us information based on intelligence and it too turned out to be wrong.

The Blonde: How true, and what a coincidence it is to our situation here in America. When will we ever learn? When will we get it? Moving back to the rest of the film, what an exciting experience it must have been for the actors to film all over the world. Rome, Russia, Beirut, London, and Paris. What luck to be given the opportunity to film with Spielberg and at such fabulous locations. I am so jealous! This film will most certainly earn some Oscars!

The Maven: I agree with you on that one! Eric Bana showed a depth of acting only glimpsed at in his other work. He plays Avner as a man at war with his own conscience as well as his countries ideals. The Avner we meet early in the film is nothing like the Avner near the end. He is so traumatized by his own actions, which is written not only on his face, but in his eyes and his very countenance. Spielberg chose wisely with Eric. He was superb.

The Blonde: Steven is always amazing with the casting of his films. That is one of his many expertise. By the way, not only is he a tremendous actor, but Eric Bana is a total HUNK and a half! Is he married? I wonder if I should call him since I just kicked Brad Pitt to the curb. By the way, Mav, how was your New Year's Eve?

The Maven: I think you are too late to escort Eric down the aisle. He has already walked that walk. As far as my Eve, it is not printable. Suffice it to say, the Asti Spumante flowed.

The Blonde: You had such an amazing evening, did you? I must add that, with that brand of champagne, no wonder you were able to keep it flowin'!  I was in Vegas, so I had a Las Vegas style New Year's with amazing fireworks to boot.

The Maven: Well, being manless, at least you are getting fireworks somewhere in your life.

The Blonde: You are SOO mean, but sadly it is so true! Speaking of sad, Skipper Chuck died. I am not old enough to remember his heyday, but I do believe that YOU grew up with him!

The Maven: I watched him every morning. Did you know that when his show went off the air in 1979 he moved to Boca Raton?

The Blonde: And your point is.......back to the film. One of the most profound messages this film tried to display was that, even if we kill off our enemies, they will just have replacements and may even be more brutal then their predecessors. So I ask you, where and when does all the hatred and killing end. What does all the killing ever solve anyway? Ex-husbands, I can understand, but innocent people? Hey Mav, I was just thinking!

The Maven: Well, that would explain the tiny beads of sweat on your forehead!

The Blonde: Very funny! No, I was thinking that the scene where they were going to try to kill Bologna was quite scary.

The Maven: I think you are referring to Salami and that is not how you spell it anyway! Stop thinking, you will hurt yourself!

The Blonde: Nasty fitch! See if I invite you to my next wedding. It was a lunch meat; I was close enough!

The Maven: While you were in Vegas, back here in the Sunshine State three body parts (a head a finger and a foot) were found in the water and on our beaches.

The Blonde: IS THAT ALL YOU'VE GOT? In Vegas they discover ENTIRE bodies. Furthermore, now you know why I never go to the beach!

The Maven: Back to the film, here is an interesting factoid. The role of Avner's father is played by a Palestinian whose father was shot in the head by the Israeli assassination team. Unfortunately, the final cut of the movie didn't include any scenes of Avner's father. In addition, Mohammed Daoud, reputed to be the real mastermind of the Munich massacre, wondered why Spielberg didn't try to talk to him. He told Reuters News Agency that vengeance is carried against people who had nothing to do with the Munich attack. He hoped the movie would point that out (he hadn't seen it yet). Well, it did so I guess the filmmakers were as honest as they could be. Did you know HBO made a movie in 1986 called The Sword of Gideon dealing with the same subject matter?

The Blonde: Well you are just full of it today... information I mean!

The Maven: Munich showed Israel's response to the massacre in humanistic terms rather than as just political or military. The ethical argument is haunting. This is a serious adult motion picture which will leave you in a reflective mood when you exit the theater. It is sad to see that in 30 years nothing has changed. I rate this film an A for its absorbing mystery and outstandingly amazing acting.

The Blonde: I too thought this was a brilliant piece of filmmaking, but then what Spielberg film isn't! If you are looking for a light evening at the movies, this should not be your choice. I think however, it is an important film that SHOULD BE SEEN. Steven did not take the easy road out in telling this story. He was honest and took no one side. He is actually taking a lot of criticism for that very fact. It is hard to watch at times, but worth spending your evening seeing. Keep in mind it is a three-hour film, but it goes by quickly. I also rate Munich an A. The story, acting, filming, locations, directing, cinematography, and action will mesmerize you. RUN and see it. For your film snacks, go have some German chocolate cake or candy to go with the film. Oh and DON'T forget the popcorn!

THE BLONDE AND THE MAVEN: We want to wish all of our readers a healthy, happy and perfect year filled with joy! See you at the movies!

The Producers
—They did it Again, and Even Better

by The Blonde and The Maven
Film Columnists

First, The Producers was a movie starring Zero Mostel and Gene Wilder. Then, it was an award-winning musical on Broadway, starring Matthew Broderick and Nathan Lane. Now it's back to the screen, as a musical, with four of the original cast members starring in the film. Mel Brooks (original writer, music and lyric writer and executive producer) jokes, "Next it will be in claymation!"
 
The movie version of the musical is directed and choreographed by Susan Stroman, who also was the director and choreographer on Broadway (and won Tonys for both) and, by the way, she also did both jobs for the ballet film, Center Stage. She took home the American Choreographers Award for that film.
 
Like the original Producers, this takes place around 1959. Nathan Lane (Birdcage and Mouse Hunt) plays Max Bialystock, a once successful Broadway producer who now has to con older women out of their fortunes. A mousy accountant by the name of Leo Bloom comes to do Max's books. Leo is portrayed by Matthew Broderick (Ferris Bueller's Day Off and Addicted to Love). While looking over the books, Leo comments that you could make more money producing a flop rather than a hit. Max seizes the idea and persuades Leo to join him in this most perfect plan to embezzle money. All they have to do is find the most awful play ever written. This comes in the form of a musical called Springtime for Hitler. Max and Leo visit the author of the musical and meet Franz Liebkind, a neo-nazi playwright that is also a pigeon fancier. Playing the role of Franz is Will Ferrell (Elf and Bewitched). Before Franz allows them to produce his masterpiece he has them pledge allegiance to Adolf. Now it's time to find the most untalented director they can for their flop. He is the flamboyant Roger DeBris, played by Gary Beach (original Broadway Roger and also the original Lumiere in Beauty and the Beast, on stage). Roger’s common-law "assistant" is Carmen Ghia. He/she is played by Roger Bart (currently on “Desperate Housewives” and the original stage actor for the role; also in The Stepford Wives and The Insider). A very sexy Uma Thurman (Kill Bill 1 & 2 and Pulp Fiction) shows up as Ulla, a Swedish bombshell that wants to audition for the musical. The boys hire her as a secretary/receptionist until the play opens. The last role to fill is that of Adolf himself. No one seems good enough, so Franz takes on the role himself. Fast forward to opening night and Max is teaching Leo about opening night superstitions. Wouldn't you know it: Franz breaks his leg! Roger, the director, has to go on as Hitler. The curtain goes up and the audience is horrified at the theme of the show. However, with Roger as Hitler (Heil myself), the audience erupts into laughter and a hit is born. Not only have the boys produced a hit, but because of unforeseen circumstances, their 'books' are discovered by the police. Go see the film for the rest of the story!

The Blonde: WOW-WE-WOW-WOW-WOW! I LOVED IT! LOVED IT!  TWO BOOBS UP! LOVED IT! This film cannot be compared to any other. It simply stands alone. I haven't had this much FUN watching a movie in years. I never stopped laughing and smiling. Mel Brooks is one MAJOR genius who IS and WAS WAY ahead of his time. This movie was such a risk to take years ago. Boy, did he ever push the envelope for the sixties. Now, it fits easier with the comedy of today. I felt, this version of The Producers was even better than the original. It was really like being in a Broadway theater watching. I wanted to applaud and give a standing ovation at the end. Loved it.

The Maven: I was a little nervous going into this movie. The Blonde was so pumped up about seeing it and I had already checked critics’ reviews. They were just above dismal. Very few committed themselves to voice much more than a mild applause for the film. I was worried that the Blonde might be in for another disappointment in her life. As usual, my worry was for nothing. This film was entertainment at its best! The Busby-Berkeley style of the chorus' singing and dancing was fabulous. Thirty-eight years after Mel's original story appeared on screen, it still holds up. The man is amazing. His humor stops just short of vulgarity. The musical numbers had just enough of a change that you won't get lost comparing it to the original.

The Blonde: I couldn't get over the talents of each and every star in this film. I also must comment on how amazingly they were cast. Matthew impressed me the most, as he has no real formal training as a singer/dancer. He pulled it off with flying colors. I was so taken back at how well he did. No one stole this picture. Every single performance by all the actors stole the picture. Nathan of course, was breathtaking, but I expected that. He is such an outstanding musical theater and film giant. Uma surprised me, as well. She was wonderful, beautiful, dazzling and delivered a stellar performance. What I found most remarkable of all was, not only the chemistry between Lane and Broderick, but the entire cast had the perfect chemistry together. I don't see anyone else playing these roles. I LOVED THIS FILM! This is a film I could see ten times and WILL.

The Maven: Roger Bart, playing the stereotypically swishy Carmen Ghia, steals every scene he's in. Uma Thurman showed she could handle musical comedy as well as murder and mayhem. Even Will Ferrell was funny without going too far over the top. The whole cast deserves a standing ovation for making Hitler hysterical.

The Blonde: Ferrell's character is truly crazy and he makes it real. He deserves his nomination for the Golden Globes, but so did the entire cast if you ask me. It was also fun to see the little cutie from “Queer Eye for the Straight Guy” making a cameo.

The Maven: Guess who's making a film about lovers with the Holocaust as a backdrop? It's about a Dutch Jewish girl and her non-Jewish boyfriend who shelters her from the Nazis.

The Blonde: Mel Gibson or his father?

The Maven: BINGO!

The Blonde: Oh give me a break! WHY? Is he running for President and needs the Jewish vote?

The Maven: If he does, he'll be running against Arnold!

The Blonde: I loved Uma's wardrobe in this film. I wonder if I could get the white dress she had on for New Year's Eve. We have the same body type.

The Maven: Same body type? You would need twelve-inch heals so the dress wouldn't drag on the floor. My favorite number was the tropical dress that matched Matthew's suit.

The Blonde: Why don't we ever do that?

The Maven: What, go to Rio or match clothes?

The Blonde: BOTH!

The Maven: In that scenario, who am I, Matthew or Uma?

The Blonde: Do I even need to answer that question. I mean, we all know I am the Mary and you are the Rhoda.

The Maven: No, I'm the Mary, I have the flip in my hair.

The Blonde: Please, I am so the Mary and the Uma for that matter.

The Maven:  I AM THE MARY! If our audience was any indication of the usual, you will enjoy it. There was a lot of laughter and applause. I heard only compliments in the ladies room.

The Blonde: I also heard other strange sounds in there!

The Maven: Oh was that you? How embarrassing!

The Blonde: NOOO! That wasn't me. I actually thought it was you, RHODA!

The Maven: This film is a great, fun way to start off the new year. You will feel good when you leave the theater. I rate it an A for its absolute ability to entertain you.

The Blonde: Did I already say that I LOVED THIS FILM? Going to the movies is supposed to make you forget your problems and provide you with A GOOD TIME. The Producers will certainly do that for you. This film was FUN, FUN, and more FUN! Run to the theater to see this very funny, silly, witty, entertaining, musical. It was delightful. I rate it an A as well. For your movie snacks, go ahead and munch on some Almond Joy candy, as this film will bring you some joy.

The Blonde and The Maven: WE hope that, during the year, we bring to our readers some laughter, good film advice and guidance. We would like to thank all of our readers who support us all year long. We wish each and every one of you the best year of your lives. May all your movie going be bright!

New Way to Produce a Film

An independent romantic comedy, Common Interest, is sure to peek the curiosity of not only the gay community but also the general public. 

Being produced on a “shoestring budget”  by J.A.C.K. Productions, the gay themed film was written by Broward resident George J. Guck. Looking to produce the film in an unconventional Hollywood manner, Guck is “looking for 5000 individuals looking to help be part of film history.  With a $100 donation per person,” Guck hopes to raise the $500,000 to help produce the film.  Each contributor will receive an autographed copy of the script and the knowledge they were part of history, Guck said.  Being filmed completely in South Florida, Common Interest tells of the relationship of a very unconventional love between two men and what they must overcome to be together. 

For further information concerning the production of Common Interest, contact Guck at J A C K, Prods@aol.com.

Miami Film Festival in March 2006 Gets Reputation as One of World’s Leading Cinema Gathering Spots

by Ron Levitt
Executive Editor

The Miami Film Festival has achieved the status of one of the world’s leading cinema events – along with Sundance, Cannes, Venice. Berlin and Toronto – no small fete in a globe filled with film events. This year the Miami Festival – once again under the banner of Miami-Dade College – is set for March 3-12, and continues to use The Magic City’s unique geographical and cultural position to be a premiere venue for the exhibition of international and U.S. films.   Under the third- year guidance of Nicole Guillemet (who co-founded Sundance), the Miami festival continues to get exceptionally high marks, bringing in a horde of producers, production companies and film buffs.

For the Miami festival to get such star-quality notoriety after 22 years is a milestone.  Many older festivals are far from reaching such esteemed status.

Actually movies --for some 70 years— have spawned this world-wide phenomena - the film festival.

We in South Florida are fortunate. It is a community which boasts several major film festivals annually. Greater Miami has the Brazilian, Jewish, Latin, Israeli, Miami Beach International, Miami Underground, Gay & Lesbian film festivals, and the Miami Video Festival.  And, if that isn't enough, there's the Fort Lauderdale Festival and Lauderdale Jewish festival --minutes away and several more in cities within driving range.

Miami is not unique among U.S. cities. New York has a dozen film festivals, including a couple featuring African and Asian films, and a post 9/ll entry - the Tribeca Film Festival organized by Robert de Niro and a group of fellow actors. Los Angeles (as one would expect) has 11 film festivals, in addition to hosting the Oscars, and these include the Hungarian, Indian and Asian Pacific festivals.  The situation is similar in almost every major American city.  Chicago has 14 individual film festivals each year; Dallas (6); Seattle (6); Boston (4), including the Women's Cinema Festival; Denver (4); Philadelphia (4); Atlanta (2), including the Erotic Film Festival; Washington, D.C., (2); and St. Louis (1). There are festivals in dozens of other U.S. and Canadian locations, some of which like the Toronto International Film Festival (one of 12 film festivals in that city) and Sundance, Robert Redford's cinema celebration in Utah, have become as well known as the giant European festivals, such as Cannes, Berlin and Venice. Cinema festivals in the U.S. alone top 1,000 overall.

Kenneth Turan, film critic of the Los Angeles Times and author of the book "Sundance to Sarajevo," sees film festivals not only surviving…. "but thriving." He cites the fact that even during the war in the former Yugoslavia, the Sarajevo festival flourished.  He says that cities throughout the world recognize the large audience for new films - especially offbeat films - and realize that such festivals bring the tourist dollars flowing.  He also realizes distributors, filmmakers, producers, studios, investors, and actors also flock to a festival to share the possibility of seeing and then becoming part of a great film or making a contact to get their film distributed world-wide.  That is why it would not be unreasonable to find a well known Hollywood type spending a few days at the Midnight Sun Festival in Finland in the dead of winter.

The world-wide importance of films have spawned dozens of web pages - and the world's largest server in the field  - www.Film festivals. Com.   Here, you will find a list of every film festival in the world and the realization that you could spend your entire life going festival to festival.  The web page not only lists every festival but has an archive of every film ever shown at a festival plus, of course, the latest news on films and the movie industry.  It is a potpourri of information wealth for cinema aficionados.

Mr. Malo Giro De L'ain, president of the online FilmFestivals Group, who normally has a string of his associates from his offices in Paris, New York and Los Angeles, reporting on the major festivals - realizing the impact of new and independent films unveiled at festivals - is even experimenting with on-line computer screenings for journalists. This could bring an entirely new dimension to the festivals. In Miami, fortunately, a P.R. expert Lisa Palley, has developed a program to keep the local press well informed and well versed on festival films.

In the meantime, festival organizers globally market to film producers, distributors and the general public to get on the bandwagon and attend their festivals.  And, the market is truly global. In addition to the hundreds of film festivals in the United States and Canada, just take a check at the festivals in some 70 other countries.  There are more than 150 film festivals in France alone, drawing huge crowds in almost every town from the English Channel to the Mediterranean. The French love film as much as they do wine and politics and, even though Cannes usually makes cinema history, there are dozens of other festivals drawing capacity crowds.  A similar number thrives in Italy and more than 100 individual cinema events play yearly in Germany.  England has ten film festivals, including one featuring Arab language films (something you will not find in most Muslim-populated nations. Except for Egypt that has some 10 film festivals in Alexandria and Cairo and Israel that has 7 international festivals, including the highly regarded Jerusalem Film Festival one will not find any festivals in the volatile Middle East where conservative Islam and modern-day cinema do not share common ground. However, Turkey (leaning more toward its European side) has some  -- festivals. Russia has some ten festivals, Poland has five; even tiny Uzbekistan has the Tashkent Festival in its capital. There is hardly a country in Europe that does not hawk its cinema gatherings to a large international audience.  In Asia, India is the leader with eleven festivals while Mainland China comes up with a big zero (although Hong Kong has four festivals including the Hong Kong Jewish Film Festival and Le French Film Festival while Taiwan also has one). The Japanese, on the other hand, have ten well attended film festivals.

In our Southern hemisphere, Brazil leads with 14 festivals; Argentina has four, Colombia, two; and Venezuela and even Cuba has one.  Almost every South American country points with pride to its cinema festivals that often have a carnival atmosphere. 

So, it is a non-stop film festival gathering, if you want it to be. Of course, along with the screenings, comes a vast array of parties and special events - plus rubbing shoulders with an army of film types - directors, actors, producers and cinemasters. Not all the festivals are as glamorous as Cannes or the Oscars, but once you've been to one, you will want to do them all (if you live long enough!)

There is a continuous global list of film festivals - 365 days a year, somewhere on this sphere. All it takes for a movie fan to participate is some cash - for the tickets, and, in many cases, the airfare!

Ron Levitt, executive editor of this issue, is an entertainment/travel writer who served as Assistant Secretary of State, overseeing cultural affairs. The former United Press Correspondent is president of the South Florida International Press Club. Reach this column at ron@levittgroup.com.

It’s Only Danny

If you happen to see someone on the screen who looks relatively familiar and it is a made-in-Miami film, it is probably Dan Fitzgerald. Fitzgerald, who served three times as president of Florida Branch of Screen Actors Guild, has appeared in 39 feature films. His latest is In Her Shoes starring Cameron Diaz and Shirley MacLaine, in which he plays a retiree in Shirley’s community. It opened locally in October, almost simultaneously with publication of Fitzgerald’s memoirs, Stars in my Eyes.

Fitzgerald is the retired owner of Fashioncrest International Fashion Promotion and modeling agency. In addition to his theatre/film activities, he is on the Board of The South Florida International Press Club.

For Veteran Film Producer,
the Solution May Be Palm Beach

by Reymond Levy

Screenwriter William Goldman, in an oft-quoted line referring to the random nature of the Hollywood film business, once stated: “Nobody knows anything.”  This is a sentiment with which -- as becomes apparent over the course of a phone conversation -- veteran movie producer Jonathan D. Krane might take exception. In fact, says Krane, who has taught on the subject at the UCLA Extension School,   “The entire industry can be understood and explained using a scientific methodology. In other words, starting with fundamental principles…I can deduce hundreds of rules that follow, and if you follow them, you can make good and successful films. ”

With such hits as the Look Who’s Talking trilogy and Face/Off bearing his credit, Krane, 53, has had more than enough experience navigating his way through the twists and turns of showbiz for over 25 years. Now, the Yale-educated former tax lawyer-turned-producer/manager (the latter profession consisting of a combination of fields that he pioneered) is bringing his expertise to Palm Beach County in the form of The Krane Academy of Motion Pictures (www.kraneacademy.com), a 20-month certificate program he founded featuring a curriculum based on his new textbook, A Revolutionary Approach to the Art and Science of Moviemaking: A Treatise on Fixing the Accidental Industry, starting on January 2; as well as through hosting “The Screening Room,” a TV program showcasing high-quality independent and short films on WHDT, a high-definition station in West Palm Beach. Additionally, Krane will begin production on a new movie, Dancin’ on the Edge, in South Florida this coming February, and add a film market to the Palm Beach International Film Festival in 2007  – all the while using his distinctive film savvy to attempt to, as he puts it, “create a film industry in Palm Beach County.”

However, while Krane’s focus on Palm Beach reflects an effort to depend less on the physical environs of Hollywood, it seems as if he is also seeking to redefine the conceptual trappings of the movie business. Since he envisions his eventual objective as partly being to use the county’s establishment support to turn Palm Beach from “a backlot where [some] small films are made” into a county where “there’ll be [year-round] production…and businesses as diverse as…insurance, to banking, to car companies, to hotels, will be busy with films being made,” Krane considers it his responsibility at the school “to teach people to be producers...What my academy does is it teaches people [the five stages of production:] how to find or create ideas; develop screenplays with writers; how to package those screenplays with directors and actors; how to finance films…; and then the three stages of physical production [pre-production, principal photography, and post-production]. Most film schools just talk about physical production, but I’m teaching people how to be producers from the idea stage through the marketing stage.” That is why, in an innovative move, each student will graduate with a feature producing credit.

This type of structured understanding -- perhaps a result of Krane’s avowed hobby, quantum neurophysics -- not only informs his delineation of what a producer does, but is evident throughout his theories about what he thinks of as the unpredictable, irrational forces that comprise what is wrong with Hollywood, and that could be controlled if the film industry conformed to certain cost-conscious standards. “People in Hollywood don’t like to think that their business can be reduced to mathematical-type analysis,” he says. “Hollywood is basically an assembly-line business: the raw materials are talent, the manufacturing process is the five stages of production, and the distribution is to movie theaters, TV, and DVD and video here and abroad…what my book is trying to say is ‘regulate thyself, Hollywood’…there is no industry because there’s no articulated terms, no commonly-understood job functions and processes.” Presently serving as CEO of The Krane Group, a production/management company, Krane initially put his thinking into full-fledged practice as head, from 1987 to 1990, of Management Company Entertainment Group (MCEG), the first management/production/distribution company (adopting as a model the bringing together of talent, production, and distribution under one roof that was prevalent both at 1940s movie studios and especially at Universal Studios under MCA talent agency chief Lew Wasserman). This was after having earlier gotten involved in movies because Krane found those in the business, along with their ideas, appealingly open-minded when he encountered them through his wife, actress Sally Kellerman.

The intricately calculating notions Krane details in his textbook are evident in the planning of his next movie, which he wrote, and which he describes as a “fish-out-of-water musical comedy” about groups of teenage dancers stuck aboard a cruise ship with seniors on their 55th high school reunion. Describing the manner he is going about getting his movie made, he says, “What I’m doing…is I’m making a 30-minute film that is actually going to be a pilot for a feature film…I will do a great deal of market testing to the point where the ‘want-to-see’ and the ‘recommend’ numbers are extremely high, and I will have an original soundtrack for all of the music, and I’ll take [them] into the studios to get the financing to do it as a studio film...Everybody in Hollywood says you can’t market-test a film before it’s made...The truth is you can…by doing this. You can save $100 million by spending a quarter of a million dollars doing a 30-minute version of the film, and test the hell out of it, and find out what’s wrong with it, what’s right with it, and decide to make it or not make it...What I’m trying to prove is that you can run Hollywood in a more rational way…by using marketing tools that every business, from the soup business to the tennis-ball business, does.” Krane says he used this kind of strategy to discover director Stephen Sommers when Sommers was studying at the University of Southern California. Sommers went on to helm The Mummy movies.

Krane goes into similarly emphatic explanations on numerous academically complex issues, including how art and commerce can be objectified by criteria to make them complementary, how to pre-sell a movie’s domestic opening weekend, and how the film industry satisfies emotional needs (the satisfaction coming through both the communal theatergoing experience and through the “impulse buy” of movies on pay-per-view or DVDs, with Krane pointing at the second way as providing a primary outlet for smaller, dramatic films to be seen). Nevertheless, he stresses the morality underlying his technique: “Hollywood uses lying as a technique because people who occupy job functions don’t know what they’re doing…[This is] not everybody, but a number of people...In a century-old industry that has no self-regulation…the only way that that can be fixed is if…the first thing you do is make sure the people who get in, do so for the right reasons, because of their passion…I’m a very strong believer in self-realization and self-expression…that the gratification people find in life is the ability to gain self-knowledge and to express their talent in a way that allows them to be creative…My book, my school, my TV show, my movies I’ve produced, all have to be items of self-expression, inner gratification, not outside validation.”

Furthermore, according to Krane, this standardization will make the film industry more inviting to art: “All [it] will do is give more freedom to creative people…when you get anxiety out of the way of artists, the artists are better.” Indeed, looking back on the ups and downs of his career (he attributes the bankruptcy of MCEG to his having been too trusting), what the 2000 Hollywood Film Festival Visionary Award-winner finds most gratifying are the projects on which he was able to fully use his talents, such as The General’s Daughter. Of his work on Look Who’s Talking, he says, “The studio thought I was crazy. They said, ‘You can’t make this for less than $15 million’…it cost $7 million and made $450 million worldwide.”

Moreover, Krane would like his TV program, and its Q&A format through which both the creative and production aspects of filmmaking will be discussed with the people behind the movies shown, to make an impact on the industry by giving exposure both to up-and-coming talent as well as to more established stars such as Dennis Hopper and Dan Aykroyd, who are scheduled to appear with some of their lesser-seen films that they feel should be given a second chance. Ultimately, though, as regards his current projects, Krane hopes that people will “engage in dialogue” about his ideas, “because if there’s open, uninhibited, free speech about these issues, [they] will sink in…That’s my goal.”

PHOTO IDS

1. Jonathan Krane

Huge Impact on the Industry: Miami Film Festival Becoming Known Worldwide

The Miami Film Festival—at least in part to its record of selecting such a remarkable number of international cinema entries—is fast becoming known as an event at which cinema directors, actors, producers, distributors, entrepreneurs and investors, as well as movie fans want to be seen. Its history of successfully bringing attention to a number of films make it a ”must” on the calendar for anyone involved in film.

That is just one of the many reasons that the 23rd Annual event—set for March 3-12—is getting global attention in the media.

The Miami International Film Festival (MIFF), presented by Miami Dade College (MDC), said the 10-day event will be held at locations throughout the Greater Miami area and a record crowd is expected,

Gala premieres, World and Ibero-American dramatic films, documentaries, short films, panels, seminar series, and a highly successful Outreach program, all for which the Festival has become renowned, again will be among the offerings during the 2006 Festival.

Although nobody is guessing at the number of attendees for 2006, it is known that more than 60,000 people attended the Festival in 2005, a 275% increase since 2002. In addition, more than 220 filmmakers, producers, talent, and industry representatives from around the world attended the last Festival to introduce their work to Miami audiences and industry professionals. During the last three years, under the direction of Nicole Guillemet, the Festival has presented films from more than 50 countries, including 125 East Coast, US, and world premieres, scores of Oscar winners and nominees, and many international prizewinners. Major press coverage has been global.

The Miami International Film Festival brings the best of world cinema to South Florida and plays a leading role in maintaining and further enriching its film culture. MIFF uses the unique geographical and cultural position of Miami to be a premiere venue for the exhibition of international and US films, with a special focus on Ibero-American cinema. Both juried and audience awards are given in Documentary and Dramatic categories.

Miami Dade College—which is presenting the Festival for its third year in a row—has a long and rich history of involvement in the cultural arts, providing South Florida with a vast array of artistic and literary offerings, including The Miami Book Fair International, Cultura del Lobo, The Cuban Cinema Series, and the School of Entertainment and Design Technology. MDC is the largest institution of higher education in the country and is nationally recognized for its programs. With an enrollment of more than 163,000 students, MDC is the nation’s top producer of associate of arts and associate of science degrees. The college’s six campuses and numerous outreach centers offer more than 150 distinct degrees.

The list of films for 2006 showing should be announced shortly. The final submission deadline was in September. Submissions were open to first- and second-time directors in three juried competition categories including: Dramatic Features – World Cinema Competition; Dramatic Features – Ibero-American Cinema Competition; Documentary Features – World & Ibero-American Cinema Competition. In addition, a film must make its Florida Premiere at the 2006 Festival and must have been completed after September 2004. The Festival accepted films that have screened in up to two other Festivals (U.S. or International).

Cash prizes will be awarded to the Grand Jury Prize winner in each of the three competition categories. Cash prizes will also be awarded to the Audience Award winners in both the Dramatic Features and Documentary Features categories.

The 2006 Festival already has made industry news. A few months back, Nicole Guillemet, Director of the MIFF, announced that Dwight Brown, a nationally syndicated film critic and former HBO executive, had been brought on board as the festival’s new Programming Director.

“Our rapidly expanding festival needed a programming executive and Dwight Brown is perfect for the job,” said Guillemet. “As the past director of the Sundance Film Festival, I’ve known Dwight for years. He attended Sundance, both as a critic and as an HBO entertainment executive, scouting films for Acquisitions and talent for Original Programming. His opinions on films are trusted. He’s got a great eye for spotting the next hot director, actor, or writer and his taste is diverse in terms of genre and ethnic appeal.”

Brown, a film critic for over 20 years, is a long time member of the New York Film Critic’s Circle, and served as its Chairman in 1989. He writes film critiques and articles for the National Newspaper Publishers’ Association News Service (NNPA), a syndication of over 200 black newspapers.

MIFF also announced that films screened during the 2005 Festival as part of the “The Big Picture” program are enjoying national exposure in theaters and on television. Among films receiving attention are Innocent Voices by director Luis Mandoki, and En Route to Baghdad by director Simone Duarte, which aired nationally on PBS. In addition, La Sierra, by directors Scott Dalton and Margarita Martínez, opens nationwide in theaters December 3.

Innocent Voices, La Sierra, and En Route to Baghdad were screened during the 2005 Festival as part of a program entitled, “The Big Picture: Theater of Truth.” The Big Picture highlighted films that tackled world issues and the human struggle for life and dignity. Topics addressed in the program included Children & War and the United Nations. Panels were moderated by David D’Arcy, NPR Correspondent.

For more information on this event, contact Miami International Film Festival at 305-237-3456 or visit www.miamifilmfestival.com. For more information on Miami Dade College, visit www.mdc.edu.

Palm Tree Filmmakers Get Movie Attention

PalmTree Pictures, a young local film company, is making an early mark as it heads for 2006. Founded by North Carolina School of the Arts – School of Filmmaking alumni Carlos Sarmiento and joined by writer/producer J.C. Martin, this dynamic company is already putting South Florida in the Hollywood arena.

Its first feature-length screenplay “Shades of Grey,” was a finalist at the 2005 WorldFest /Houston (Texas)  International Film Festival  for best original screenplay (drama) and currently is  under review by several production companies including 20th Century Fox. Sarmiento and Martin recently completed a second feature-length script -- “Somewhere Down the Road, ” a romantic “dramedy” presently being developed as an independent film.

Palm Tree Pictures develops and produces feature and short films, music videos and still photography, as well as consulting in writing, marketing and public relations initiatives.

For further information, contact palmtreepicturesinc@yahoo.com.

Writers, Go Online

So, you are a writer or would-be author? And, you want to chat with others who have similar professional interests? Just go online to www.southfloridafreelancers.com.

For more than ten years, the South Florida Freelancers Group has been an online community for South Florida scribes to network, chat about the publishing industry and share job opportunities. Although anyone may join, most members are professionals currently working in the media/publishing fields.

The South Florida Freelancers Group Website offers biographical profiles of freelance writers, journalists, authors, poets, editors and publishers; a comprehensive jobs list; a calendar of upcoming literary events; and a Weblog featuring publishing-related news and links.

According to moderator Jade Walker, all members may post biographical information on the Website and contribute relevant Weblog items. New job opportunities and literary events are uploaded each week.

Membership to the South Florida Freelancers Group (it is free) also includes access to its active mailing list. Mailing list chatter is courteous and on topic. To avoid spam, all messages are moderated.

Every so often, the online members meet for lunch or dinner at a South Florida eatery.