"You're born, you take shit. You get out in the world, you take more shit. You climb a little higher, you take less shit. 'Till one day you're up in the rarefied atmosphere, and you've forgotten what shit even looks like. Welcome to the layer-cake, son."
My understanding from endless hours of listening to the 'ScriptNotes' podcast, (Camel-cased jus to annoy John August) is that when a studio or such buys a script they buy the entire copyright becoming the 'author' of the script with all the associated rights unless otherwise specified in the contract.
This is also my basic understanding, which is why I think the studios have a better case for being able to run everything they buy through ChatGPT-like programs. But also, no one really expected this sort of technology when they were hammering out the rules years ago. So ... maybe this is a big enough change to consider a theoretical rejiggering.
I like to think of us as a little online movie club... albeit admittedly organized around a love of small d democratic norms, which may be a bit weird. I watch the assigned movies weekly (and only rarely miss), so I'm excited for this weeks film. I'm a sucker for westerns.
Anyway, my favorite Michael Gambon role was Baltus Van Tassle in Sleepy Hollow. Again, not a staring role, but he delivered perfectly.
Ha, I’m glad you’re getting some tips out of this last section; I try to program it like I’d program a rep house. What’s thematically resonant this week?
Well I figured we'd be getting a Gambon film since he passed this week.
But I did get a good chuckle out of the themes for the Pope's Exorcist... Why did the director decide to cast a fat Russel Crowe? Why make him do so many accents? Why so many long transition shots of Crowe on a Vespa?
I was watching it with my wife and she was utterly flummoxed why I was watching it.
"You're born, you take shit. You get out in the world, you take more shit. You climb a little higher, you take less shit. 'Till one day you're up in the rarefied atmosphere, and you've forgotten what shit even looks like. Welcome to the layer-cake, son."
My understanding from endless hours of listening to the 'ScriptNotes' podcast, (Camel-cased jus to annoy John August) is that when a studio or such buys a script they buy the entire copyright becoming the 'author' of the script with all the associated rights unless otherwise specified in the contract.
This is also my basic understanding, which is why I think the studios have a better case for being able to run everything they buy through ChatGPT-like programs. But also, no one really expected this sort of technology when they were hammering out the rules years ago. So ... maybe this is a big enough change to consider a theoretical rejiggering.
Perfect! Another reason to watch Open Range. Think I've seen it 10 times; it's a favorite
Plus it's got a beautiful score from the late, great Michael Kamen (rightly famous for his "Band of Brothers" score).
You can't copyright an AI-generated work, YET.
I like to think of us as a little online movie club... albeit admittedly organized around a love of small d democratic norms, which may be a bit weird. I watch the assigned movies weekly (and only rarely miss), so I'm excited for this weeks film. I'm a sucker for westerns.
Anyway, my favorite Michael Gambon role was Baltus Van Tassle in Sleepy Hollow. Again, not a staring role, but he delivered perfectly.
Ha, I’m glad you’re getting some tips out of this last section; I try to program it like I’d program a rep house. What’s thematically resonant this week?
Well I figured we'd be getting a Gambon film since he passed this week.
But I did get a good chuckle out of the themes for the Pope's Exorcist... Why did the director decide to cast a fat Russel Crowe? Why make him do so many accents? Why so many long transition shots of Crowe on a Vespa?
I was watching it with my wife and she was utterly flummoxed why I was watching it.