This graphic always reminds me of Studs.
The Brisbane International Film Festival kicks off this week for 14 days of cinema from around the globe. Despite being an avid attendee in the past, I’ll be giving BIFF a miss in 2013.
I really enjoyed the last few years of BIFF under the guidance of Festival Director Richard Moore who oversaw an increase in more genre-based films onto the schedule and radically lowered the excess of SE Asian films that served as a blight on the program. My film interests were better served under his watch than they had been in prior years.
But no film festival is perfect. While I enjoyed the festival more, there were still some minor annoyances I had with the festival from a business perspective - higher priced Bubbles events ($25 tickets to high profile films that come with a complimentary glass of sparkling wine) being the biggest bane in my attempt to schedule films for myself.
In 2011, I saw about 30 films, while in 2012 I got along to 18 films throughout the festival. Not bad for a two week festival while still working a full-time job.
Richard Moore is gone as Festival Director, so there’s certainly less cult and genre films programmed this year. Which isn’t to say that I didn’t find anything on the current schedule that I wanted to see.
But it was difficult to justify seeing the films I want to see as part of the festival. There are two core reasons I’m not attending BIFF this year:
BIFF faces multiple challenges. Films are so readily accessible (legally) through the wide array of streaming services, VOD, and DVD retail sites. Programmed so long after the bigger film festivals earlier in the year means that most of those festival darlings have begun moving beyond their theatrical release period. The high profile films that are yet to be released are close to wider theatrical release for Academy Award consideration.
Within the next few months, I will have seen all of the films I’m interested in from BIFF at times that better suit me and at a significantly cheaper price. Sure, I’d love to see Blue Is The Warmest Color and 12 Years a Slave sooner, but my life is not going to be poorer for having to wait a little longer for films that have already seen wide release internationally.
BIFF 2013 have given me far more reasons not to attend than to leave the house.
If you don’t get this reference, you’re too young for tumblr.
are you fucking kidding me pixar puts out a movie ever year a baby would get this reference
it’s not pixar it’s a reference to that time in 1994 when lamps became sentient humanoids
many were lost that day
It was a grim day for mankind. My parents took refuge in a cave and thus saved us from certain death; we lived close to a lamp factory at the time and the surrounding region was utterly devastated in the conflict.
My brother fought one off using only an egg whisk and a pogo stick.
Only 90s kids remember the Lampocalypse
My father still has the scars from where one stole his kidney
Ironically, it was a dark time.
I can’t believe Pixar has the hide to use these murderous monsters as their mascot.
A few years ago I made the decision to stop writing a blog for Crikey.
For 2-3 years I ran their TV blog ‘White Noise’. During that time the blog was never as good as it should have been - I was working a job at the time where my clients were the very TV channels that I was critiquing and it was a conflict of interest that I was never comfortable with. The content on the blog suffered as a result. The new guys writing the TV blog (now titled Wires & Lights) are doing a pretty good job with it for the most part and I do read that often.
Writing a blog for Crikey is largely unpaid. There is a pricing structure, but it is weighted heavily to prevent much payment being made. Crikey’s business model relies on subscription to their daily e-newsletter. The blogs are ad-supported. The trick to writing a Crikey blog is to target it narrowly at specific industries that aren’t well serviced. Ben Sandilands does okay, as I understand,blogging about the airline industry trough his Crikey blog Plane Speaking. With top notch content and strong industry awareness, Sandilands commands a significant and loyal audience.
Payment was never an issue for me. I made some money through submissions to the newsletter that I used to fund the purchase of recording gear for the Televised Revolution podcast. But I had a 9-5 job, so it wasn’t like I needed the income from writing to put food on my table.
Writing for Crikey, for me, was about raising my profile. Which it did. An absolute highlight of all the TV writing/podcasting that I’ve done over the years was meeting one of my heroes, Andrew Denton, and him knowing who I was by name from reading the Crikey blog. It’s not often that I get excited by celebrity, but that was a bit special.
At a certain point, however, I realised there was little point to having a high profile if I couldn’t parlay that into whatever the next thing might be. It was time to do my own thing. I explained this to Crikey Editor Jason Whittaker who understood entirely where I was coming from and made it easy enough for me to get access to my White Noise archive (now part of the Televised Revolution archive).
Televised Revolution now chugs along with greater attention paid to it. I’m working in a job that, while still restrictive in some ways, no longer hinders me in the way that I had experienced during the time I wrote White Noise.
I completely understand why a number of professional writers have been critical of Private Media’s new venture The Daily Review. Getting a paid job writing these days is now bordering on impossible with traditional news organisations shrinking rapidly and that isn’t made any easier by Private Media/Crikey launching their new arts publishing venture - a publication that will rely primarily on unpaid contributor submissions. I really feel for professional writers as it seems that the value of the written word is diminishing in the Internet age. It’s not like Private Media are the only media organisation built upon unpaid contributions.
The future really seems to rest with trying to make a dollar out of your own independent mastheads, which requires skill sets that may not come naturally to some very talented writers.
Would I recommend that others do it? Well, that depends on what one wants from the experience. I have no regrets blogging for free for Crikey. I built a marginally higher profile and they let me retain ownership of the articles I’d written for the site. Crikey was good to me.
Prue & Dan offer the least incisive review of The Tunnel (S01E01) and explain why it’s just really pointless. They also look at this weeks How I Met Your Mother(S09E06).
Being episode 50, the duo also take some time to cite the TV shows of their youth that made them the TV viewers they are today.