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The film site firstshowing has curated a list of films that will be released by major studios in 2008. The post is titled: Why 2008 Will Be An Awesome Year For Movies and it consists of 54 films selected from over 120 major studio releases. It’s a great list made by Alex Billington, with a mixture of films I’m anxious to see and others that look like typical blockbuster flops that could end up making a lot of money opening weekend.

Here’s my problem: out of 54 films selected, Alex couldn’t find a SINGLE FILM directed by a woman that looks “awesome.” What is this, the 1950’s? Even if it were, and a list were being made, I’m sure Agnès Varda would have made the cut.

I wonder why these films didn’t make the cut of 54 reasons why 2008 will be an awesome year for movies?

1. 27 Dresses, directed by Anne Fletcher and written by screenwriter Aline Brosh McKenna (who wrote the hugely successful The Devil Wears Prada) will be in theatres January 11th 2008.

2. Mad Money, starring Diane Keaton, Queen Latifah, Katie Holmes and directed by Callie Khouri will be in theatres January 18th 2008.

3. Stop Loss, Kimberly Peirce’s follow up to her Oscar nominated film Boys Don’t Cry will be released March 28th 2008

4. Nim’s Island, directed by Jennifer Flackett, starring Jodi Foster, Gerard Butler and Abigail Breslin, will be released April 4th 2008 .

5. Mamma Mia! brought to the big screen by Phyllida Lloyd will be in theatres July 18th 2008.

What makes Fanboys, Jumper or Repo! The Genetic Opera more “awesome worthy?” I have nothing against these films but I am curious to know why the release of Mamma Mia! (which is based on a hit Broadway play and has to do with one of the world’s most popular musical groups) does not merit the same hype?

Alex made a similar list last year with 43 reasons Why 2007 Will Be A Great Year For Movies. Again, not a single female director on his list. What happened to these titles, all released in 2007?

1. The Savages, by Tamara Jenkins
2. Broken English, by Zoe Cassavetes
3. The Jane Austen Book Club by Robin Swicord
4. Away From Her by Sarah Polley
5. Catch and Release by Susannah Grant
6. Hounddog by Deborah Kampmeier
7. Waitress by Adrienne Shelly

Whether these films were good or bad, I don’t see why they can’t take their place next to The Fantastic Four: Rise of the Silver Surfer, Hot Fuzz or Reno 911! Miami. Why are their film’s being held to a different standard of what constitutes a “projected” great year in movies?

We had the cast and crew screening of Birthday Girl last night. Despite the miserable weather and terrible driving conditions we had a great turn out. Ziad, Phil and myself went all out and had a birthday themed “cocktail” party. It seemed only right considering a majority of the cast is under the age of 15. I was very anxious to watch the film with the cast. I had no idea how they were going to react to the film. I don’t think one ever gets used to seeing themselves up on the big screen so I kept that in mind while I listened to their reactions. Overall I think they really enjoyed it and I had a great time seeing everyone again.

I finally got my hands on the .mp3 of an interview I did with Jeff Low of Making Contact, a program on Evolution 107.9. The radio station is part of BCIT (British Columbia Institute of Technology).

I did the interview during the Vancouver International Film Festival back in October.

You can listen to the full interview here.

Photo credit: Eric Ogden

I went to go see the new Coen brother’s picture No Country for Old Men the other night. I thought it was excellent - I’m a huge fan of their work. It’s completely unconventional and unsatisfying in all the right ways. What I found more interesting however was an article I read in Time magazine. Cormac McCarthy, the author of the novel which the movie is based on, is interviewing Joel and Ethan Coen.

C.M. At what point do you have some sense of whether a film is going to work or not, as you’re working on it?

J.C. I can almost set my watch by how I’m going to feel at different stages of the process. It’s always identical, whether the movie ends up working or not. I think when you watch the dailies, the film that you shoot every day, you’re very excited by it and very optimistic about how it’s going to work. And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away. And then it gradually, maybe, works its way back, somewhere toward that spot you were at before.

It’s always reassuring to hear veteran film-makers say things like this. I remember watching the first cut of Birthday Girl and thinking I should change professions. It’s nice to hear that with time and experience the emotions are still there - you just learn to embrace them.

Here’s a link to the full interview.

Telefilm issued their press release for Canadian films selected at Sundance this year. I was really happy to hear that Julia Kwan’s film Smile made the cut. As I was going through the list, I couldn’t help but notice a short film called The Funeral, which was directed by Sara St. Onge.

The premise: “A dark comedy about a young woman in her early thirties becomes aware of her own mortality and reacts by meticulously planning her own funeral. Possibly due to a lack of other big days in her life so far, such as a wedding, this becomes her moment to shine.”

I couldn’t believe it when I read it. Not to mention that last year Matt blogged about another Canadian short film called The Saddest Boy in the World. A film about a young boy who tries to kill himself at his 9th birthday party.

There must be something in the air. Can’t wait to see it.

It’s always entertaining when a popular television show takes its main characters to your home town. The writers of Heroes (season 2) have decided to use Montreal as a backdrop for one of their many intertwining story lines. Early on in the season the character Peter Petrelli finds himself on the corner of Saint Jacques and Saint Laurent, right beside the internationally renowned Notre Dame Cathedral. (See photo below).

The actors are not in Montreal - they are standing in front of a green screen on a sound stage. The green screen is later replaced by a matte painting of the desired location - which is much more cost effective. Just for kicks, I decided to take a photo of the exact spot the characters find themselves in - or tried to be in the exact spot. It was a little difficult because there are several buildings where the characters are in fact supposed to be. It’s interesting to see what aspects of the area the artist decided to use for the matte painting.

The painting of the cathedral is pretty accurate, as is the colour of the street signs in Old Montreal, but I’m curious to know why they changed the name of the streets. The Cathedral is actually located on Place d’Armes - not Saint Laurent (my guess is that most people who know Montreal are much more familiar with Saint Laurent than Place d’Armes - that or they got lazy and didn’t do their research and thought no one would notice).

I’m obsessed with details and background information in movies and tv shows. You can tell immediately when some thought was put into a product. When the details are there, you feel that the people involved care.

Scott Kirsner, editor of one of my favorite blogs CinemaTech, has compiled a comprehensive list of websites that engage in online film distribution. Scott gives an overview of the various sites criteria/preferred content and the different ways in which filmmakers can make money from these online distribution platforms.

The content is from his recently published book The Future of Web Video: New Opportunities for Producers, Entrepreneurs, Media Companies and Advertisers.

Birthday Girl will be available online at the end of 2008 (I believe), at which point I will be submitting to both B-Side and IndiePix.