Thu, Dec 25, 2014 - Page 1 News List

Indie cinemas play key role in return of ‘The Interview’


A man dressed as Santa Claus on Tuesday walks under the marquee at the Plaza Theatre, which will be showing the movie “The Interview” beginning Christmas Day in Atlanta, Georgia.

Photo: Reuters

High-brow art house theaters and low-key college town cinemas became the unlikely stars of a Hollywood comeback by convincing the powerful Sony Pictures studio on Tuesday to let them screen The Interview, the film shunned by the multiplexes and corporate chains.

Film buyer Jan Klingelhofer found herself in down-to-the-wire dealings with a studio known for its careful planning.

“I think everybody has been doing a certain amount of this on the fly,” said Klingelhofer, who runs Pacific Film Resources in Oakland, California.

“This is completely atypical of Sony’s usual deliberate and precise manner of doing business,” she said. “They’ve really had to step up.”

Independent cinemas normally would not be considered the landing spot for a lowbrow satire starring Seth Rogen and James Franco, leading stars for stoner, gross-out comedy. The Interview, codirected by Rogen, depicts a fictional plot to assassinate North Korean leader Kim Jong-un and has incensed the reclusive nation now blamed for a devastating cyberattack on Sony Pictures.

The Hollywood studio said last week that it pulled The Interview after the biggest North American theater chains backed out citing security concerns.

Sony Corp’s reversal came after it faced criticism from the public and US President Barack Obama that the Hollywood studio had capitulated to hackers and self-censorship.

Russell Collins, who runs the State Theatre in Ann Arbor, Michigan, said he launched an online campaign among the industry’s independent theaters to screen The Interview to support free speech.

Sony Pictures said more than 200 US theaters are to screen the US$44 million film as of Christmas Day, less than 10 percent of the number of theaters in a typical nationwide release.

“We were happy to play a role to support the colleagues we work with at Sony and be sympathetic with their great difficulty to exhibit the film,” Collins said.

Klingelhofer, who negotiated the film for Collins, said the agreements with independent cinemas were put together so quickly there was no talk of minimum-length runs.

“They were much more open to a non-standardized arrangement than they would be normally,” she said, adding that any security arrangements at cinemas would be left to theater operators.

Klingelhofer surmised that issues could arise down the road between Sony and some art house theaters over ticket prices.

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