<![CDATA[Gawker: defamer, joe roth]]> http://tags.gawker.com/assets/base/img/thumbs140x140/gawker.com.png <![CDATA[Gawker: defamer, joe roth]]> http://gawker.com/tag/defamer/joeroth http://gawker.com/tag/defamer/joeroth <![CDATA[Sony Has Seen The Future, And The Future Is Godzilla Ringtones]]> Drunk on power after slaying the HD-DVD dragon, Sony rolled into CES `08 with more confidence than Colin Farrell after a couple of key bumps. Eager to gloat but unwilling to pay huge appearance fees, they trotted out Leonard Maltin (the poor man's Roger Ebert) and Dean Devlin (the homeless man's Jerry Bruckheimer) to shill discuss the impact that Blu-Ray will have on the filmmaking process. The two spent a few minutes lamenting the demise of the in-theater viewing experience before launching into orgiastic praise of all things Blu-Ray. After explaining that "home video is no longer an ancillary market, now it's a PRIMARY market", Dean Devlin dropped a radioactive bomb on us.

According to Devlin, those people who own a Sony Blu-Ray™ device "will now be able to see Godzilla as we always intended." We laughed out loud, only to quickly learn that it wasn't a stand-up performance. While we appreciate the marketing rationale on a certain level (we suppose it makes sense to try and capitalize on the American public's renewed interest in giant lizards rampaging through lower Manhattan), we can't help but wonder why Sony picked Godzilla from their massive library to push their blazing new format on the masses. We can only assume that Joe Roth's Tomcats must've been unavailable. It didn't stop there, though. Those who own a PlayStation 3 and buy the Godzilla triple-dip will be able to send Godzilla-branded ringtones ("Roar" AND "Growl") over The Internets to their friends ... for free! Kill us now.

godzilla_sm.jpg

]]>
http://gawker.com/index.php?op=postcommentfeed&postId=341935&view=rss&microfeed=true
<![CDATA[Joe Roth: It's So Adorable When Silly Stage Ladies Want Control Over Their Cute Little Movies!]]> roth-taymore.jpgToday's NY Times looks at the behind-the-scenes battle for control of the creative soul of psychedelic Beatles musical Across the Universe unfolding between Revolution Studios head Joe Roth and director Julie Taymor, in which Roth's helpful trimming of about a half hour from her cut and a subsequent test screening of his shorter version has a "helpless" Taymor threatening to take her name off the picture before it becomes a full-blown Rothian abomination. While Team Taymor carefully chose its words in responding to the Times' inquiry into the flap ("Sometimes at this stage of the Hollywood process differences of opinion arise, but in order to protect the film, I am not getting into details at this time."), Roth reminded everyone not to pay too much attention to the hysterical stage lady who can't take constructive criticism like a Mann:

He said that Ms. Taymor was overreacting to a normal Hollywood process of testing different versions of a movie, something he has done many times before, including with Michael Mann's "Last of the Mohicans." He called his version of "Across the Universe" "an experiment."
"She's a brilliant director," he said. "She's made a brilliant movie. This process is not anything out of the ordinary. Her reaction through her representatives might be. But her orientation is stage. It's different if you're making a $12-million film, or a $45-million film. No one is uncomfortable in this process, other than Julie."

And he warned that the conflict could hurt the movie. "If you work off her hysteria, that will do the film an injustice," he said. "Nobody wants to do that. She's worked long and hard, and made a wonderful movie."

Following his persuasive and sensitive argument (note his laudable tact in never once mentioning the phrase "on the rag," no matter how badly he wanted to say it), Taymor will probably come around and finally open herself up to "the process" she's so irrationally resisted until now, allowing fellow director Roth to share the cinematic gifts that made Christmas with the Kranks such an aesthetic triumph.

]]>
http://gawker.com/index.php?op=postcommentfeed&postId=245636&view=rss&microfeed=true
<![CDATA[End Of The Revolution?]]> revolution-logo.jpgIf you've got a couple of minutes to spare before the end of your lunch hour, we recommend that you head over to the Revolution Studios online studio store and pick up some memorabilia, because it seems that anything bearing their logo is about to become a collector's item. The rumor on the street (and in the inboxes of just about every assistant in town) is that the Revolution is over (or, if you prefer a less martial wording, Revolution has stopped spinning), with chairman Joe Roth finishing off a few projects in development and/or throwing some in a cardboard box and carrying them over to Sony in the obligatory producing deal. As is the custom when a studio goes down, we must list a smattering of its most notable failures, so join us in fondly reminiscing about Tomcats, Christmas with the Kranks, Rent, Little Black Book, and the one that rivaled even the immortal Ishtar as a punchline while simultaneously crippling two acting careers, Gigli.

And if it turns out the whispers are wrong, we're sure that the Revolution store has a generous return policy for any unworn apparel you regret purchasing.

UPDATE: The details, according to Variety: They will release 13 already finished or in-production films via Sony over the next two years, they've ceased development while the studio "tries to figure out its future" (read: bye bye), and Joe Roth is "hammering out" his "future production arrangement" at Sony.

]]>
http://gawker.com/index.php?op=postcommentfeed&postId=151004&view=rss&microfeed=true
<![CDATA[Joe Roth: At Least My Crap Made Money]]> joe-roth2.jpgRevolution Studios head Joe Roth should know better than to bore people by describing his dreams, especially if the person he's boring is a columnist from the LAT and running a tape recorder:

"I dreamed last night that I fired [Revolution partner] Tom Sherak," he says with a wry grin, sipping a Diet Coke between takes. Roth said that, in the dream, he was sitting with Chris Columbus, who's directing a film of the stage musical "Rent" for Revolution. "Tom came in, singing and dancing, all excited, saying, 'I got our trailer on the front of "Star Wars!" ' And I go, 'Which trailer, the one for Chris' movie or the one for mine?' And Tom says, 'Neither! I got the trailer for "Die Hard 3!" '

"I started yelling at him, 'What about my movie, you son of a bitch!' And Tom said, 'Hey, I gotta do what I gotta do.' So I fired him."

This one certainly doesn't require much Freudian analysis, but once you open the floodgates, everyone will feel compelled to share their own dreams. For example, we dreamed that later on in the column, Roth wrapped the supposed humility of realizing that he's churned out crap in a self-aggrandizing disclaimer about his financial success, which sounded something like, "My unwillingness to be exposed to failure has prevented me from being viewed as a serious director. I guess I've been hiding behind making money for my company." Then the dream really got weird, as the Revolution logo rose in the sky, transformed into a giant set of buttocks, then showered the earth with turds labeled "Christmas with the Kranks" and "XXX: State oft the Union." What do you suppose that means?

]]>
http://gawker.com/index.php?op=postcommentfeed&postId=104770&view=rss&microfeed=true