When the news announced on Sunday that Donald Trump wanted to implement “100% prices“On the films made abroad, no one was entirely sure of what he meant. I mean, on this subject. The 400 strokes or American films made abroad as the next Avengers: Doomsday? Did he sign a price on the budget, on foreign subsidies, what? There are no real “imports” of goods, so how would you take these rates: on ticket sales, taxing studios, what? Wait, a tax – Doesn't that require the congress? (Hahaha, I'm kidding!)
Anyway, I wrote a little about it in Morning plansdebate the advantages and disadvantages with Alyssa on Through the aisle of the filmand made a Video with JVL and Andrew Egger On this subject on Monday. The next day, Deadline reported the details of the plan after obtaining a copy of the document Jon Voight gave Donald Trump in the hope of making Hollywood Grand again. You should give him a readBut the long and the short is that Voight, as an emission of Hollywood, asks (1) a federal subsidy for the production of films comparable to those that Canada and most European nations have implemented which “would build” in addition to generous state subsidies provided by American locations such as Georgia and Louisiana; as well as (2) a tax relief for Hollywood; and (3) which is equivalent to a 120% tax on foreign subsidies to discourage American productions from leaving in the first place.
The thing that jumps on the level is that it involves forming a real federal cash flow hose on cinema studios worth billions of dollars (billions of billions, in the case of Apple and Amazon) with a particular accent on a state, California, which likes to boast of being the fourth economy in the world and is, well, a deep blue. My point, it is simply that no republican in the congress will be taken dead by participating in a massive document in the unhabded Libs of the land of Lala.
However. Imagine the following scenario.
The Republican Party is blimped in mid-term, as is generally the ruling party in the White House. The economy is in the reservoir, people are not happy, the Democrats run large majorities in the House and the Senate.
Donald Trump, having no real political condemnations and a deep thirst to celebrate, is approached by Californian Democrats like Gavin Newsom and Adam Schiff about the Institute of Plan of the Voice. No, no, we cannot kill these foreign subsidies– It will be the most difficult part, convincing Trump that he cannot just crush the tariff button on what is very clearly a tax, but I'm sure that Hollywood storytellers can run a story to his taste –Although we can compete with them. We have to distribute money to good workers in California. Hell, some of these members of the IATSE have probably voted for you! And let's get photos of photo sessions. Do you want a photo shaking with all those people who said they would never support you? We can do it. Ben Affleck and Matt Damon run a whole studio now, I'm sure they would love some of this federal money. You want them to fold the knee, right? It will be… nice.
And the funniest part of all this is that Maga's faithful will be happy because it will make Trump happy. The switch will head for “Trump must kill government waste” to “look at the art of Trump's agreement”. He saves jobs! He makes great American films again!
On Through the aisle of the film Bonus episode this week, we talked about the ugly inhumanity of AI actors and why no one who defends technology seems to understand how real humans treat emotional vulnerability.
I spoke to Evan Jonigkeit – the producer and star of the first film by David Mamet in twelve years, Henry Johnson– This week for The rampart goes to Hollywood. I hope you listen to yourself because this is really what the show is to its best – offering information on art and cinema affairs.
Bulwark goes to Hollywood
How David Mamet made his first film in 12 years
In the episode of this week, I am joined by Evan Jonigkeit, the star and producer of Henry Johnson. Based on the play of the same name of David Mamet, Henry Johnson is Mamet's first film in a dozen years and an attractive provocation; I really liked to discuss not only about the meaning of the film with Jonigkeit, but also the difficulty of obtaining …
I generally do not revise books and films when I have already interviewed people involved in making the film; He creates the potential for conflicts of interest. So what follows is not a review. But I would like to recommend you Henry Johnson– which is available for rental via the film website, Henryjohnsonmovie.comand also screening At the Aero this evening (Friday, May 9) in Los Angeles and from May 9 to 13 at the Bryn Mawr Institute in Pennsylvania.
I don't want to spoil the film so I will not reveal the intrigue; Indeed, the great joy of this film, which is based on a play written by Mamet, is to watch the story take place while Henry Johnson (Jonigkeit) tries to sail in certain moral and legal difficulties. The cast is exceptional: Jonigkeit plays a wonderful figure, a man whose moral center is not formed except by the idea that he does the “good” thing because he is a “decent” person; Chris Bauer, whose public will remember season two of The thread And HBO Real bloodis beautifully penetrating as Johnson's first interlocutor; Shia Labeouf is probably the biggest name in distribution and does intense work as a temptation voice; While Dominic Hoffman does a huge act of the eyes in the final act.
Really, however, I think it is an extremely important film on our moment, on the way in which a lack of moral code – a refusal to adhere to the principles beyond those required by charismatic individuals or a vague concept of what the masses require – peer to personal and professional ruin. Mamet's scenario is provocative, as we would expect Oleanna; There is a riff on abortion in the first times that is likely to rub some people in the wrong direction.
But the film is structured as a Socratic dialogue and with each provocation comes a deeper goal. Henry Johnson is elliptical and loop in its argument and structure; Like Jonigkeit and I discuss on the podcast, it is a film that rewards the second views, once the fate of the main character is better understood. Fortunately, a seven -day rental is more than sufficient to look at it twice.
