Open discussion about ILM and the magic they create. Also VFX and movies in general. Anyone can post topics here.

Moderator: malducin

#33968
Funny you should ask. Instead of a direct reply to what I sent, I got an email from somebody else at netflix about 15 hours later, discussing OTHER projects and who I would need to contact to get more information on them. Couldn't tell if it was a mass-mailing that coincidentally went out right after I sent my WIND query or just a polite way of putting me off.

About three-quarters of the netflix stories I've tried to do have gone off without a hitch, but there were a few where I just couldn't get anybody on the phone or to even answer or acknowledge emails (13 REASONS WHY was one of those, which was annoying becaue the DP's agency was dying to set up an interview.) The projects involving Soderberg last fall were problematic too -- I waited months on MOSAIC before they decided to not offer up any interviewees (I think that was an internal production call, not netflix), and the production entity for the western he had a hand in, Scott Frank's GODLESS, didn't respond until past my delivery date.

I've also re-asked this year about their HAUNTING OF HILL HOUSE project, but not gotten anything back about a release date or any other detail, even though I have already covered that DP/Director collab on their BEFORE I SLEEP film (which had a lot of nice on-set interactives to cue otherworldly realm VFX.)

I know that if one particular name as PR contact comes up on a netflix project, I will probably refuse to take the assignment, since I sent that person something like 40 emails last year about three separate projects, and only once ever gotten a (non-useful) response. But that does seem to be the exception, as I wound up completing nine Netflix stories in the span of maybe half-a-year, more from them than any other entity by far.
#33973
Kmart wrote:Funny you should ask. Instead of a direct reply to what I sent, I got an email from somebody else at netflix about 15 hours later, discussing OTHER projects and who I would need to contact to get more information on them. Couldn't tell if it was a mass-mailing that coincidentally went out right after I sent my WIND query or just a polite way of putting me off.

I know that if one particular name as PR contact comes up on a netflix project, I will probably refuse to take the assignment, since I sent that person something like 40 emails last year about three separate projects, and only once ever gotten a (non-useful) response. But that does seem to be the exception, as I wound up completing nine Netflix stories in the span of maybe half-a-year, more from them than any other entity by far.


I love their openness about their projects. I also love Netflix's model and platform. They have tapped into platform that is a part of the future of movie distribution. But, they made a mistake withholding The Other Side of the Wind from Cannes. This was Welles' final film and denying it a screening at Cannes of all places was a mistake. Screen the film in a theater and let people watch the final film from a master of cinema in that environment. Hopefully, they will give this film a limited release in some of the bigger markets before launching it online. This film from a master filmmaker deserves it.
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