Sometimes it takes a good film to put things right. Like when your computer needs to be rebooted to get it working normally, or the benefits of a good night's sleep. The Three Burials of Melquiades Estrada was just that calibration, a tale of doing the right thing, of endurance and redemption, and a reminder that of how important cinema is to me, and how great cinema has far less to do with technology than it does to do with the questions, hopes and problems that face us as a species.
Ten years ago, on the second of Februa
ry 2000, Netribution formally launched, after a month of tests, at Peeping Tom's short film gathering at Global Cafe in Golden Square.
It's hard to recognise myself in the photo from the night - alongside fellow co-founders Wendy Bevan Mogg and the legend that is Tom Fogg - bubbling with passionate naiveté and blind optimism. A more innocent time, before YouTube and torrents and Bush and 9-11, when David Cameron was still head of PR for Carlton TV, and publishing a new issue once a week seemed impressive. Now tweets come every few seconds I miss that space which was forced upon us in the early days by dial-up modems - the gaps between thought, writing, coding and the reader that might have prevented some of my more indulgent rants of later years.
I can't find the launch page of the site anywhere. The first front page I can find is pulled from the Wayback machine and is Issue #24 from May of that year, there's other front pages with broken links from Issue #47 (our 2000 Christmas issue), Issue #56 and Issue #62 which has more of the site intact. The old features page probably gives the best idea of what we were about then.
As I searched my hard drives to find our first issue, I found the first barely coherent business plan from November 99 through to the Netribution 2 presentation from November 04 which reads like a naïve sales brochure for Web 2.0. Even in 99 our plan was filled with talk of 'open source webisodes' that people could remix and add to across the world and a network of indie screening venues and groups across the country for filmmakers to distribute their work to directly.
Roy Disney, nephew of Walt and general protector of Disney, has passed away. I was lucky enough to meet Roy in 2000 at the Belfast Cinemagic Conference, and it has stood as one of the more memorable encounters of my working life. I was quite nervous beforehand yet without need - he was warm and genuine in his convictions, unassuming with a quiet strength.
[Netribution, Dec 2000] Roy worked for the 'Mouse House' for over thirty years before Michael Eisner pushed him from the board [only to get his own back, pushing Eisner out in 2005 and bring Steve Jobs and Pixar back in]. Responsible for everything from Toy Story and The Lion King through to Wall*E, Roy is an unashamed lover of comedy and escapist family entertainment. In his only interview for online media, Roy talked with Netribution in 2000 about IMAX and the future of Fantasia, the problems with Dinosaur, the secrets of Disney's success, growing up in the shadow of Uncle Walt and his unfulfilled dreams of designing aircraft. He also talks for the first time about the then year's eagerly awaited follow-up to Toy Story/A Bug's Life - Monster's Inc. Roy's Irish routes are quite sincere - he owned a house near Cork where he spends a third of his year - and at the turn of the century the Disney clan found themselves in Ireland en route from France to the States
What brings you to Belfast? Well we were asked by Shona McCarthy the best part of a year ago to become part of the festivals and over several months we found out more about it, then Shona came to Los Angeles - and she's tough - I couldn't help it really. I was really curious to come up here in any case, spend a little more time than the one day I was up here last summer.
I understand you have a home near Cork? Yes, I've had that for about 10 years now and we try to spend 3 or 4 months there every year.
Do the Disney family have any Irish routes? Yes, the name is actually French - it came from a little town in Normandy called Disigny, the name got corrupted and a lot of those people found themselves in Ireland on the way to the States. We have some pretty deep roots here, I married a girl named [Patricia] Daly who's older brother was the ambassador to Dublin back in '81/'82, during Reagan's years. That was the first time I came to Ireland - she was there and we fell in love, wound up buying a place and it’s a pretty solid thing here.
On a day where celebrities seemed to dropping like flies, it's a shame that the obits for British scriptwriter Troy Kennedy Martin probably won't be as extensive as they should be. Needless to say the man was a man who had a hand in helping to create and write some of the best UK TV shows ever made including 'Z-Cars' and 'The Sweeney'. His TV shows helped pave the way for intelligent genre fare that were literate and exciting whilst 'Edge of Darkness', currently undergoing a Hollywood remake, remains a highpoint of British television. Aside from TV, he scripted the brilliant ensemble piece Kelly’s Heroes and – perhaps most famously – was responsible for The Italian Job, a film that is famous for lines such as “You’re only supposed to blow the bloody doors off!” as it was for it’s impressive car chases.
Writer, actor, director, conscientious objector, uncompromising activist and - by all accounts - much loved and utterly decent person, Harold Pinter was not just a great contributor to our times, but a real inspiration. In the below video he talks about art, truth, politics and the Iraq war, as he accepted the Nobel Prize for Literatrue in 2005.
"the cushion may be suffocating your intelligence... but it's very comfortable"
Sydney Pollack, director, actor and writer, has passed away from cancer aged 73, and surrounded by his family. Link to LA Times obituary , Wikipedia page, IMDB page.
Pollack was a friend and business partner to Anthony Minghella, who also sadly passed away earlier this year. Back in 2001, filmmaker and blogger Tim Clague caught the two legends in conversation at BAFTA, republished below.
SYDNEY POLLACK INTERVIEWED BY ANTHONY MINGHELLA
Monday 29 January 2001. by Tim Clague
I was privileged recently to be invited to an exciting event held at
BAFTA in London. Following their decision to move the Film Awards to a
position before the Oscars, BAFTA have launched, what they hope will
be, another high profile event, The David Lean Lecture. This year’s
inaugural event featured Sydney Pollack being interviewed by his
friend, colleague and now business partner, Anthony Minghella. I am
sure that neither of these filmmakers need an introduction to most
readers, but as a quick recap...
Sydney Pollack is an American filmmaker who has worked on the
fringes of Hollywood for all of his career, never part of the ‘system’
nor fully independent. As a director he started in Television (The Fugitive and Alfred Hitchcock presents) before moving across in films. Highlights include The Way We Were (1973), Three Days of the Condor (1975), Tootsie (1982), Out Of Africa (1985) and The Firm (1993). He is a trained actor, from the New York Actors Studio, and has played characters in Woody Allen’s Husbands and Wives (1992) and Kubrick's Eyes Wide Shut (1999) amongst others.
The West Midlands may seem a million miles from Hollywood, but filmmaking talent is strong in the region and as more and more young filmmakers embark on what they hope will become a career, the need for support and advice is as vital as ever.
But is there enough in the region? And is it meeting and fulfilling the needs of a growing community of filmmaking talent?
I'll never forget watching Truly Madly Deeply as a kid, a film I hold responsible for a crush on cellists (Altman's Shortcuts also playing a part). Anthony Minghella did much more besides making deeply heartfelt and tender films - from chairing the BFI to Grange Hill, Inspector Morse and promoting the family ice cream business on the Isle of Wight.
All thoughts to Hannah, Max, Carolyn and the rest of his family right now.
I'd forgotten I wrote this - about the earth, debt and the challenges for filmmakers - from India almost 18 months ago. But now as Copenhagan enters the last few make or break hours it seemed relevant..
"We are custodians of a miracle. For billions of miles in all directions there is nothing, nowhere like this."
On my tenth day in the jungle, the morning after the Shivaratri party, I finally met my first native monkey. Almost human size, like Hanuman , with a white body and black face, and arms long enough to give me a good clobber, he thundered in with graceful side swings over my tent to the tree above - thousands of leaves heralding his arrival like confetti. The sound at first was so great, I thought perhaps I was under attack. We looked each other in the eye and he reclined on a branch before turning to me suddenly, scowling and angry. He indicated beneath him - a pile of pink toilet paper someone had left under the tree and gave me a universal gesture with his outstretched palm: 'clean this shit up', before leaving fast with his entourage through the trees. The conversation couldn't have been clearer.
So the UK government is looking at following in French President Sarkozy's footsteps by forcing Internet Service Providers (ISPs) to monitor thier customer's web usage and disconnect them (after a warning) if they are found to be downloading illegally. This switch of legal responsibility from the copyright owner to the internet provider is significant - but more alarmingly so is the change of web access into something which can be monitored and controlled by the people providing you with access. I'm supposed to be taking time out in India, but couldn't resist sharing my thoughts when I heard the news.
Internet Protocol is built on the all-data-is-equal model, where anonymous packets of information are sent from servers to users, with no-one in between having the faintest idea what that data is. The switch to a system (supposing it can be securely built) which identifies this traffic and acts as a result is a culture shift in the fundamental nature of the web - potentially allowing, for example, ISPs to block politically sensitive material, or provide faster, more stable web access to big fee-paying webisites over slow ones.
Piracy is of course a terrifying prospect for the film industry if it simply heralds a culture of not paying for content. Unlike the music sector, non-piratable aspects of the film business are rarely profitable (while Radiohead makes over three quarters of its income from touring, most films are lucky to cover their marketing costs for a cinema release). Furthermore, while you can make a film on no budget, it's hardly the same as recording an album in your bedroom or mastering on your laptop; the lack of money will be obvious on screen. Films are the most expensive artform going, and a future where users do not expect to pay for the films they watch at home would lead us into the hands of the Orange Film Finance board from the cinema ads, putting up the budget of a film in return for brand exposure. It's a horrible prospect.
But at the same time, the Recording Industry of America's heavy handed approach with music downloaders (sending huge fines and court summons to young children and dying seniors) has done nothing but cement resentment and hostility to the music industry . Music sales still fall and downloading still rises. The proposal, currently under discussion, may help the film industry avoid considering new business models and ways of operating in the short term, but it also entrenches an us-vs-them attitude and hardening the resolve of pirates while inevitably forcing ISPs to put up their costs, alienating consumers. And what too of shared networks and free-wifi - will public libraries, bars, cafes and National Express trains (and indeed my own house) have to turn off open access for fear that someone somewhere will be using the bandwidth to download something illegal, forcing the ISP to shut down access for all? Potentially terrible PR for the film industry, at a time when survival seems pinned on building a positive relationship with audiences.
I'd also argue that the jury is still out over the impact of piracy on lower-budget, niche and independent films. Some would say that it acts as a 'try before you buy' on high-risk / high-quality films with unknown actors and directors - ie non-studio films. Researching and writing one of the first major market reports into making money from creative assets in the digital age, for Informa in 2001, and watched the shifts ever since, including the huge DRM backlash, and the massive increase in previously unknown MySpace (etc) acts who rise to prominence through giving their music away for free, not to mention Radiohead's highly successful experiment and Four Eyed Monsters, I'm inclined to agree that at a certain level, peer-to-peer sharing is a useful form of marketing. Little Miss Sunshine was widely available to download and watch online through sites like PeakVid and Alluc, yet people I know who first watched it online went on to buy multiple copies - for themselves and friends as gifts.
The people who stand to lose the most in cash terms are perhaps the studios with major tentpole releases, where losing 30% of DVD sales to piracy on say Lord of The Rings, is a significant sum of money when you consider it has made $6bn... (cont.)
On a day where celebrities seemed to dropping like flies, it's a shame that the obits for British scriptwriter Troy Kennedy Martin probably won't be as extensive as they should be. Needless to say the man was a man who had a hand in helping to create and write some of the best UK TV shows ever made including 'Z-Cars' and 'The Sweeney'. His TV shows helped pave the way for intelligent genre fare that were literate and exciting whilst 'Edge of Darkness', currently undergoing a Hollywood remake, remains a highpoint of British television. Aside from TV, he scripted the brilliant ensemble piece Kelly’s Heroes and – perhaps most famously – was responsible for The Italian Job, a film that is famous for lines such as “You’re only supposed to blow the bloody doors off!” as it was for it’s impressive car chases.
Sydney Pollack, director, actor and writer, has passed away from cancer aged 73, and surrounded by his family. Link to 
Submitted by Lucy Coogan:
So the UK government is looking at following in French President Sarkozy's footsteps by forcing Internet Service Providers (ISPs) to 
I'd also argue that the jury is still out over the impact of piracy on lower-budget, niche and independent films. Some would say that it acts as a 'try before you buy' on high-risk / high-quality films with unknown actors and directors - ie non-studio films. Researching and writing one of the 
