US ASIANS:Did the Roger Ebert review open any previously unopened doors
for your film?
FILM
DISTRIBUTION
TRADITIONALLY,
large institutions
finance films: movie studios, film financing businesses and even
independent sources with roots in money, such as consortiums of
wealthy individuals.
UNDOUBTEDLY
the most costly art form, movies then are subject to gatekeepers
who deem a project as “worthy” based predominantly upon
track record. It also helps to have above the title names associated
with it.
DISTRIBUTION IS KEY
in securing financing, for the film that is perceived as marketable
has the advantage of being “pre-sold” in markets –
the distributors will gladly commit to distributing the finished
product by guaranteeing a certain amount of screens.
THUS, WHEN STEVEN
SPIELBERG casts his lot in a project, a studio can then
begin making projections based upon distribution commitments.
IN OTHER WORDS, the
studio has a reasonable projection of how much the movie will make
apriori, based upon history. At its most base level, as a marketable
commodity, a Spielberg film carries tremendous clout in the marketplace.
ERIC BYLER:
Yes, many. Theatrical distribution seemed very unlikely three months ago.
Most distributors chose not to see the film before the review came out.
All they needed was a description -- Asian American relationship drama,
no guns, and no kung fu. They said no without having to see it. After
the review, the film was harder to dismiss.
(Note: In April of 2003 - "Charolotte
Sometimes" production company announced that the film will be
opening on the following dates:
US ASIANS:What about the IFP Independent Spirit Award Nominations?
ERIC BYLER:
Same thing. People are even more curious now – it’s pretty
unusual to see a tiny movie get nominated with all these high profile
films with famous actors and famous directors.
It’s a slow process for a film like this, but each
time you get an award or nomination or good review, people start to focus
a little more on the achievements and a little less on the obstacles.
US ASIANS:You've had various reviews on your film, which one had the most
productive effect and which review meant the most to you?
ERIC
BYLER:
Roger Ebert is a master. When I read his essays, I learn-- not just about
the film he’s discussing, but also film as a medium. It was unreal
to meet him in person, and actually hear first hand what his take was
on “Charlotte Sometimes.” His review of course meant a great
deal to me.
Robert Koehler’s observations in Variety meant a lot to me as well,
because they were so keenly focused on the formal elements of cinema.
Michael and Eugenia
But I also value the negative ones. I really want to find out how Americans
feel about the issues this film brings out - both in terms of its content
and its existence.
A critic from The Orlando Sentinel completely trashed
the film and called it “a slow boat to China.” Of course I
was bummed. But it was worth it, if only to learn that in this day and
age, a professional journalist might choose those words to describe a
film with Asian American actors.
A few days later, “Charlotte Sometimes” won
the Special Jury Award at the same festival for which he’d reviewed
it. Good or bad, if people are reacting strongly and with passion, that’s
all I could really hope for.
US ASIANS:Any reviews in the L.A. Times or N.Y. Times?
ERIC BYLER:
Those will come when we release the film theatrically in those cities.
Normally, you ask the big papers not to publish reviews until people can
see it. The Chicago Sun-Times is a big paper of course, but Ebert’s
review was actually an installment of his weekly column.
US ASIANS:Thank you for your time.
MATT
WESTMORE
Matt
Westmore and Eugenia Yuan
Born and
raised in Los Angeles to an Indonesian mother and a father of English
descent, Matt began his acting career when he was 5 years old a the
Redlands Bowl performing in Madame Butterfly and the Magic Flute.
He continued his interest
in theater at the Shrine Auditorium working alongside Peter Horton
and Kathryn Hays in South Pacific.
Matt debuted on the small
screen during the international success of Baywatch.
This led to recurring roles
on Aaron Spelling’s Sunset Beach, CBS’ Pensacola Wings
of Gold, and SCI- FI’s Invisible Man.
2001 has proven a busy time
for Matt having recently completed the feature Shakedown opposite
Ron Perlman, Fred Dryer and Erica Eleniak. Matt
has also starred in the indies "Hard as Nails" for Concorde-
New Horizon, Southside opposite Brian Austin Green.
