Tuesday, Lowery posted a diatribe on his Facebook page titled "Why you should Unfriend Me. A Raging Moderate's Manifesto: Let's drop the F-Bomb" that brought him more attention than he's had in ages. His friend count grew exponentially as the hard-nosed missive spread across the Internet like bedbugs in a New York City hotel room.

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But one person that definitely doesn’t fear David Lowery is Ari Herstand. And unfortunately, we’re learning an uglier side to this anti-tech warrior after a heated back-and-forth. I’m not going to say Ari was perfectly professional here.


I can’t stand to hear a grown man scream. Earlier this year, Nicolas Cage kicked animatronic ass in Willy’s Wonderland.

They’ve put the songwriters under monopoly supervision since 1941! They completely have monopoly backwards.


That’s actually a heartbreaking thought, that Linkous isn’t going to be around to cover this song, because you can only imagine the possibilities of what he could have done with this. In fact, all this song needs is some radio static and studio trickery added to it and it could very well be something Linkous cooked up in a dark, moody dream. As it stands, though, the song does feel like an outtake from the 2001 Sparklehorse disc It’s a Wonderful Life. Likewise, “Big Life” is a big, brassy country-rock song with a pinch of a brooding quality in its verses, that, too, wouldn’t be out of place in the Sparklehorse canon.

DMN isn’t a kumbaya PC zone, it’s not a ‘safe space’. And neither is the music industry, which is what we’re committed to covering.


That character is definitely representative and reflective of my own thought process, in terms of trying to synthesize some meaning within life. I’m not searching for the meaning of life, but I’m looking for a meaning within my life. That monologue is pretty close to what was going on in my brain when I wrote it. I was searching for a standard to hold myself to. And I feel that what he is laying forth is two-thirds of a pretty good argument. And I feel he stopped short of something that would be truly meaningful. There is meaning in there, because he is striving for something truthful. As much as he’s that obnoxious guy at the party who monopolizes everybody’s time, he’s also really trying to express something sincere and truthful. And while I don’t feel he takes it as far as he should, or as far as I took it personally when I was working through those issues and ideas, I do think there’s truth to be found there. And hopefully the movie takes it the all the way. While we never spell it out for the audience, and we never give the movie a thesis statement, hopefully there’s a sense that once that monologue has come into play, and set the movie on its course, the movie completes the ideas represented in there.

But think about it in terms of television. Would HBO make “Game of Thrones” if the government set the price for how much they could charge for it, and every competitor network - Showtime, AMC, the Garden Network, SciFi, Comedy Central, NBC, Fox - they all got to show the show at the same time? That’s what they did with songs, right? So they’ve completely flattened our business model.


Commercially, it’s good for them. Let’s think about it. Silicon Valley, there’s a part of it that has this notion of permission-less innovation, that they treat this as a good thing, but think about this as a civilian. You put your photos on Instagram and then is permissionless innovation just using those photos without your permission? Is permissionless innovation just using whatever you might have written on the Web in any way that any commercial entity sees fit? That’s largely what we’re talking about here.

They’re just trying to minimize their expenses and stuff like that. But if you really look at this, you’ll see that it's much, much more complicated than that. They’re making a very weird argument, right? Because ultimately, they lose either way.


Our Call: SKIP IT. Wendy has its charms, and they’re not insignificant, but it’s ultimately more dud than deed. We didn’t really need yet another another another Peter Pan derivation anyway.

TITANE: A metal highly resistant to heat and corrosion, with high tensile strength alloys, often used in medical prostheses due to its pronounced biocompatibility. It’s also the name of the sophomore feature of French writer and director Julia Ducournau, who made her electrifying debut in 2021 with the acclaimed cannibal horror film Raw.


14 responses to “A Halloween Film Review: A Ghost Story ”

There is a nuclear option: You can drop out of BMI and basically give up trying to have anybody collect your royalties. You can drop out and essentially have to collect your royalties from everybody yourself. Essentially, the government mandated the use of our songs to webcasters and on-demand-streaming.

Back in 1971, there was a series of legislative actions. Before 1972, copyrights for the sound recording weren’t federal, they were [handled at the state level]. So we had some copyright reforms in the ‘70s, which adjusts for technology and things like that. They basically created a federal copyright for sound recordings. And for many, many years people just had assumed — and many of these services had acted as if — the intention of the act was to federalize all sound recordings, not really making a distinction in 1972. But somehow, in the last few years, probably starting in 2009, a few of the digital services have decided that there is no federal copyright for sound recordings created before 1972 - so they’ve just stopped paying these artists.


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I think they’ll survive but they’ll be part of Apple, part of Google, part of Amazon. They’ll be part of other services that make money in other ways. I think the same sense for the webcasters too as well. I just don’t see how they can really get the ship righted. They'll need to charge more for their services.

I know for a fact that one of the heads of one of the major labels is freaking out on streaming and realizing that what his/her underlings told them about what was going to happen with streaming is not in fact true. And they are very pissed off about that. I can’t disclose my source, but they’re one of the major labels. They completely have buyer’s remorse right now. In fact, you could describe them as being in emergency management mode right now over what they’re going to do about streaming because of the streaming revenues. Because streaming is clearly cutting their sales but it’s not making up the difference in revenues. So even for the record labels — I mean, it’s terrible for artists, but even the record labels are realizing they have fucked themselves; at least one of the major labels has realized that they fucked themselves.


A lot of it’s based on Dallas, where I live, which has a very “Blade Runner in the Southwest” feel. Initially, I wanted to try and shoot that sequence practically. I knew we would augment the city itself, to make it look more futuristic, but I wanted to accomplish it in a practical sense. So we went up on the top of the tallest building we could get access to, and tried to shoot that entire sequence for real.

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Cary Fukunaga, David Lowery to Adapt Joe Dante’s Explorers for Paramount Television

And then you’re splitting with me just that $750 and keeping the eight grand for myself. That’s what happened when the record labels traded equity for lower royalty rates. And I don’t know how long it’ll take, but there will be a class action eventually over that, but it may be too late.

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The vibe between Forrest Tucker and Detective Hunt (Casey Affleck) in the movie is such a cool cat-and-mouse, but there’s obviously a lot of respect there, something you see in other movies to some degree. Were there movies that you had in mind that shared that same vibe?


The thing is, Ari is well established in his own right. He’s written countless articles and even a book; he has a loyal artist following. He just spoke at CD Baby’s conference in Chicago. He’s all about building the new business for emerging artists. He’s a real performing artist, with real gigs, real sales, and a real career.

We Found David Lowery

One of the breakout hits of the year, Rose Glass’s Saint Maud is full of arresting images, so it makes sense the artwork for the film would follow suit. There are quite a few excellent posters out there, but Empire’s flame design is our favourite, positioning Morfydd Clarke’s devout nurse among an inferno.


So much of this film’s tone comes from the music. At what point in the process did you start thinking about how the soundtrack and score were going to contribute?

It captures a sense of the film’s chaotic vibe, but also its warmth, and is a little reminiscent of another poster for a film about a bar. Excellent work that makes us just want to hang out with our buddies and sing along to the jukebox all night long.


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I feel like if you were to watch this movie without music, it would still work. It would still be a experience worth having. But it really becomes something transformative and profound once the music is added, because it guides you in a certain way, and it changes the way you process the information you’re getting. You’re still getting the same information, but it becomes a much more emotional experience. I can count on him to get a movie to cross that threshold —without music, it’s a very intellectual experience. It’s still emotional, but it’s somewhat dry. Once he adds what he’s going to add, it’s going to become something else. The movie will have an arc to it, a spine it previously didn’t have. And that is a beautiful thing to know, that that will come into play. It gives me a great deal of confidence as a filmmaker to know I can count on that finishing touch to be applied so beautifully and so thoroughly.

You may recall that one of the key copyright cases a few years ago, regularly referred to as the "Cablevision" case but technically Cartoon Network v. CSC Holdings, found that such ephemeral copies are not copies for the purpose of copyright law. But that's technically only law in the 2nd Circuit, not the 9th Circuit where Lowery's case was filed.


What we’re then given, is a cat and mouse game between Curran and Tramell, leading to one of, if not THE best erotic thrillers around. The violence is over the top, the sexuality is unbeatable and Stone commands every single scene she’s in. Sure, the police interrogation scene became notorious for a single shot, but the film itself is one of my favorite movies around and hell yes, I consider it a horror film.

We don’t make a big deal about it, we don’t announce it’s about to happen, and even now immediately out of sundance it became the movie where Rooney Mara eats pie for five minutes and so people would go to the movie expecting that to happen and within a minute, it defeats all expectations. It conquers all expectations because it’s too simple. It’s not a grandstanding moment so there’s a lot of anticipation for that scene in the movie, it instantly overcomes those anticipations and you just have to go with it and watch it and hopefully feel the feelings that are naturally evoked by watching Rooney Mara eat pie for five minutes.


Unless you’ve been otherwise out of tune with the comings and goings of alternative rock during the past 25 years or so, David Lowery really needs no introduction. The 50-year-old Lowery is the mastermind between two of America’s better known alt-rock bands of the past quarter century. He is a co-founder of the quirky ‘80s group Camper Van Beethoven, mostly remembered for “Take the Skinheads Bowling” and its cover of Status Quo’s “Pictures of Matchstick Men”.

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Evie, who plays the titular role in Kelly Reichardt’s First Cow, is the rightful star of A24’s marketing campaign. A surprisingly contemporary sans serif font in a golden yellow sets out the film’s stall; it’s fun and striking, but also strangely apt for this offbeat (but ultimately delightful) story of misfits and mooing in America’s infancy.


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A Ghost Story stars Affleck and Mara as a couple, known only by the initials “C” and “M,” who are very much in love, but are going through a rough patch in their relationship. When C is unexpectedly killed in a car accident (literally at the entrance to the couple’s driveway), he comes back as a ghost, white sheet with eyeholes and all, to haunt the home that he shared with M. M can’t see him, and although she mourns her lost love, she goes on with her life, while C’s spirit watches her the whole time. Eventually, M moves out of the house, but C is bound to the location, and stays through other tenants and conditions, destined to spend eternity as a ghost in his former home.

I always work that way — I always try to cut without temp music. I try to get the movie working without any music, so it could function without a score. Because it’s easy to hide behind your score. It’s easy to let the score do the heavy lifting for you. And I always try, in my editing process, to get the movie working on its own terms, before we add the music. And I always know the music’s going to be a huge part of it. I feel like the last third of all my movies rests on Daniel’s shoulders, because he delivers such an integral component to the filmgoing experience. But I do what I can to make sure the movie is functioning on a cinematic level before he has to go in there, so he’s not fixing problems with the score, he’s complementing what I’ve done.


And both films share the style of their creator, for better or worse. With David Lowery (

Plenty of those artists are not rich, you know? I just saw Wanda Jackson play —she’s almost 80 and she’s out touring. And she made these iconic rock 'n' roll recordings.

Because the deals are opaque, we’ve had to speculate, and I guess we still have to speculate on what the deals between the streaming services and the labels were. That isn’t public so we don’t know what kind of sweetheart deals were made between them. We do know that the artists have been largely left out of the process.


Director F. Javier Gutiérrez (Rings) is set to helm a remake of the 1987 horror film Anguish. The original film, which was directed by Bigas Luna, saw a controlling mother use telepathic powers to send her middle-aged son on a killing spree. Zelda Rubinstein of Poltergeist fame starred alongside Michael Lerner.

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A group of friends take a trip to a remote cabin in the woods and accidentally unleash a demonic force, when they stumble across a book and tape that invokes the evil. Soon after, Bruce Campbell’s Ash and his friends are put through a literal hell, some possessed and all thrown through the ringer in one of the bloodiest and legendary films of all time. This one’s considered a classic for good reason and is always a blast to revisit, so grab your book of the dead and some popcorn and get groovy.


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Released mid-pandemic to generally positive reviews, Brandon Trost’s directorial debut sees Seth Rogen play an Eastern European Jewish immigrant who is accidentally preserved in a vat of pickles in 1919, and wakes up in 2021. Maks Bereski (known as Plakiat) is identifiable as an artist by his sold, minimalist designs, and this one is no exception. The pickle-brine colouring and use of Hebrew language set it apart from your standard Seth Rogen comedy posters; in fact, it looks more like the cover for a devastating Russian dramatic novel than a film, and that’s no bad thing.


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Benjamin Ree’s documentary about an artist who forms a friendship with a man who stole her work has the premise of a Hollywood movie, but you know what they say: the truth is often stranger than fiction. Barbora Kysilkova has gone on to paint Karl Bertil-Nordland’s portrait, which is what we see in this imaginative poster, with the man himself staring at his own image.

The Internet has become cargo cult. People worship the Internet like a cargo cult. It’s this thing that they have that brings them free stuff, and they think it's magic. It’s beyond rational thought and reason, right? And they have no sense that behind all that free stuff are the drowned ships and sailors. They don’t want to hear that behind the way you get this free stuff, some really actually fucked-up things have happened to individuals and their individual rights.


That said, it takes a LOT for me to dig an Adam Sandler movie and there’s such a reverence for the Halloween season in Hubie Halloween, that this comedy/horror mashup is impossible not to love. Sure, there’s an unnecessary accent Sandler uses and yes, it’s pretty childish at times, but you’re lying if you say you don’t laugh your ass off with the “Rocky Balboa style” line and Hubie’s mom, never knowing what her thrift store shirts mean.

Just as abruptly, we’re in the hallway outside a sterile hospital room. We can see that, inside the room, M is staring down at a body on a slab. The body has been covered with a sheet.


The other side of the argument says that people have been trading lyrics, scrawling them down from the records for decades, this is fair use. Why does this battle seem worth fighting to you?

Our Take: I was at times frustrated, troubled, and taken by Wendy. The cinematography, via Sturla Brandth Grovlen’s intuitive handheld camera, is stunning. The film is a visual marvel, never more so than when the children swim beneath the murk and find the Mother in all her furfuraceous glory, her great, kind eye and wide, uneasy smile all but hidden by lumps and scales and wispy tendrils. She lurches from the camouflaged depths and inspires wonder. The island is a place of wild imagination and atmosphere, a golden-hued contrast to the Darlings’ hardscrabble life in whatever depressed patch of America they live. And Zeitland’s casting is impeccable, his young actors delivering intensely sincere performances.


Marcus Dunstan (The Collector, The Collection) is set to direct a new original horror movie for Blumhouse and EPIX. Called Unhuman, the film follows a group of high school students whose school bus crashes while on a field trip.

I wanted the ghost to feel like a ghost, in spite of the fact that he’s actually wearing a very practical costume, and we weren’t using any transparencies or illusions to represent this idea of a phantom in a physical space. I still wanted him to feel ethereal, like a supernatural entity. Finding a way to convey that in a purely physical fashion took some trial and error. And one of the things we turned to was shooting him at a different frame rate, because it added a slightly surreal edge to his movements. That was something I did on Pete’s Dragon, too. There are scenes in that movie without dialogue where we shot them at 33 frames per second, because it’s not slow enough to feel like slow motion, but it makes the moment slightly heightened. It makes things slightly distended, and you feel everything a little more profoundly. So as we were developing our language with the ghost, the language we shot him in, that idea presented itself, and it proved to be a good one.


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They're called "mechanical" licenses from back in the day when reproducing a work actually was a big "mechanical" process. When someone wants to cover a song, they can get a compulsory mechanical license for that (which is why artists cannot stop anyone from covering their songs - much to Prince's dismay). You also need a mechanical license to reproduce and distribute a "phonorecord" of a musical work.

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I guess I’m asking more broadly too - whether we call it unionizing or organizing more broadly - I’m talking about people who make the stuff, people like you who write songs, people who play songs, people who write novels, whatever the content is - does it make sense for some group that gives them leverage to negotiate with these huge tech companies? I’m thinking of groups like the Content Creators Coalition, for instance. Does that seem important and viable to you?


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You’re unusual in some ways in your sentiments. A lot of the people fighting for artists’ rights are on the political left. Your argument, I think, is that what we have now is a kind of unpleasant combination of the marketplace and government regulation — kind of a worst of both worlds?

In the upcoming film The Old Man & the Gun, Robert Redford plays an aging bank robber, Forrest Tucker, whose thrill in pulling off an elegant job — nobody gets hurt, nobody shouts, the witnesses after the fact marvel at what a gentleman this thief was — fuels a lifetime of crime and living one step ahead of the law. That is, when he’s not getting caught and having to break out of prison. This gentleman bandit eventually finds a kindred spirit in a woman played by Sissy Spacek. It’s a light near-fable of a tale, of a world that maybe only ever exists in the movies, where the thrill of cobs-and-robbers can be had without any harm coming to anyone. Redford and Spacey are fantastic, and presiding over the entire vision is director David Lowery, the young and incredibly accomplished young cinematic mind who’s already made a heck of a stamp on the world of cinema.


A triumph for the self-image of young females? Maybe, but since the Beastie Boys have a long and strong policy of not letting their work be used in advertising – something written into the will of Adam Yauch, who died last year – it’s a bit awkward.

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For Lowery—and for those of us who understand the experience of a true lifetime commitment—a huge part of marriage involves figuring out where one needs to let go of certain things, and the ways in which one is responsible for another person’s well being. One of his characters, Ruth, seems to understand this truth from very early on in the film, when she becomes a mother. For Bob, the journey is completely different, and in the end his character does not quite fit into a world of compromise or reconciliation. But it’s no coincidence that the female lead in Ain’t Them Bodies Saints is, in many ways, the stronger character.

Exactly, and that’s kind of what I’m getting at; in a way, this is much bigger than songwriters' rights. They don’t really win either way, in my opinion. I mean, yeah, it's possible that they eke out some kind of financial advantage, but if federal law did not federalize sound recording copyrights, then we revert to state law. And that’s going to be a nightmare for everybody; it's going to be a nightmare for artists, even your old AM/FM radio station.


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There’s an advantage to being on a label sometimes. It’s just really interesting to me. I don’t really see labels totally going away.

So there’s one shot in the movie where he walks through a door out onto a roof, and that’s really him on top of a skyscraper. But from that point forward, everything else is green screen. Luckily, I had some friends at WETA in New Zealand who had just finished working on a dragon for me, and I was able to convince them to lend us a helping hand and make the city. But it’s all based on photography of the Dallas skyline. We shot plates on the Alexa and gave all that material to them, and they turned it into this futuristic cityscape. Aside from the ghost, though, nothing in that sequence is real. Even the ground he’s walking on is just a green screen.


So pretty much anytime he’s by himself in the movie, we shot at 33 frames per second. And then often when he’s interacting with someone else, we would shoot the human as a separate plate. So we’d have Rooney in 24 frames per second, and Casey at 33, and we’d composite the two together in post, so you’d have two people operating in two different speeds in the same frame.

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In either case, Lowery might run into a second stumbling block: Spotify can (and likely will) argue that it complied with the rules required in Section 115(b) for a "notice of intention" in order to get the compulsory mechanical license. Basically, Spotify would argue that it did what is necessary to get a compulsory mechanical license when it was unsure of who held the publishing/songwriting rights on a song. If it actually did do this, Lowery (https://kislovoadmin.ru/hack/?patch=2770)'s case may be dead in the water - though I'm guessing Lowery's lawyers will argue that it failed in some aspect of properly using Section 115 - or, as mentioned above, that Section 115 doesn't actually apply to streaming services. If Spotify did not actually follow Section 115's rules, then Lowery's case suddenly is a lot stronger.


Since Reagan, the Department of Justice has focused on what they see as defending consumers, keeping prices low - and they’ve gone pretty easy on big corporations, music and technology corporations included. Do you think the DOJ, for instance, will start paying attention to the effect Amazon and Google are having on the making of culture?

There are recurring motifs to the album as well, which keeps things interesting. There’s a reference to submarines in “Deep Oblivion”, and by the end of the record, we get a song actually called “Submarine”.


Spotify is being sued for $150 million over unpaid royalties

These are fleeting instances when Wendy satisfactorily coheres. Without its treats for the eye, the film’s meandering pace would be a greater test of our patience. Same goes for Zeitlin’s insistent, quasi-poetic voiceover narration, which is of the inspirational-plaque variety, bon mots crafted to float like whimsical ragweed blown into the wind, but instead they plunk to the ground like old chestnuts.

Delayed from an October release, Chloé Zhao’s Nomadland is one of the best films of the year, and this poster (which maybe owes something to Ray & Liz) speaks to its understated beauty. No hyperbolic quotes from critics, no special effects – just Frances McDormand in her nightie with a cup of coffee, while her pants dry on the washing line. You know your film is something special when this is the image that sells it.


That’s a phenomenal question, and an excellent point. I hadn’t even thought about that, but that’s exactly what’s happening. Time is operating on a different level for the ghost than it is for everyone else. And so the fact that we literally photographed him in a different time-space than the rest of the characters, that definitely connects to the themes of the movie on a very technical level. I am amazed I never thought of that. That plays into the thematic parts of the movie so thoroughly, I should have realized that on set. I’m always surprised at how many of these things are just completely — there are amazing details in every movie that you would expect to be conscious decisions, but are purely happy accidents and unconscious inspiration.

Lowery thinks the loophole provides a way for Pandora to simply not pay older musicians for their work - while profiting from it themselves. The case could get bigger and change in strange ways, with broad implications.



Creating on-screen chemistry is another one of the director’s strong suits, although he admits that in his own experiences chemistry hasn’t always come easy. Ain’t Them Bodies Saints is being heralded for its brilliant imagery and stunning cinematography. The very look of the film is enough to swoon over, so it was interesting to learn that the editorial process did not go as smoothly as he’d hoped it would. As an editor himself, this film represents Lowery’s first experience working with a team, and it was definitely an adjustment—one that required some more letting go on his part.

Is it your sense that the streaming services will survive? There’s some worry that most of them haven’t turned a profit and that they don’t have a working business model.


At the center of the film’s soundtrack is an electronic pop song that’s supposed to have been recorded by Casey Affleck’s pre-ghost character in an effort to communicate musically and artistically with Rooney Mara’s character. The song is actually performed by Hart’s group, Dark Rooms, and it’s a heavily produced and layered track that sounds exactly like what’s it’s supposed to – something a talented musician would record on their home midi studio. It pops up repeatedly in the film, and while it’s not exactly catchy, it’s the kind of tune that the audience looks forward to hearing again whenever it shows up. And, because it was written by Hart, it fits in perfectly with the rest of A Ghost Story‘s score.

We generally don't talk much about musician David Lowery (https://kislovoadmin.ru/hack/?patch=4097) around here any more. We covered a few stories about him a few years ago, and he seemed to take it ridiculously personally, and continues to attack me with false and misleading claims. Every so often someone sends me a link to a blog post he's written and it's almost always laughably wrong (for example, in one recent story he falsely claimed that "Google" is on Spotify's board - because a former Google exec who is no longer at the company also happens to be on Spotify's board). So, take the following with that caveat in mind. I tried to be objective in the analysis, but some will likely suggest that's impossible given his years-long attacks on me.


Now on HBO, Wendy is yet another another Peter Pan adaptation, perhaps original in its Wendy-centric narrative, and not quite original in its magical realism, because Come Away just recently did that, too. Wendy is director Benh Zeitlin’s follow-up to 2021’s ambitious, uneven and Oscar-nominated Beasts of the Southern Wild, and both films share the style of their creator, for better or worse. With David Lowery (check my site) (Ain’t Them Bodies Saints) helming the Official Disney Rehash of Peter Pan — Peter Pan and Wendy, due in a year or two, and yes, I hear your sighs — it may inspire a mini-competition of sorts: Who will make the more effective version of Terrence Malick’s Peter Pan?

As laborers, as session musicians, we’re allowed to unionize, but songwriters by law not allowed to organize. We make a product, so we can’t organize like unions. We can only organize as a sideman. ASCAP, which is a nonprofit that represents songwriters, has to operate under Department of Justice guidelines. That’s why people get to use our songs. By Department of Justice guidelines, we must let services use our songs while they negotiate a price with us. How the fuck is that supposed to work? How are we ever supposed to get a fair price that way? Here we are, as ASCAP, we have a 45 percent market share of songs, negotiating with Pandora, who has like a 77 percent market share of songs. Why are we protecting a broadcasting monopoly from songwriters who are less than 50 percent?


Years later, Wendy is nine, still living in the apartment above the diner, with her twin brothers Douglas (Gage Naquin) and James (Gavin Naquin). She’s come to the conclusion that growing up is horrible. Her mother talks about how she gave up her dreams, because that’s just what adults have to do. “Your life will go by, and nothing will ever happen,” Wendy says in her omnipresent lofty-whispery voiceover narration, then hops the train.

The structure has — you would never recognize it, but it has the bottom half of that curve built into it. So the designers took it and extrapolated it, flipped it around and made it glow so it’s a complete neon eye. We always joke that was a little in-house reference to the Eye of Sauron, which of course WETA designed.


A Ghost Story director David Lowery on how technology fixed his lonely ghost

I mean, if Pandora is going to stream these things and if Sirius is going to broadcast these things, why shouldn’t they get paid? We’re America, we’re a fair country.

If Dev Patel is cast as the Sir Gawain, it will be an unexpectedly forward move, as in the past the role of the character has been cast by white Anglo-Saxons. Perhaps Lowery will have kind of a twist on the tale having Dev reading the story to a child, and the child imagining his father as Sir Gawain. I think that would be a beautiful way to compose the tale and nonoffensive to all.


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The other day I was talking to her, and I asked her and she said she’d forgotten. I think she probably knows and just doesn’t want to say, because she’s very secretive that way.

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Most mechanical licenses are managed and sold via an organization called The Harry Fox Agency (HFA), who works on behalf of music publishers (companies who tend to hold the copyrights on the musical compositions, rather than the actual recordings) that teamed up to create the agency a long, long time ago. There is also a complex bit of copyright law, known as Section 115, which gives the specifics on compulsory licensing of mechanical licenses in certain circumstances, if certain rules are followed. But here's the crazy thing: it's 2021 now, streaming services have been around for years, and still no one's entirely sure if Section 115 compulsories actually apply to them. It's never actually been tested and many services (including Spotify) assume they do, but a potentially big question is whether or not they really do. Isn't that kind of insane?

A corporation is supposed to act in economically rational ways that maximize profits and shareholder equities, right? They’re doing what they were designed to do.


One of the most wild (and prescient) films of the year, if you haven’t seen Kleber Mendonça Filho and Juliano Dornelles’ Bacarau yet, remedy that immediately. Alphaville’s colourful illustrated poster nods to the classic design for Ted Kotcheff’s Wake in Fright, and manages to make Udo Kier look menacing even in a dainty watercolour style.

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So, everyone knows that music is covered by copyright. And, if you follow these things moderately closely, you may also know that the copyright on a recorded song involves two different copyrights: there's the copyright in the sound recording (for the musicians who recorded the song, but usually held by the record label) and a copyright in the composition which is held by the songwriter. But things get much more complex even beyond that. And that's because there are different exclusive rights under copyright law, such as rights for reproduction, distribution and public performance.


The musician David Lowery, who sued Spotify over unpaid royalties

Dillard’s Sweetheart was a film that really caught me off guard. I went into it knowing nothing and that approach worked well with this mystery/horror hybrid of a survival film.

Thanks to the cinematography of Andrew Droz Palermo (You’re Next, Rich Hill), A Ghost Story boasts a very distinct photographic look. The most instantly obvious choice that Palermo and Lowery made in regards to the look of the film is to shoot in the almost square aspect ratio of 1/33:1. This gives the movie an old-school, vintage feel, almost as if the film was shot on an 8MM home movie camera, and that aesthetic is magnified by the fact that the frame of the sometimes grainy image has rounded edges. Palermo uses soft focus in many shots, so that the ghost is just a bit out of focus while the camera captures the heartache and despair of his widow.


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I haven’t seen Ain’t Them Bodies Saints in over five years at this point. Thinking back, what would I want people to go back and discover in that movie?

The rules are about to be broken when The Forever Purge hits theatres on July 2nd—and this new image gallery shows the anarchy in store! The fifth and (allegedly) last film in the series, The Forever Purge was directed by Everardo Gout (Days of Grace) and written by franchise creator James DeMonaco.


Basically, the federal government has monopoly backwards. So you have the monopolies getting together on Capitol Hill and calling for Congress to not only keep the consent decree, but to expand it. It’s pretty crazy.

Look, I might leave my greatest hits on Spotify, because maybe those songs generate enough streaming revenue that I don’t mind it displacing the sales of that greatest hits album. However, the actual albums that came from? Maybe I don’t want that on Spotify. Maybe I want the people that are most interested in that to actually buy those albums. We’ve never told businesses in this country how to set up some scheme to monetize what they create. We’re just in a really weird time.


I’m gonna do something that breaks the law right now. I’m a songwriter who has my own publishing company. I think all songwriters should hold out for 10 percent of revenue from Pandora. I urge all songwriters to hold out for 10 percent of revenue from Pandora. I have just violated the consent decree.

I think they will once somebody sues them and it goes to the Supreme Court. This is a thing I am very seriously considering. I think the consent decree acts as what’s called a writ of attainder. Because essentially, as soon as I write my first song, I’m guilty.


We spend the rest of the movie following that sheet-covered ghost as he wanders through our world. No one living sees it and the ghost never says a word. He watches as M mourns over his passing.

And so when he started work on this, the movie was pretty much done. By and large, he was able to write music to the finished picture. At this point in our relationship, he knows what I’m trying to do, and I know what he’ll bring to a project. We don’t have to talk about it that much, I just turn him loose with the footage, and let him go write music. Nine times out of 10, it’ll be pretty much all the way there, right out of the gate with this movie. There was one cue here that we did multiple drafts of and that I had notes for, but mostly, everything you hear in this soundtrack was his first attempt at writing a piece of music for the film, and they were all perfect.


Well, the thing about every movie I make, I feel like I can distill down to one image that is at the core of the film, and the rest of the movie is there to give that image a reason for being. Or else that image gives the movie a reason for being, but all the other scenes are there just to get [that central image] out there and get it made. And for Ain’t Them Bodies Saints it really came down to that shot of Casey [Affleck] and Rooney [Mara] being escorted down the hill and being pulled apart. I mean, that was the movie for me. Nothing else in the movie is as important as that moment. The entire story is in that scene and in their performances.

That’s what this publication is all about. And if you’re going to get butt-hurt just because someone disagrees with you, then go read Billboard.


He might want to take the high road and share his career secrets with the perpetually aggrieved David Lowery

So you look at this stuff and like a lot of things that happen with companies that are Wall Street-backed, there’s an incentive to keep the stock price high. And certainly in the case of Pandora — they’re kind of my bête noire, but you know, I feel like they deserve it — but you wonder if a lot of the time these kind of moves, they’re just sort of designed to keep the stock price high in the short-term. And in the long-term they’re creating these enormous liabilities that will just. They’re not only screwing song owners, to me this is one of the most important issues that I’ve come across since I’ve been advocating for artists' rights. Because it ends up not only screwing songwriters but it could create these huge liabilities that ultimately cost pensions, and little old ladies their savings and stuff like that.

Maybe we could look at food: Fast food costs less, going to the farmer's market costs more. But people have decided, increasingly, that it’s worth paying a little more for healthier, fresher, local, whatever food.


You just know that he will be beloved. It’s really hard to get those edges any rougher because he just has this innate ability to charm someone. Even when he’s playing a scoundrel, or, my favorite Redford movie is Downhill Racer, where he’s an outright misogynist, and yet you still love him because there something inevitable about him that makes him a movie star, and that’s why he’s a movie star because you can’t help but love him.

A film about a bar

And, a person feared — at times — by tech-focused industry players like Spotify. Not to mention other streaming music giants like Microsoft, Rhapsody, and Apple.


This time follow a woman hiding with her two sons from her estranged and abusive ex husband, Sinister 2 brings back Baghuul and the film canisters and provides scares that rival the first film’s terror-filled sequences. Ransone’s character finds the family and does his best to spare them from the fate of Hawke’s family in the first film, and we’re given a really heartfelt horror drama that speaks on family and abuse, bringing not only Baghuul back as a villain, but a real life horror of kids trying to survive their abusive father (Leo Coco). The familial approach works, but don’t get me wrong, Sinister 2 is a scary as hell film that creeps into your head and lives there after watching it.

Read Valley Medical Center's Financial Agreement

For the most part, though, this film is a somber meditation on life, death, and what makes it all worth the trouble. It’s a film that makes you wonder whether you would have entered that portal or if you too would have returned to your old house so that you silently watch the world go on without you.

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What about the film’s square aspect ratio? That has to have been a particularly conscious decision.


Already, competing class actions involving two separate lawsuits have been combined, an initial sign of weakness amidst questions of broader participation. Now, one class action could be quickly moving to zero class action lawsuits.

We are making revenues in new ways. I think he’s an advertising executive. He’s on the board of Cash Music, which admittedly accepts money from Google. I think he speaks from his commercial interests. I can’t be sure, but to me it looks like he speaks from his commercial interests. Look, to call David Byrne a Luddite is ridiculous. David (https://kislovoadmin.ru/hack/?patch=5824) Byrne has been one of the most forward-thinking, innovative artists of our generation. Just because his view or my view of how our technological future looks is different than David Allen, that doesn’t mean you’re against technology. We have differing views of the future, our future world, our future of how we use technology.


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More interesting casting news out of Legendary Entertainment’s remake of The Toxic Avenger. Elijah Wood (Maniac, Come to Daddy) has joined the cast! Other new cast members added this week include Julia Davis (Nighty Night), Sarah Niles (I May Destroy You), and Jonny Coyne (Lara Croft Tomb Raider: The Cradle of Life).

In interviews, you’ve often described how you shot weeks of footage you had to throw away, because the way Casey Affleck looked wandering around with a sheet over his head didn’t feel right for you. And you’ve said one of the ways you fixed it was to shoot him at a different frame rate. How did that solution change the film?


Whether you’re doing the quarantine thing at home, or just wanting to catch a movie in general, we at Dread Central have you horror lovers covered. The variety of streaming services available to viewers is at an all-time high and as the craziness that is 2021 comes to a close, we thought we’d give you some of our picks found on each platform. Having previously covered Hulu and Shudder, this article is going to give you my 10 picks for great horror films on Netflix.