Eureka awards at Cannes

[gregory starr]

I didn't mean to insinuate that every bit of the media is compromised.  Of c
ourse, as in most places, the smaller the media the more "honest" it tends t
o be, as it not only gets less pressure from PR people, but must try to be u
nique, and less mainstream.  And even the major media sometimes surprise us
with an in-depth look at the industry or a well-written critique.
        But, as Aaron says, it's a problem with the film world in general.
And I think a large part of the predicament lies with the somewhat incestuou
s relationships between the film companies and the critics/journalists who c
over their product.
        Here's one example of how it works: The film company chooses a write
r, gives them access to the set of a certain film, and then hires them to wr
ite production notes, for example.  The company and the writer will then use
their unmatched access to approach a number of publications, offering articl
es on the film.  It's understood, though no one mentions it, that the writer
was, in effect, part of the production process.  It's clearly a conflict of
interest, but the publications are glad to get material and the film is glad
to get lots of publicity.  Does anyone care that the publication has relinqu
ished its right to choose a writer and, therefore, it's right to an unbiased
opinion, which is now in the hands of someone affiliated with the film? And
who loses?  The film company that's learned to control opinion?  The media c
ompany that's learned a new way of cutting costs and getting inside material
?  The writer, who's cemented relations with both the film co's and certain
magazine editors?  Certainly the reader does, since we're more than likely n
ot to be aware of all this.
        A lot of this has to do with the attitudes of the critic/journalist.
 I think many tend to think of themselves as part of the movie biz community
, instead of the writer/journalist community.  Part of it is, very possibly,
financial, since it's rough to make a living as a free-lance writer, but par
t of it is by preference.  If you just want to be a part of a big friendly m
ovie family, you're probably going to find yourself eventually sucking up to
someone whether you want to or not, which is what the kisha club mentality i
s all about.  If you want to write with informative and critical excellence
about an art form and its industry, however, you're going to have to ruffle
some feathers, possibly kick some ass and most likely, eventually make some
enemies.  It's a matter of fact . . . and it's a matter of choosing the way
you want to do your job.  The writers who are bucking this trend and trying
to stay straight deserve huge amounts of respect, and they have mine.
Greg Starr
Premiere Japan

ps: And yes, I know Western media has it's share of eroding journalistic eth
ics.  That's another story.