Tom Roston: I Lost It At the Video Store

The istory of video and rise of the video stores It s glossed over briefly but I would Como Abrir Mentes Fechadas have loved there to be depth and certainly interviews with industry types other than the filmmakers How about video store owners The team from Troma Artists designing some of the memorable box covers The book is just okay it s completely lacking substance Advanced review copy provided by NetGalley in exchange for a fair review This book will age well In thirty to forty years it will make for a greatistorical curio of a bygone era As non fiction Devils Gate however it s too thin and unfortunately structured as an unconvincing faux conversation That said it s a breezy read It s 160 pages that feel like 16 That s both its strength and its weakness This was kind of a 35 for me I enjoyed the interviews a great deal But for people who know a good deal about late 20th century pop culture there s not a lot newere I wish that there The Old Myers Place (Halloween, had been a little analysis or insight provided by the author something other than just the interviewees As an individual who grew up smack dab in theeart of the video rental store era of entertainment consumption I am always fascinated with and nostalgic about the meteoric rise and eually dramatic fall of those businesses In this book a number of storiesinterviews from famous filmmakers uentin Tarantino Darren Aronofsky David O Russell to name a few are collected to show Witcheskin how the Video Store affected their lives in filmFirst and foremost I want to point out that I Lost It At The Video Store is a short interview centric work It isn t any sort of treatise on the video rental business whatsoever That s kind of what I expected when I was anticipating the book but I uickly discovered that this wasn t the case Instead this is a collection of stories from filmmakersnothing nothing lessInitially I was a bit disappointed that this was such a short book based on personal recollections but I uickly discovered that most of those remembrances were very interesting and spot on in relation to my experiences with video rental stores It was fun toear that even these established big name luminaries in the film business Jack Glass had the same experiences emotions and reactions to the video rental industry that I didAnother specific thing that I really liked about this book wasow much of a difference there was between opinions Obviously these are very smart people who ave put some brainpower into answering the uestions and thinking about the issues at and While some like Tarantino desperately miss the video store format others are perfectly fine with its demise and are excited about what the future Me Write Book has to bring As in life there is a dichotomy in most things and I likeow that is portrayed even in this small tomeOverall then this is a solid title that covers a niche market that is only now beginning if that to get some coverage whether nostalgic research based or otherwise Much like the generation that grew up on Nintendo only to see that market completely change a topic that gets uite a bit of press there is a similar generation reared on trips to the video store that now Cosmological Enigmas has to navigate a digitalstreaming world As such I Lost It can serve two purposes uite nicely It can wax nostalgic for those who lived it while providing a uniue glimpse into the past for those whoave only known the current digital format of video consumption I grew up in this era too so I At Hells Gate had a certain nostalgic fondness for what the filmmakers talk about While I thought this book was too short at first by the end I realized that it was just about the right length as certain people would already start being repetitive. Es uentin Tarantino Kevin Smith Darren Aronofsky David O Russell and Allison Anders who came of age during the reign of video rentals and constructs a living personal narrative of an era of cinemaistory which though now gone continues to shape film culture today.

Review I Lost It At the Video Store

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ARC for review from NetGalleyA book in interview snippets from some directors producers and writers for whom the video store was one of Never Goodbye (Albany Boys, hisher well only one or twoers which was disappointing primary influences The usual suspects are ere uentin Tarantino and Kevin Smith who always manages to elevate OK maybe elevate is the wrong word with is Hunted by Herne (Otherkind Kink: Horned Gods, humor as well as some unexpected voices I lovedearing from Morgan Spurlock since Lady Lorena’s Spinster’s Society he s from small town West Virginia Iave a feeling On the First Night of Christmas his video store experience was much akin to my own versus some of the directors whoad access to video stores which likely P.S. Im Pregnant had a wider range of choices I also loved Nicole Holofcener s repeated comparisons to video stores and bookstores It s similar to a bookstore When I go into a bookstore I am soappy to be in there and to look at the spines of the books and to go around that corner and see what author will be there And just to see what they ve got And there was the tactile nature of the whole experience Then later when talking about the demise of the video store and the independent bookstores your bar just gets lower and lower I was just at a Barnes and Noble and I was so Tigress for Two (Alaskan Tigers, happy it was still there Barnes and Noblead been the enemy And so was Blockbuster I really miss cruising the aisles and choosing movies that wayAs do many of us who grew up during that era Even the conventional video store would Cult Science Fiction Films have an indie section and you could find that stuff and you could connect it to people in the underground world Greg Mottola This was true of my little independents in my small town in Virginia and it s the way really the only way I learned about and came to love independent filmand Holofcener is correct it was through browsing the aisles by spending time reading the boxes by looking at the staff choices and ignoring the copies of the movies thatad actually shown in my three screen town The book also covers the business model there was so much money flooding the marketplace from the ome video business it meant that a lot of independent films got made that would not ave gotten made otherwisethere was financing available Ira Deutchman recouping video profits was easy pre Blockbuster therefore it was an easy choice for a studio or even a video maker to green light a film at one to 15 million dollars knowing that it would be made back on video even if there was little to no theatrical run in fact Reservoir Dogs just barely made the bar to appear in theatres No though Once Blockbuster came on the scene they were able to negotiate cheap prices for the videos which no longer allowed for the same profit so studios lost incentive and the public lost the sometimes great independent video stores I was unaware of the power of Kim s in the NYC film scene What s next Who knows This short volume will likely appeal to filmmakers and big film buffs most of the information Sailor Moon Episode Lists has appeared elsewhere but the interview format makes this a uick interesting read for those interested in the topic I somehow found this book in the online catalogue for my current local library system and I justad to read itI do not think this book is a good fit for most people but it Attentions Throbbing hit aome run with me If I Dark Reflections (Dark Reflections, had an idea of the kind of format the book is in I probably wouldave skipped itThere were some things that resonated with me but not everything I do want to get into filmmaking but with YouTube I don t think it will end up being a career with so many filmmakers on the platform and some other thingsIt is interesting to get a sense of mindset and some istory on movie stores and filmmakingproducing It is probably not the most th. For a generation video stores were to filmmakers what bookstores were to writers They were the salons where many of today’s best directors first learned their craft The art of discovery that video stores encouraged through the careful curation of clerks was the.

Orough istory by any meansI Angélique à Québec (Angelique: Original version haven t read as many as I can yet but it is going off a collective few people s memories about the business and their love of film I think I would feel similar if YouTube sent me one of the nice silver plaues to the way they talk about getting sections on movie store shelves featuring them and the movies they put mucheart soul into creating I do not think I will ever make something as good as their moviesthough I sadly Body Image, Eating Disorders, and Obesity haven t watched most of the movies mentioned in this book uick fun nostalgic read with some interesting antidotes on video store culture Because of my age I am the video store generation I was there at the beginning when one would go to the local video store with their family to pick out the weekend s movies I was there when large corporate chains emerged carryingundred to thousands of VHS then DVDs of all genres And I was there when the entire system collapsed and went away I truly miss wandering the aisles picking up the boxes and looking at the description of the movie I even miss working in a video store seeing all the new films come into the store and discussing titles with my co workers and customers From the many interviews in this book there are many directors who feel the same way This tiny book gathers the feelings of many directors who came from the world of video stores as well as directors who were able to create films due to the explosive and lucrative The Doughboys home video market It s a fascinating story with a true beginning middle and end It did drag a little when they got into the details of the business with investors units sold etc I wanted Tom Roston to stick to the emotions that were created and are now missed from visiting video stores and growing up in that eraThe book is a fast read and probably couldave used content and dialogue from directors It would 魔法使いの涙 [Mahou Tsukai no Namida] have been interesting to alsoear from writers and others currently in the movie business I would Futurity have also liked toave Ouija in Suburbia heard from people of color Did none who worked in video stores go onto careers in entertainment Interesting to think about thatI want to end this review by saying I really do miss the days of going to the video store Twenty two page intro for a 150 page book should probablyave just been a piece on one of the millions pop culture websitesi don t Reclaiming Authentic Fundamentalism hate mumblecore like a lot of people but i will probably not see any joe swanberg movies any time soon The premise of this book really intrigued me as I too remember walking through the aisles of the mom and pop video stores gawking at covers and renting everything I could I didn t reallyave an experience of not Lenora having movies readily available at all times so maybe the sheer grandeur of video was a bit lost on me Anyway going into the book I was excited especially toear from filmmakers with their take on the video era However from the opening pages my excitement was uickly tempered Written by a former Premiere magazine editor or writer the author goes to great lengths to bust out with the most flowery language possible when just talking about videos His introduction to Caz Sanatı his thesis andonestly that s what the book reads as a glorified thesis paper runs a full 20% of the book The filmmaker interviews are put together in such a way where it s supposed to feel like a conversation but it feels dominated by the opinions of uentin Tarantino and Kevin Smith There is really just a smattering of filmmakers included it really only felt like six or so with most being male Some of the interviews are interesting but most are repetitive And while the reading is certainly uick I wish there was meat in. Fertile if sometimes fetid soil from which today’s film world sprung Video stores were also the financial engine without which the indie film movement wouldn’t ave existedIn I Lost it at the Video Store Tom Roston interviews the filmmakers including John Sayl.