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Links, posts, and ruminations on technology, entertainment, Silicon Valley, Hollywood and every place in between. Curated by Roger Erik Tinch with a hearty helping of Media ReDEFined.

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Dear Internet, this is why I love you.

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Comparing movie remakes to cover songs does make the industry cash grab somewhat digestible:

People complain about Hollywood's penchant for remakes as if it were some horrible new trend, evil simply by virtue of lacking originality. While I certainly enjoy new ideas more, I sort of like remakes too. Or I would if they didn't so often turn out to be horrible. It wouldn't bother me at all to have movies like Rio Bravo or The Seven Samurai or Battle Royal remade annually. Would the cinematic universe really be so awful if we got a new version of The Raid each Christmas?

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First offering from the Weinstein Co.'s creative distribution arm bodes well:

The development makes for an auspicious start for RADiUS-TWC, the Weinstein Co. multi-platform specialty distribution label launched a year ago and run by co-presidents Tom Quinn and Jason Janego. The acquisition title, RADiUS’ first release, now sits above “21 Jump Street,” “Battleship” and “The Dictator” in the iTunes rankings, with the next-closest indie title, “Friends With Kids,” at #6. “Bachelorette” already has 215 ratings that add up to 3.5 stars.

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Nathan Ingraham on the new Paramount app for Xbox:

As with most of the other Xbox 360 media-playing apps, you’ll need an Xbox Live Gold membership, and you’ll also need to get Paramount and UltraViolet accounts set up (if you’re planning to purchase). Of course, the movies are still quite pricey (most films are $19.99 for the HD version, though rental prices are a bit more in-line with the rest of the market), and the app won’t play any UltraViolet movies you may have purchased from other studios. You also can’t buy or rent anything directly from the app itself — you’ll have to do all of that on your computer. 

Sounds wonderful. I’m confused — do studios think that people care which studio the films they watch came from? Why would anyone use this app over Xbox’s built-in movie store? Why would anyone use this, period?

And man oh man is UltraViolet a turd.

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Harvey Weinstein is officially back on top, having steered Meryl Streep to third Oscar win and The Artist to a near-sweep of the top categories at last night's telecast. Peggy Noonan on the hit maker's highs and lows—and how he bulldozed his way back to the top.

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Wal-Mart is in discussions to provide an in-store service that will assist customers in registering DVDs they already own with the movie industry's UltraViolet system, according to several people familiar with the matter.

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We’re locked!

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“Convert or die,” indeed. And that’s from someone representing theater owners.

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Reed Hastings, 51, the C.E.O. of Netflix, is bloody but only slightly bowed. When his company was at the pinnacle of success, just last summer, he refused my repeated requests to discuss his apparent business prowess. He claimed to be reticent about being interviewed, disdaining the limelight and the attention it brings to him and his family.

More from Reed Hastings on Netflix’s Recent Rise and Fall | Business | Vanity Fair

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A discussion with director David Fincher, title sequence creative director Tim Miller of Blur Studio, and type and poster designer Neil Kellerhouse of Kellerhouse, Inc.

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With media splintering more each passing year, movie review aggregator sites like Rotten Tomatoes and Metacritic have grown in popularity, regularly popping up in studio marketing materials and box office reporting.

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Will Silicon Valley kill Hollywood? Based on recent developments, it seems much more likely that the two will converge, as professional-quality original programming makes its way onto the Internet.

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Given that, and given that Pixar’s short directors are its farm team, I couldn’t pass up the chance to interview Casarosa: Jan Pinkava of Geri’s Game went on to co-direct possible-greatest-animated-film-ever Ratatouille; One Man Band’s Mark Andrews is directing the upcoming femin-epic Brave; Partly Cloudy's Peter Sohn is codirecting Pixar’s top secret/money-printing dinosaur project; and Presto’s Doug Sweetland is directing The Familiars for Sony Animation.

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CRM and video publisher Cinelan are working to bring original content from award-winning filmmakers to audiences via digital distribution.

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99 Problems In Film Reinterprets Jay-Z's Hit With Film Clips

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