Side By Side will also open in select theaters:
Los Angeles, CA (Noho 7) – August 17
New York, NY (Quad Cinema) – August 31
Seattle, WA (Grand Illusion Cinema) – August 31

http://www.tribecafilm.com/news-features/How_Can_You_See_The_Best_Indies_of_2012_According_to_Indiewire.html#.T-4OR7XY-S

Ofcourse the Academy will still have to select it, but at least there's a chance (especially since it's a subject that might appeal to them).

Release Date:
VOD: August 22, 2012
Theatrical: August 17- LA
August 23 - Boston
August 31 – NY, Seattle
September 18 – Tacoma, WA

Runtime: 99 min

Although there are still no tickets on Fandango, but that's fine too. It's not like it's going to be packed.

of course Apple does not provide movies in the iStore for Romania, 'cause we're lepers or somethin'.
other countries with pedigree might be allowed to purchase the movie, though,.

I had quite and exchange of emails with Apple, way back in 2009, because they didn't allow me to purchase the Dogstar albums.
Guess this would be round 2.
oh well, third time's a charm, hence the trilogies ;)

... the internet is our only hope :|

Baudrillard really hit him hard. :)

(he does have a point, though. Film processing, like everything else, has gone to a different level of processing and assimilating information. we're going deeper and deeper in the Matrix... )

Not saying that switching to digital is bad - I'm conservative, but not THAT conservative. Digital provides crispier image, probably better sound, and the possibility to have almost limitless number of takes allows the director to choose an even better take (while with film they eventually might have to settle with what they have).

And the logistics of the whole process is so much simpler and cheaper - from the cost of equipment to the cost and convenience of storing the final product. I mean, the short films people shoot with good SLRs, like Canon EOS 5D Mark II and III, are of unbelievable quality. All you need now is an idea. Of course lower cost allows people (including studios) to make bad movies, but it also provides an opportunity for young artist to implement their ideas for almost no cost at all, they don't depend on funding and sponsors' terms. Possibilities are almost limitless. When you know what you are doing, of course.

I'm much younger than Mr. Reeves, so I'm not fascinated by the fact that this or that movie is on film. I'm sure that the ability to touch the film, to have the actual thing in my hand - yeah, that would appeal to me. I just don't see the whole "film has that warm quality" thing.

Sorry for too many words and for stating many obvious things :) I never seem to be able to stop once I get the first sentence out.

But think of this: if you got stranded on a really desert island - e.g. the Lost island minus the hatch/es- you could still hold the celluloid film against the sunlight (or firelight), see the miniature pictures and 'watch' the story unfold. A HD would be useless.

... unless, of course, you'd remember that everything is energy and start perceiving the 1s and 0s ;)

I guess it's about the change of paradigm. And he's of both worlds; he actually lives this transition and had the brilliant idea to document it. That's what I find fascinating.

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And he's of both worlds; he actually lives this transition and had the brilliant idea to document it. That's what I find fascinating.

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Oh, I agree. And I like the way they did it - presenting two sides of the argument, without a preference.

Uploaded with [URL=http://imageshack.us]ImageShack.us[/URL]

Chris Kenneally's engaging documentary follows Keanu Reeves (the film's producer as well as its narrator) as he investigates a familiar world in the process of transformation.

Side By Side explores the impact of digital technology on cinema, through an array of encounters with filmmakers of all kinds, including a rare interview with the Wachowskis.

A balanced look at the pros and cons of photochemical and digital filmmaking, this is more than an entertaining version of Film Technology 101: How Movies Are Made, it's also a reflection on the philosophy and aesthetics of filmmakers at many levels, including directors, cinematographers, editors and the new breed of digital professionals.