They’re fans of ‘serious’ films

Instead of distributors whining why their documentaries/foreign-language films are tanking at the box office [“Oscars Can’t Keep ‘em Afloat” by John Horn, March 4], why don’t they look to their own abysmal release patterns?

I live in Las Vegas, certainly considered a major metropolitan market. “The White Ribbon” opens here March 12, nearly three months after its N.Y. and L.A. premieres. Surely Sony Pictures Classics (not a small distributor) has to realize that even some seasoned film buffs, who read great reviews when a film initially comes out, will lose interest or forget about a film such as “The White Ribbon” because of their asinine staggered and delayed release dates.

Steve Finkelstein

Las Vegas

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Thank you for your insightful article pointing out the difficulties for “highbrow” films in the theatrical market. You mention, though, that “audience support for serious cinema has waned.” I have been in the film distribution business for more than 20 years (mostly in international sales of U.S. independent films) and am concerned with the proliferation of articles noting this supposed waning of audience support for (or interest in) serious cinema.

I am part of that audience, and whereas I rarely buy a movie ticket to see one of these films (despite living down the street from the Landmark), I watch many more foreign or specialty films than ever. Sundance, IFC, even HBO play many foreign films, docs, “specialty” films that I am able to DVR. My local video store (Laser Blazer) stocks more of these than I have ever seen in a video store before. If I wanted to, I could access films from around the world on cable, through the Internet, or even on DVD (pirate or gray-market versions proliferate in every ethnic neighborhood in L.A.). The staggering number of film festivals in L.A. is another sign that there is at least some interest in these titles.

It might be the worst of times for the producers of these films, but it’s by far the best of times for the fans (even if most of us prefer to watch in the comfort of our homes).

Rob H. Aft

Los Angeles

Ellen’s herself on ‘American Idol’

What Mary McNamara criticized in Ellen DeGeneres on “American Idol” [“Who Stole Ellen’s Mojo?” March 4] is actually Ellen the way many of us see her on “The Ellen Show.” Her interviews aren’t really interviews. Her questions aren’t probing. She’s not really articulate. She jokes around with the guest and we the audience are grateful for those guests who carry the conversation, because Ellen’s input is sparse.

Ellen’s limited vocabulary now trips her up (especially when her comments follow Randy Jackson’s “Simple Simon” comments). Deep sighs from Simon Cowell tell you what he’s thinking as he’s counting down his months.

Somebody should give Ellen a thesaurus so she can expand on “adorable.” Give another thesaurus to Randy so he can expand on “pitchy.” Thank goodness this season there are Kara DioGuardi and Simon speaking knowledgeably to the contestant.

Jo Carol Hunter

Newport Beach

‘Sundays Live’ needs airtime

Unmentioned in your notice about KCSN-FM’s change to a pop format [Quick Takes, March 2] was the unceremonious dismissal of an icon of the Los Angeles airwaves, the venerable weekly series “Sundays Live.” Generations of Angelenos numbering in the millions have grown up listening to the series, on the air on various stations since 1948. Likewise, generations of musicians have made their broadcast debuts on this series. I fall into both categories.

“Sundays Live” is about to celebrate its 20th anniversary of presenting free live concerts from LACMA’s Bing Theater, thanks to the visionary leadership of County Supervisor Ed Edelman, who helped make it an official program of the museum in 2005. Like the storied Dame Myra Hess Memorial Concerts originating in Chicago, “Sundays Live” has an important place in our community.

Fortunately, it continues to be streamed live on LACMA’s website to the new Internet audiences of the present and future. But it should be kept on the radio, where the current audience can continue to depend on and learn from its rich tradition of live classical music performance.

Peter Rutenberg

Los Angeles

The writer is music director of the Los Angeles Chamber Singers.

Enough with the shakiness!

In his blatant pitch to earn “The Hurt Locker” an Oscar [“Battle Worthy,” March 2], Patrick Goldstein not only insults “Patton,” “The Deer Hunter” and “Platoon” by suggesting even a remote comparison, but he completely misses the mark. It wasn’t the country’s “attitude toward war” that made these movies great and successful. It’s that they’re filled with universal themes, stories and characters that resonated then and now.

“The Hurt Locker” is a flat, implausible, one-note movie void of any semblance of story-telling. Sure, it looks great, a.k.a. a “portrait,” but audiences don’t pay $12.50 to spend two hours in a theater looking at a portrait. That’s what galleries are for. That it’s made only “$12.7 million in the U.S.” is less commentary on “ourselves as a country” and more proof that the film is just plain flawed.

Scott Barry

West Hollywood

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Yes, despite heaps of praise, I am taking a pass. I will not watch “The Hurt Locker.” Not even if it wins an Oscar for best picture. The reason has nothing to do with the content of the film. Or the quality. I’m sure it’s very good.

The reason I will not watch it is the same reason I will not watch “Precious” or “Breaking the Waves” or “The Blair Witch Project” or “Cloverfield.” It’s the same reason I had to walk out of “The Bourne Supremacy” after 15 minutes and “Traffic” after 5. It’s the same reason why “State of Play” was a disappointment at the box office and why “Friday Night Lights” and “30 Rock” don’t have higher ratings. It may even be the reason “Shakespeare in Love” won the best picture Oscar over “Saving Private Ryan.”

Hand-held cinematography. It makes me feel dizzy and nauseous, and I believe it has the same effect on a lot of other people.

I love watching movies, but if a trailer or a film clip features hand-held cinematography, I won’t go see the movie. If filmmakers don’t have enough respect for their audiences to lock the camera down or use a Steadicam, why should audiences watch their films?

Rom Watson

West Hollywood

You’re looking swell, Leno

Re “Leno’s Back Home” by Mary McNamara, March 2: Well, hello, Leno! It’s nice to see you back where you belong.

Claudine Willis

Portland, Ore.