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[TALKING IMAGES] Upcoming interview with Adam Torel of Third Window Films

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filmbantha
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[TALKING IMAGES] Upcoming interview with Adam Torel of Third Window Films

#1

Post by filmbantha »

I am delighted to announce that we are preparing for our second guest speaker to join us for an interview on the Talking Images Podcast!

In a week's time we will be speaking to Adam Torel - the head of Third Window Films - and finding out more about his invaluable work as a distributor and producer of Asian cinema. Through his work at Third Window Films, Adam has been responsible for international releases of over 100 Asian films including forum favourites such as One Cut of the Dead and Love Exposure.

In the interview we will discuss two of the label's latest releases in depth and touch upon a number of the films in the impressive Third Window Films back catalogue. We would also love to hear from you if you have any questions you would like us to ask Adam - if so, then please let us know by posting them in this thread. We will do our best to cover as many of your questions as possible and would love to make the interview a collaborative forum effort.

Thank you to anyone who takes the time to share a question/s and for those who wish to learn more about Adam's work at Third Window, here is a link to the Third Window Films website: https://thirdwindowfilms.com/

Also, a huge thanks to Onderhond for helping us to arrange this interview :cheers:
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#2

Post by beavis »

many questions I could ask, at the same time hard to have them specifically about him and the label... I guess the most urgent questions for me would be about 1980's 8mm punk cinema. They have released everything from Tsukamoto, and Sono has built up a brand name recognition, but most of this scene remains underground, unless somebody is willing to put a spotlight on it. The Berlin Festival has done it with some restored prints that a kind soul made a LB-list about for instance:

https://letterboxd.com/paprikadjango/li ... i-madness/

That programme in a special release box would be an instant buy. An early Sono box same thing, and a proper release of Noisy Requiem would be heaven sent!
So all kinds of questions leading up to and from this (how well did Tsukamoto sell? do they want to delve deeper into experimental cinema or do they have to stay on more familiar and commercial ground to keep afloat in the days of streaming? and so on...)
Last edited by beavis on June 14th, 2021, 9:50 am, edited 1 time in total.
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St. Gloede
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#3

Post by St. Gloede »

Great questions, Beavis!
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#4

Post by Onderhond »

Things I'd like to hear from Adam:

- How detrimental is your personal taste in the choice of the films you release. Assuming you'd could secure the rights, would you release films you personally don't care for if you think they'd be very profitable for TWF?
- Why do you think Japan has such unrealistic expectations of the foreign appeal of their films (in other words, why are the rights to their films so expensive). Is it based on past glory or don't they simply care all that much about getting their films released in other regions?
- Do you think Japan would benefit from collaborations and influences from other countries, or do you think they'll lose too much of their individuality? And how problematic are the production committees really?
- How is streaming faring in Japan? At one time it looked like a dream solution to seeing more Japanese films in the West, but it hasn't really materialized yet.
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#5

Post by mjf314 »

- How detrimental is your personal taste in the choice of the films you release.
I think you mean a different word instead of detrimental (unless I misunderstood your question).

Anyway here are my questions:

- How do you usually watch the films that you later decide to release? Film festivals? Or unsubbed DVDs?
- Are there any particular resources (e.g. websites or blogs) that you use to help you decide which films to release?
- Has Third Windows Films ever considered expanding to TV? Especially for Japan, there are a lot of good TV dramas that haven't been (legally) released with English subtitles.

I'm also interested in the answer to Onderhond's streaming question (although I don't know if Third Window Films does any streaming).
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#6

Post by Onderhond »

mjf314 wrote: June 16th, 2021, 4:15 pmI think you mean a different word instead of detrimental (unless I misunderstood your question).
You are right... Though my brain isn't cooperating right now. Am I thinking of "instrumental"?
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#7

Post by Lonewolf2003 »

Onderhond wrote: June 16th, 2021, 5:16 pm
mjf314 wrote: June 16th, 2021, 4:15 pmI think you mean a different word instead of detrimental (unless I misunderstood your question).
You are right... Though my brain isn't cooperating right now. Am I thinking of "instrumental"?
Did you mean determinant?
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#8

Post by Lonewolf2003 »

Great news, that you guys could get this guest. I own several Third Window Films films.

I have a dozens questions about if they will release this or that movie and why not? But will refrain from asking them. For now I’m mostly interested in their general process from selecting films, attaining rights etc.

Also wonder how he sees TWF relationship to other boutique Blu-ray labels. Cause on the one side they all are the (last) defenders of physical media, trying to promote certain type of movies, supporting restorations etc. On the other side their must be also (fierce) competition between labels, especially to get titles that will sell well. Does he see them as brothers in arms of competitors?
For now TWF has a pretty good niche tho. Is he afraid that other labels will move into their niche? Or that TWF will have to extend their range of type of films to f.e. worn-out shock horror vehicles and mindless Hollywood action copies to stay profitable?

Do they have partnerships with labels from other regions codes to f.e. share costs?

Several their Pink film releases were also shown on mubi. (Don't know if more have). What’s the story behind that partnership? Will more of their releases be shown on mubi?

What does he think about regioncoding?

Does TWFs revenue purely come from sales or do they also have other incomes, f.e. donors? I read that some labels stay afloat by donations.
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#9

Post by OldAle1 »

Lonewolf2003 wrote: June 16th, 2021, 6:20 pm

I have a dozens questions about if they will release this or that movie and why not? But will refrain from asking them. For now I’m mostly interested in their relationship to other boutique Blu-ray labels. Cause on the one side they all are the (last) defenders of physical media, trying to promote certain type of movies, supporting restorations etc. On the other side their must be also (fierce) competition between labels, especially to get titles that will sell well. Curious about he feels and thinks about this.

For now TWF has a pretty good niche tho. Is he afraid that other labels will move into their niche? Or that TWF will have to extend their range of type of films to f.e. worn-out shock horror vehicles and mindless Hollywood action copies to stay profitable?
I really know nothing about this company, so am fairly curious about this episode, and will try to read up a bit about them in the meantime. But this comment strikes me as very valuable and obviously applicable to loads of other companies - Arrow, Kino, Vinegar Syndrome, Severin, etc etc etc. I worry sometimes about how the decline of home media could eventually kill off these companies - and in the broader world, kill off any possibility that some films will be readily accessible in the future, if there isn't much physical media, and no interest from the streaming sites.

But then I think about the status of American comics. Back in the early 90s comics were at their peak of sales, with typical hot characters like Spiderman or Batman selling in the hundreds of thousands, and in a few cases over a million copies per month. Comics were already being read more by adults than kids by that point, but they still had a little bit of general pop culture interest, and they were still being sold on newstands, in supermarkets, etc, to some extent.

25+ years later and that's all gone. Nearly all comic sales are through dedicated stores or online, the prices on new issues are such that casual buyers and kids are dissuaded, and sales are a small fraction of what they were - 100-150,000 is now a really good figure, when it wouldn't have been top 25 for a month in 1993. But is the market dead? Not by a long shot - it's just become a niche, specialist market, and the interest in new (and older, collectible) comics amongst that smaller audience is just as strong if not stronger. And just as the physical DVD/BD market is no longer dominated by just a couple of big Hollywood studios, the comics market isn't just Marvel and DC anymore, and the hot stuff frequently comes from very small and new companies.

So I think the death-knell for physical media is maybe a little premature, though I can certainly see a period coming where you maybe have to subscribe to a service to even get a chance of buying the new, super-limited box set of cult director AAA from niche company ZZZ. Maybe only really dedicated collectors with a fair bit of disposable income will be buying anything at all at that point. But I think it's still a little ways off.
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#10

Post by Onderhond »

Lonewolf2003 wrote: June 16th, 2021, 6:20 pm Do they have partnerships with labels from other regions codes to f.e. share costs?
You know they fall under the Arrow label now, no?
Lonewolf2003 wrote: June 16th, 2021, 5:55 pm Did you mean determinant?
Yes, although I've never really seen that word before :D
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#11

Post by Lonewolf2003 »

Onderhond wrote: June 16th, 2021, 7:25 pm
Lonewolf2003 wrote: June 16th, 2021, 6:20 pm Do they have partnerships with labels from other regions codes to f.e. share costs?
You know they fall under the Arrow label now, no?
No I didn’t. I thought they only used the Arrow site as another portal to sell. Didn’t know they officially are subordinate/branch of Arrow. I would be curious if there is coordination with Arrow with title gets releases on which label.
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#12

Post by St. Gloede »

Only 2 more days until we record. Ask away.
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#13

Post by RogerTheMovieManiac88 »

I had heard of the brand but don't know anything about them or their releases. I will listen eagerly to the episode.

My question would be:

''What release or releases is he the most proud of?''
That's all, folks!
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#14

Post by Lonewolf2003 »

In case you guys haven’t done the interview yet, another interesting topic to discuss would be their decision to release various pinku films, especially in the current “cancel culture” political climate.
Since they are seen as misogynistic and sexist and an influence on rape culture by some. And the backlash of such an image/reputation alone could/can have consequences (f.e. other companies that don’t want to collaborate anymore)
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#15

Post by Fergenaprido »

I've never heard of TWF nor Adam Torel, but based on the questions being asked, I'm interested in listening to the episode. :)
Lonewolf2003 wrote: June 16th, 2021, 6:20 pm Several their Pink film releases were also shown on mubi. (Don't know if more have). What’s the story behind that partnership? Will more of their releases be shown on mubi?
I saw Hanagatami on Mubi, but it was a year and a half before it was released on BluRay, according to their site, so I don't know if they had the rights to that film yet or not.

I also saw Legend of the Stardust Brothers at the start of the month, and I think it's addition to Mubi was roughly correspondent to it's BluRay release at the end of March this year.

So it seems that more than just their Pinku films might show up on Mubi in the future.
🧚‍♂️🦫
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#16

Post by St. Gloede »

Great questions all.

We just finished the recording session about half an hour ago, and most questions made it (or were answered before the Q&A session).
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#17

Post by matthewscott8 »

I just want them to release more Gakuryu Ishii films on DVD/bluray :lol: I am a total slut for those films. :wub: tehe
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#18

Post by Armoreska »

Onderhond wrote: June 16th, 2021, 7:25 pm
Lonewolf2003 wrote: June 16th, 2021, 5:55 pm Did you mean determinant?
Yes, although I've never really seen that word before :D
Surely you've heard of determinism though...
he or A. or Armo or any

Image
currently working towards a vegan/free world + thru such film lists: GODARD, r/antinatalism recommends,..
the rest
ANARCHISTS, ANIMAL RIGHTS, Assisted suicide, Existential films, SOCIALIST CINEMA (an amalgamation of lists), Feminist lists, various GSSRM lists (aka LGBTQ+), 2010s bests, Visual Effects nominees, kid-related stuff, great animes (mini-serie or feature), very 80s movies, mah huge sci-fi list, ENVIRO, remarkable Silent Films and Pre-Code (exploring 1925 atm) and every shorts and docu list I'm aware of and
/forum.icmforum.com/viewtopic.php?f=1&t=1434
and "Gordon" Liu Chia-Hui/Liu Chia-Liang and Yuen Woo-ping and "Sammo" Hung Kam-bo
imaginary awards | youtube channels | complaint lounge | explain how big a fan of slavery you are here, ..viewtopic.php?f=12&t=1535 and here: ..viewtopic.php?f=12&t=4484
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#19

Post by Onderhond »

Armoreska wrote: June 22nd, 2021, 11:15 am Surely you've heard of determinism though...
Yes. But that's a different word.
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