You’ve also brought on a few new contributors. As far as streaming sites go, no one has been able to duplicate what Ted Hope and company are producing over there. All of these endeavors, big and small, will advocate the great services that Fandor has to offer. We will begin working with Fandor in the next few weeks on a whole host of exciting ventures. With TCP we’ll continue to promote the books soon to be published (many of which are authored by Mezzanine staffers) and republish relevant video essays and excerpts from their growing catalogue. Our partnership with The Critical Press began a couple months, and has been fruitful (I hope) for the both of us. You’ve brought on new partners with Fandor and The Critical Press? What new features are you hoping to bring with them, and will they affect other articles and features? I admire resourceful sites like SlashFilm, Collider, and ComingSoon that have turned a profit covering and playing to that anticipatory culture, but that’s not us. So we’ve decided to nix the Newswire because 1.) what we were covering is not terribly interesting to us, and 2.) we weren’t that good at. It’s also the only reason most publications have a hefty Newswire section. We gave it a shot last year in the hopes that it would drive in more traffic. Why have you chosen to get rid of the Newswire section? The blockiness of that design was pretty hard to get past. I’m sure someone somewhere will miss something about the old look of the site, but I can tell you that most people on our staff won’t. Hassannia and Fujishima have the abilities and experience to polish our writing, setting the editorial bar higher.ĭo you think there’s anything people will miss about the old look? Moreover we’re aiming to strengthen our features section through strong editing. With The Balcony, run by Kyle Turner, we’re looking to do what The House Next Door and The Film Stage do on a daily basis: curate interesting, informative, topical pieces of writing that both entertain and enlighten. There’s quite a bit to be pleased with, but the opening of The Balcony sits atop that list. What new features are you most pleased with? All incredibly talented individuals who bring a unique perspective to Mezzanine. On the editorial front we’ve been making changes and additions all year, starting with Josh Spiegel, Tina Hassannia, and Kenji Fujishima. That includes all the additional elements: the new rating system, more original illustrations by Alex Kittle and Krishna Shenoi, a reworked logo, myriad of design elements, etc. The redesign has been in the works for a few months. New Movies: Release Calendar for March 24, Plus Where to Watch the Latest Filmsįrom 'Nymphomaniac' to 'Little Ashes': Unsimulated Sex Scenes in 38 Films And we couldn’t have made this happen without her.ĭonald Glover Made Dominique Fishback Watch Isabelle Huppert in 'The Piano Teacher' Before 'Swarm'Ģ023 Emmy Predictions: Outstanding Scripted Variety Series Her wisdom, intelligence, and occasional insanity is a key factor in the site’s evolution. She was the one who inspired me to take Mezzanine in a different, stronger direction. But the main catalyst behind all of this is Tina Hassannia. Mezzanine is becoming what is becoming because of the guidance and support from a whole host of people, from Corey Atad to James Ward to Matt Zoller Seitz. We felt it was time for a change, aesthetically speaking. What’s the motivation behind the redesign and relaunch? To celebrate its second anniversary, the site is relaunching with a new design, a handful of new contributors ( Miriam Bale, Angelo Muredda), new partners (Fandor, The Critical Press), and a new section of the site inspired by Slant’s The House Next Door.Ĭriticwire spoke to founder Sam Fragoso about the site’s relaunch. Movie Mezzanine launched in January of 2013, and it has since become an outlet for up-and-coming film critics, editors and writers, from Kenji Fujishima to Charles Bramesco to Monica Castillo.
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