Kevin Smith - Harvey Weinstein And Dogma's Return

For years, fans of a particular kind of movie, one made by a very specific director, wondered where a certain film had gone. This movie, called "Dogma," seemed to disappear from screens, both big and small. It was a picture that, you know, had a special place in the hearts of many who followed the work of its creator, Kevin Smith. The story behind its absence is, in a way, quite a tale, connecting a beloved film to a very difficult situation involving a well-known figure in the movie business.

The director, Kevin Smith, had often spoken about how his 1999 comedy, a movie about angels and faith, was essentially held captive. It wasn't just sitting in a vault somewhere; rather, it was in the hands of someone who, as a matter of fact, had a tight grip on its rights. This meant the film couldn't be seen by new audiences, nor could old fans revisit it easily. It was a frustrating situation for the filmmaker and, too, for those who loved his creative output.

But, as it happens, there's been a change, a rather big one, that has brought this film back into the light. After a very long wait, the movie is finally making its way to streaming platforms, just in time for a special anniversary. This change, in some respects, marks a victory for the director and a chance for a whole new generation to experience a film that, you know, has been out of reach for a good while. It's a story of perseverance and, arguably, a bit of justice, too.

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Table of Contents

• The Story of Kevin Smith
• Kevin Smith - A Quick Look
• What Was the Issue with Dogma's Rights, According to Kevin Smith?
• The Years of Delay for Kevin Smith's Film
• How Did Kevin Smith Finally Get Dogma Back from Harvey Weinstein?
• The Meaning of This Win for Kevin Smith on Harvey Weinstein
• What Does This Mean for Fans of Kevin Smith's Work Now?
• What's the Wider Story of Kevin Smith on Harvey Weinstein?

The Story of Kevin Smith

Kevin Smith, a person known for his distinct voice in independent film, began his journey in a rather humble way. He came from New Jersey and, you know, started making movies with a small budget and a lot of heart. His first movie, "Clerks," which came out in 1994, really put him on the map. It was a picture that, in a way, showed off his talent for writing dialogue that felt real and creating characters people could relate to. This early success led him to work with bigger names in the movie business, and that, too, brought both opportunities and, as it turned out, some serious challenges.

He developed a group of interconnected stories and characters, often called the View Askewniverse, which included films like "Mallrats" and "Chasing Amy." These movies, in some respects, built on the foundation he laid with "Clerks," expanding his world and attracting a dedicated following. His approach to filmmaking, which often involved a mix of humor, personal reflection, and pop culture references, made him a recognizable figure. It's almost as if he created his own corner of the movie world, where his unique perspective could, you know, really shine.

Kevin Smith - A Quick Look

Here's a little bit about the person at the center of this story, Kevin Smith, to give you some context. He's a creative individual who, as a matter of fact, has worn many hats in the entertainment world, from writing and directing to acting and podcasting. His connection to New Jersey is, you know, a pretty big part of his identity, often showing up in the settings and themes of his stories.

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What Was the Issue with Dogma's Rights, According to Kevin Smith?

The movie "Dogma," a picture from 1999, found itself in a rather unusual predicament for a very long time. Kevin Smith, the director, has spoken openly about how the rights to this film were, in a way, held by Harvey Weinstein. This meant that even though Smith created the movie, he didn't have the say-so to put it out there for people to watch. It was, you know, a situation that really bothered him and, arguably, many fans who wanted to see the film.

The problem began way back when, after "Dogma" first came out. The film was bought from Disney by Bob and Harvey Weinstein in 1999. From that point on, it was under their control. Smith, in fact, described this situation as his "movie about angels" being "owned by the devil himself," referring to Harvey Weinstein. This strong language really shows the depth of his frustration and, you know, how powerless he felt over his own creative work. It was a very difficult period for him, to be honest.

The Years of Delay for Kevin Smith's Film

For many years, this specific film, "Dogma," was basically out of reach for a lot of people. It wasn't available on streaming services, and you couldn't just buy a new copy. Kevin Smith, as a matter of fact, wouldn't do anything connected to the movie because of this rights issue. He made it clear that Harvey Weinstein was the reason why the film was, you know, stuck in a sort of limbo. This meant no special anniversary screenings, no new versions, nothing.

The director often spoke about how Weinstein was holding the rights "hostage," asking for a lot of money that, arguably, overvalued the movie. This made it impossible for Smith to buy back his own work or for anyone else to release it. It was, you know, a rather unfortunate situation that kept a beloved film from its audience for a good long while. The film was, in fact, out of print, meaning physical copies were hard to find, too.

How Did Kevin Smith Finally Get Dogma Back from Harvey Weinstein?

After all those years of waiting, a change happened that allowed "Dogma" to come back. Kevin Smith shared that the film's return to screens had a lot to do with Alessandra Williams and, as it turns out, Harvey Weinstein's legal bills. It appears that the financial pressures Weinstein was facing, you know, created an opening for the film's rights to be released. This was, in a way, a rather unexpected turn of events, giving hope to those who thought the movie would never see the light of day again.

The process wasn't simple, of course, but it seems that the circumstances around Weinstein's legal troubles created a path. Smith, in fact, had been trying for a long time to get his film back, but it was only when these particular conditions arose that it became possible. It's almost as if a door, which had been shut tight for decades, suddenly, you know, opened just a crack. This allowed for the film to finally break free from the hold it was under.

The Meaning of This Win for Kevin Smith on Harvey Weinstein

Getting "Dogma" back is, you know, a very big deal for Kevin Smith. For so long, he felt like his creative work was being controlled by someone else, someone he had a very difficult history with. This regaining of control means he can now share his film with a new generation of viewers and, too, allow long-time fans to revisit it easily. It's a moment that, in some respects, feels like a real win for the good guy, as one person put it.

This situation also connects to wider conversations about power in the movie business, especially in light of the #MeToo movement. Kevin Smith has spoken about his past dealings with Harvey Weinstein, including how Weinstein bought his first film, "Clerks," for a sum of money back in 1994. The complicated feelings Smith now has about their association, you know, are very real. The return of "Dogma" is, arguably, a small but meaningful step in a larger story of accountability and, as a matter of fact, creative freedom.

What Does This Mean for Fans of Kevin Smith's Work Now?

For those who love Kevin Smith's movies, this news about "Dogma" is, you know, a pretty exciting development. The film is finally coming to streaming, which means it will be much easier for people to watch. This is a big change from how things were, when the movie was hard to find and, in fact, out of print. It means that a film that has been part of the View Askewniverse story, alongside titles like "Clerks" and "Chasing Amy," is now fully accessible.

The return of "Dogma" for its 25th anniversary is, you know, a chance for a celebration. Fans can now experience this movie that has been missing for so long. It also opens up potential for other things related to the film, now that Kevin Smith has control. It's a moment that, in a way, brings a sense of completion to a long and rather frustrating chapter for both the director and his loyal audience. It's almost like a prayer has been answered, some might say.

What's the Wider Story of Kevin Smith on Harvey Weinstein?

The relationship between Kevin Smith and Harvey Weinstein, and the events surrounding "Dogma," are part of a much bigger picture. Smith's experiences, you know, shed light on the kind of power dynamics that existed in Hollywood for a long time. He has discussed how he sold his very first movie, "Clerks," to Weinstein's company, Miramax, back in 1994, for a sum of money. This early connection, in some respects, set the stage for later dealings, including the "Dogma" situation.

Smith has also spoken about how, at one point, Weinstein knew a story was coming out about him and was, in fact, calling everyone to try to figure out who the source was. This kind of behavior, you know, paints a picture of the environment that many creators had to navigate. The story of Kevin Smith on Harvey Weinstein is, therefore, not just about one movie; it's about the challenges artists faced and, too, the long road to reclaiming their work and their voice. It's a very personal story that, as a matter of fact, resonates with many in the creative community.

The whole situation with "Dogma" being held hostage for years, and Kevin Smith's very public feelings about it, really highlight the difficulties that can arise when creative ownership is in question. Smith's journey to get his film back is, you know, a testament to his persistence. It shows how important it is for creators to have control over their art. This resolution means that a piece of his creative history, which was tied up in a very complicated way, is now, in a way, free to be shared with the world. It's a story that, arguably, has a happy ending for the film itself and, too, for the person who brought it to life.