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Ray Pride

By Ray Pride

Toasting AOLTimeWarnerNewLineFineLineHBOica

At a post-party for the premiere of The Ballad of Jack and Rose, the Observer’s Jake Brooks fills a few cocktail napkins with indie go-tos going to Bob Berney’s move to AOLTimeWarnerNewLineFineLineHBOica, building a case that “smaller-budget films… will not be the new company’s entire diet, like it was at Newmarket, which means more elbow room for independent film companies operating exclusively in that sphere. “There’s definitely one less company that’s chasing after films that are in [the] $1-$5 million range,” said Ryan Werner, the head of distribution at Wellspring. “There are not that many companies now, and as we try to grow, obviously, yes, the less competition the better.” [Bingham] Ray, who founded the now-defunct October Films in 1990, agrees. He foresees a marked change in the marketplace and is now optimistic about starting a new independent venture. “I don’t think the same could be said a year ago at this time.”

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima