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By Ray Pride Pride@moviecitynews.com

Matthew Barney: repulsed by the lack of moisture

beer-Barney.jpgMatthew Barney does some regular-guy shtick talking to New York mag’s Karen Rosenberg about the influences on his uncinematic films: “Horror films, for sure. The Evil Dead films, the Friday the 13th films, Jaws, The Omen, The Exorcist, The Shining—the simpler, the better. When I started making art, I think the simple-format horror films were a model for me, as a way of making something that blended an object and its environment—if you accept that in some of these stories the antagonist and environment are interchangeable, like the cabin-in-the-woods stories, or the ocean and the shark in Jaws. On a visceral level there was a big difference for me between “wet” characters and “dry” characters. Zombie films never appealed to me because they were too “dry.” I was repulsed by the lack of moisture in those characters.” [Drawing Restraint 9 premieres at IFC Center in New York tomorrow and opens Wednesday, when the man, the myth and the petroleum jelly will attend. The pic is from an uncredited page of party snaps at the site for the lamentably hiatusing Index magazine.]

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch