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Ray Pride

By Ray Pride Pride@moviecitynews.com

Hollywood thought: why Poseidon's no Adventure

watery345.jpgIn “Backstory 3,” Poseidon Adventure scripter Stirling Silliphant offers some seafaring experience to Nat Segaloff: “The matter of making the characters [in The Poseidon Adventure] empathetic was not a problem, because I had a simple and central conflict going between Borgnine and Hackman. In their conflict, they exposed their own fears—and therefore their humanity—and as this [affected] several other characters, we inevitably had to see them as facets of ourselves. And how can you go wrong with an actress of the brilliance of Shelly Winters, whose chubby rump has to be pushed upwards, and her face of complaint at such a rude contact; and then when she has to dive and swim a hazardous course underwater in her bloomers and dies in the arms of her husband before than can get to Israel—come on, that’s really snatching candy from a baby.”

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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