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By Ray Pride Pride@moviecitynews.com

The banal and the weird hold hands: Errol Morris

Over at the Errol Morris homestead, he’s kindly posted his Believer conversation with Adam Curtis, iggypops37_84.jpgdirector of The Power of Nightmares, “the documentary film which asks the question “Did Johnny Mercer bring down the World Trade Center?” Curtis says, “Last night on television someone who was pro-the Iraq war was saying that the alliance between the insurgents in Iraq and the foreign fighters is the equivalent of the Nazi-Soviet pact and that that’s what we’re really fighting against. It’s all so weird. That the men who sit in neon-lit rooms with very nicely done tables and who question you and tell you things, are actually weird.” Morris replies, “Yeah. Well, as we all know, the banal and the weird are not incompatible.” Curtis: “That’s the whole point—that’s what’s so fascinating about our time. The banal and the weird are one and the same thing.” Morris: “Yes. They hold hands.” Bonus!: Morris has posted his 2002 Oscar mini-movie here.

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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