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Ray Pride

By Ray Pride Pride@moviecitynews.com

Albert Maysles greying the Gardens

At indieWIRE, Johnny Leahan has a crackerjack chat with Albert Maysles as a sequel to Grey Gardens is released in New York City. “[T]hat is often a question people ask about your documentaries: Are you exploiting your subject? “Well, there are two things that you ought to avoid… exploiting and being so protective that you’re overdoing the project and don’t allow the person to really come through. So you have to be very discreet… I mean, reality shows. glasses.jpgWho needs all that profanity? Come on. There’s a film that I’m doing now [In Transit] about people on trains. And it’s not just interviewing a person – it’s going to be in half a dozen different countries, different cultures. I met a woman at the train that was pulling out of Pittsburgh and I stopped filming her because she was getting nervous… I find out that the reason she was on the train was that when she was three years old, her parents broke up in an ugly divorce. Her father got custodianship, and she would never see her mother again. Why is she on the train? The night before, she got a call from a woman in Philadelphia. “Get on the next train, I’ll be waiting here at the station.” So that’s when I got off the train with her and filmed the encounter. It turns out the mother finally puts her head over her daughter’s shoulder, cries, and says she’s gorgeous.”

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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