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Ray Pride

By Ray Pride Pride@moviecitynews.com

Mann talks to Hiscock: Michael and John on Vice

John Hiscock gets some grit from Michael Mann in the Telegraph: “The 63-year-old writer, director and producer… freely acknowledges that he demands total control over his films, and his perfectionism is legendary: crubbstockett731.jpgit is said that on the set of Miami Vice he made one actor walk through a doorway 17 times before he was satisfied. “Sometimes I go longer than 17 takes… It’s about getting what you really need and not wasting time on stuff that doesn’t count; I spend time on things that do count and don’t stop until I get them. When I go out to make a movie, I go out to make a movie. That involves producing it, directing it, writing it and if I am not writing it, I’m rewriting it. I operate the cameras a lot, too. It’s all the same function – making a movie.”

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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