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Ray Pride

By Ray Pride

Gathering Woollen: the kindest cuts

Via Scott Macaulay at Filmmaker, the home page of Mark Woollen & Associates, whose recent work as lc_crossing235.jpgtrailer cutters include Brick, The Constant Gardener, Crash, Good Night and Good Luck, Hard Candy, Hollywoodland, Lord of War, March of the Penguins, The Last King of Scotland, A Prairie Home Companion, The Science of Sleep and Syriana, as well as the evocative mini-movie that is the trailer for Todd Field‘s highly regarded second feature, Little Children. [Frame source.] The end credits of that coming attraction reveal that Leon Vitali, who was Stanley Kubrick’s assistant on The Shining, Full Metal Jacket and Eyes Wide Shut, in which Field acted, is an associate producer; Vitali is also credited with the role of “Oddly Familiar Man,” to add to his CV, which includes Lord Bullingdon in Barry Lyndon. [Matt Dentler points out that Woollen directed a doc that debuted at SxSW, Jam.]

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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