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Ray Pride

By Ray Pride Pride@moviecitynews.com

Feral Children: when Field was Little

The Oregonian’s Shawn Levy calls it Todd Field‘s Mystic River moment in this scarifying outtake from a long Sunday interview about Little Children: “I remember coming home one day on my bicycle along this gravel path near 157th and Division, and this Ford Falcon pulled up, this white LittleChildren1_23_235.jpgFord Falcon with two guys in it, and they said ‘Come ‘ere kid, come ‘ere.’ And you know when you’re near trouble, at any age. And I knew they were bad, and I knew they were gonna get me in that car, and I knew that no one was every gonna see me again and they would do bad things to me and I would be dead. And I was screaming and tried to get away, and my bike fell in the gravel and they started chasing me, and lo and behold the next-door neighbor started coming down the street and saw me, and these guys ran and they sped off. And they didn’t catch them. And I went home and I told my parents and they didn’t show the fear that they had about the situation, but they didn’t stop letting me have my independence. And that’s what formed me as a human being: being allowed to have that childhood. And I wouldn’t trade that for anything. I’d just as soon have gone off in that car and not exist as not have the childhood that I had, which was tremendous—a great, great childhood. And as I’ve observed other parents in places I’ve lived—Los Angeles, New York and even London—it was a rare childhood. And it didn’t have to do with my parents being good consumers and going out and buying everything and making you safe. They let us be as children and let us be feral and let us figure out who we were. They let us fight our own battles and some of them were hard.”

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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