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Ray Pride

By Ray Pride Pride@moviecitynews.com

One-on-one with the Kazakh's minions; Borat replies

borat_minion_1345.jpgAn offer for 5,000 tickets to Borat on its opening night, via MySpace, turned out to be an intense irritation: following the link led to a pernicious “survey” site offering Readers Digest, nicotine patches and travel packages to Branson, Missouri, in which it was necessary to “opt out” of hundreds of choices after giving personal information. I didn’t make it through: almost 20 pages of junk was enough for me. [I’ve started getting spam already from these gentle folk.] Impulsively, I sent a message via the site to the “Borat” identity, and have gotten these two replies so far. Special attention, or is there a Borat-bot shuffling random replies? Not very nice.

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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