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Ray Pride

By Ray Pride Pride@moviecitynews.com

More Altman: One long movie and another interview



Two more Robert Altman shorts: brief notes on duration in Altman, Wenders and Bela Tarr films, plus an interview from the time of Cookie’s Fortune. “I’VE BEEN MAKING ONE LONG MOVIE” is one of the nice lines Robert Altman had in his quiver to keep from telling journalistic outsiders about just what it was that he did as a filmmaker.Altman worked variations on the form of the musical, sometimes hiding it, sometimes celebrating it. He claimed to hate genre, which is why he employed it and also why he would worm his way through the cliches of a given genre in movies like The Long Goodbye (the always-moral figure of the P.I. turns amoral; a blowzy 1940s-style theme is repeated ad infinitum down to supermarket Muzak and doorbells), or McCabe & Mrs. Miller (the maverick Western entrepreneur is demonstrated as a mumbling mess-up, scored to dour, fateful songs by Leonard Cohen like “Susannah”).” [More at the first link; click on the photo for its source information.]

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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