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Ray Pride

By Ray Pride Pride@moviecitynews.com

Factory profile: I wouldn’t want to confuse a pretty woman with a waitress

The ever-crafty Weinsteinco’s newest news about the status of Edie-bio Factory Girl emits from the Sunday Styles section of NY Times, where Mickey Rapkin has a tipple with not-dethroned director IMG_8520.jpgGeorge Hickenlooper. “As late as last week, he was still shooting new scenes… Despite news media reports that Mr. Hickenlooper had been taken off the project (not true) and that Bob Dylan was upset with how he is portrayed (true), the only opinion that matters now belongs to the executive producer, Harvey Weinstein. He has decided to release Factory Girl in Los Angeles on Friday, in time, barely, for the Oscars. “He wants a nomination for Sienna,” Mr. Hickenlooper said Wednesday… Mr. Hickenlooper, 41, had taken a break from editing to stop at the Rose Bar at the Gramercy Park Hotel. He was dressed in standard Los Angeles auteur gear (leather blazer, oversize plastic frames, goatee). “I really need a drink,” he said, looking around for assistance. “I wouldn’t want to confuse a pretty woman with a waitress.” He ordered one cabernet and then another… “We’re all starved for intimacy and we’re looking for something to fill that void,” Mr. Hickenlooper said. “You could take the names Edie and Andy off of this and it would still be compelling.” Hickenlooper offers reasons for the film’s hiccuppy existence behind the headlines: “The film was over budget at the start, so scenes were cut. Shooting wrapped in February, but when the rough cut was first viewed in August, it was clear that there were holes. They had to wait for Ms. Miller’s calendar to open up. Three days of planned shoots in New York stretched to five. And when Mr. Weinstein suggested extra scenes to flesh out the friendship between Ms. Sedgwick and Warhol, two days in Connecticut were added.” …. “I’d love another three months to edit,” Mr. Hickenlooper said, “but Harvey believes — and I agree — that the film has momentum.”

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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