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Ray Pride

By Ray Pride Pride@moviecitynews.com

Forbidden civics: 2006's final error message

“Are you mistaking? What’s wrong about here? You are seeking for trouble.seek_213570.jpg (Sorry, that section of the site is inaccessible from the web.) Why are you lossing temper? You said the net is unbreakable, why it’s broken? All ill-fated jinxes have come. (Don’t be upset. Sometimes this happens on the Internet. It’s not bad luck.) All fanciness are posted outside. I’ll throw all the stuffs away, see how you get out. (Don’t worry, it’s easy to get back on track. Perhaps you can find what you wanted here.) I don’t mean to play on you this time, really can’t help. (Sometimes directories are closed for surfing. It’s not your fault.) How come in such period of time? Do it just over there, really trouble maker… (It only takes a second to go back to the home page, friend.)”

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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