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Ray Pride

By Ray Pride Pride@moviecitynews.com

Would you like to talk about Lolita?

Would you like to talk about Lolita?Well, no. I said everything I wanted to say about the book in the Afterword appended to its American and British editions.” Did you find it hard to write the script of Lolita? “The hardest part was taking the plunge—deciding to undertake the task. In 1959 I was invited to Hollywood by coke_sucker_2308.jpgHarris and Kubrick, but after several consultations with them I decided I did not want to do it. A year later, in Lugano, I received a telegram from them urging me to reconsider my decision. In the meantime a kind of script had somehow taken shape in my imagination so that actually I was glad they had repeated their offer. I traveled once more to Hollywood and there, under the jacarandas, worked for six months on the thing. Turning one’s novel into a movie script is rather like making a series of sketches for a painting that has long ago been finished and framed. I composed new scenes and speeches in an effort to safeguard a Lolita acceptable to me. I knew that if I did not write the script somebody else would, and I also knew that at best the end product in such cases is less of a blend than a collision of interpretations. I have not yet seen the picture. It may turn out to be a lovely morning mist as perceived through mosquito netting, or it may turn out to be the swerves of a scenic drive as felt by the horizontal passenger of an ambulance. From my seven or eight sessions with Kubrick during the writing of the script I derived the impression that he was an artist, and it is on this impression that I base my hopes of seeing a plausible Lolita on June 13th in New York.” [Vladimir Nabokov, 1962.]

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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