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Ray Pride

By Ray Pride Pride@moviecitynews.com

King of the movie world: profiling Departed's producer

The Observer’s Craig McLean takes the measure of “the biggest Brit in Hollywood” and apparently it’s not Sacha Baron Cohen. “I’m a film producer. How do you define a film producer? Wow… my job is to find screenplays, unclejackie_58.jpgbooks, articles, and develop those into shooting scripts. Hire the actors, the director – sometimes even finance the movies,” Graham King says. “He’s involved all the way through overseeing the day-to-day running of the shoot of the film, overseeing the post-production, the release of the movie, the marketing campaigns, trailers. ‘And trying to get the talent to do publicity, which is never easy. So really my job is, from start to finish – everything.’ … Scorsese says that King is different from other producers, insofar as his presence during filming is less about keeping a fidgety, money man’s eye on budgets and schedules. ‘I find him a comforting figure on the set,’ says the director. ‘Unlike some people in the past, who were alarming.'” [Much more at the link, including this promise: “‘I would love to make a movie that Marty would star in. He’s been in movies, and he did the voice in Shark Tale. But I think he’s just a personality all of his own. When you travel with him he gets so much recognition everywhere he goes. He’s bigger than the movie stars sometimes!’]

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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