MCN Blogs
Ray Pride

By Ray Pride Pride@moviecitynews.com

Less is Moore: Run, Michael, Run

F8596.jpgJunket Whore director Debbie Melnyk and Rick Caine are SxSW preeming a dissection of the work on Michael Moore, called Manufacturing Dissent. John Anderson reports for NYTimes. “What he’s done for documentaries is amazing,” said Ms. Melnyk, 48, a native of Toronto and a freelance TV producer, who even now expounds on the good he says Mr. Moore has done. “People go to see documentaries now and, as documentary makers, we’re grateful.” But according to Mr. Caine, 46, an Ohio-born journalist and cameraman, the freewheeling persona cultivated by Mr. Moore [was] not quite what they encountered when they decided to examine his work. “As investigative documentarists we always thought we could look at anything we wanted… But when we turned the cameras on one of the leading figures in our own industry, the people we wanted to talk to were like: ‘What are you doing? Why are you throwing stones at the parade leader?’ ” Ms. Melnyk added, “We were very lonely.” [More at the link about the couple’s allegations about Moore’s methods.]

Comments are closed.

Movie City Indie

Quote Unquotesee all »

“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