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By Ray Pride Pride@moviecitynews.com

Cédric Klapisch: New Europe perhaps chaotic but very vibrant

At Cafe Babel L’auberge Espagnole director Cédric Klapisch, almost the same age as the European Union, reflects on changes in cinema and culture with more countries joining the E.U. “Europe’s kaplisch_210307.jpgshift towards the ultra-liberal seriously threatens culture. Europe’s shift towards the ultra-liberal seriously threatens culture. I’ve got a habit of saying that Europe is the ‘Disunited States’, as opposed to the United States. But bizarrely, our strength lies in us being pulled together by our gaps and differences. To have so many different languages, so many different gastronomies, so many opposed cultural habits, so many diverse architectures. tears us apart but also creates dynamism. It’s going to be extremely difficult to make the political Europe of the 27 a success, but I think there is a common will to combine Hungarians, Poles, Scandinavians, Germans, and Latins in a common spirit. What will that result in? I have no idea. It is perhaps chaotic but very vibrant.”

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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