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Ray Pride

By Ray Pride

[LOOK] The French trailer for My Blueberry Nights (2007), plus more WKW clips & a Chris Doyle masterclass

MBN_frosting_235.jpgSight unseen, based entirely on a few of the images in this coming attraction, I want to put in a good word for the work of cinematographer Darius Khonji, who shot Wong Kar-Wai’s My Blueberry Nights, which opens Cannes today, and has already been insta-blogged and rapid-dissed. Reportedly, the movie opens with this shot of Norah Jones, nodding at a bakery counter, with frosting mussing her lip. Doesn’t the composition suggest a Buddha head you might have seen at the end of In The Mood For Love? Here’s the link to the trailer. Below: ten minutes of WKW at Cannes 2000 with Mood; a grubby copy of a WKW Motorola commercial with Faye Wong; WKW’s swell video for DJ Shadow’s “Six Days”; deleted scenes from Happy Together; and a nine-minute segment on DoP Chris Doyle from the BBC “Culture Show.”

Two additional clips are offered at the end of this one.

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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