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Ray Pride

By Ray Pride Pride@moviecitynews.com

More mumbling about architecture: is it a white guy thing?

filmsciencelogo.jpgIndie filmmaker (and doggedly prolific blogger) Sujewa Ekanayake asserts at his site that “a very widely read film journalist who blogs for indieWIRE told me a while back that American indie film has always been a “white” thing. Not really (“race films” of the 1930s on, Cassavete’s Shadows, Spike Lee, Jarmusch’s Mystery Train & Night On Earth & Dead Man & Ghost Dog, Ang Lee & Mira Nair & Wayne Wang’s careers). So how come the indie film media does not seem to be at all concerned about the hottest new thing in our world—Mumblecore—being an all-“white” thing? So is Mumblecore independent film by & for “white”people only? Or for people who do not have any non-“white” friends or acquaintances or business partners? Maybe it is, at least up to now. At least that seems to be the message in the casting decisions made in the films.” [More at the link.] Meanwhile, Eugene Hernandez at indieWIRE profiles producer Anish Savjani of Film Science, which produced Joe Swanberg’s Hannah Takes The Stairs and his forthcoming Nights and Weekneds, and Kelly Reichardt’s (Old Joy) next project. “behind the scenes a new generation of film producers are also starting to make a mark, including Austin-based Savjani,” writes Hernandez. Savjani, in his mid-20s, like Swanberg, raised under $100,000 to produce Hannah; his prior experience includes work as a DGA trainee; work on Old Joy and working for mega-producer and taste maven Scott Rudin. “Now, through his own company Film Science, he hopes to foster a “family of filmmakers” that he can work with over the longterm.” [A little more detail at the link.] And, not to forget, the prime primer of the moment, S. T. Van Airesdale’s summa over at The Reeler.Hannah1-1_50.jpg




August 22 from IFC First Take.

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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).

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“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.”
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