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Ray Pride

By Ray Pride Pride@moviecitynews.com

Chicago Sun-Times brags on Ebert's "number one pundit" status

RogerSunTimes_7.jpg“Roger Ebert, the Pulitzer Prize-winning film critic of the Chicago Sun-Times, bested them and others to be named the most influential pundit in America by Forbes magazine,” writes Maureen O’Donnell in a front-pager. “Forbes analyzed market research on more than 60 top pundits in current events, entertainment, law, politics and sports. Ebert “appeals to 70 percent of the demographic and [his] long career makes him well known to well over half the population,” wrote Forbes’ Tom Van Riper… The magazine’s list of top pundits is “very impressive company,” Ebert said by e-mail. “It never occurred to me anyone would make such a survey, especially since I never thought of myself as a pundit. . . . Maybe it means movies are more popular than politics, and non-partisan.” … “Despite all my health adventures, I can still see, hear, and type, and now that print reviews are my only way to exercise the full range of my communication abilities, I find I write them with something approaching bliss,” Ebert said…. “As one of my friends observed, ‘Even if you lose your voice, Ebert, you’ve already talked more than enough.’ “

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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