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Ray Pride

By Ray Pride

Film is 24 francs per second? Godard cops a plea

jean luc666.jpgAFP reports that Jean-Luc Godard had producing in his instincts early on, >resorting to crime. “French New Wave director Jean-Luc Godard has confessed that he stole money to finance his films in an interview with a German newspaper.. “”I had no choice. Or at least it seemed that way to me. I even stole money from my family to give to Rivette for his first film. I pinched money to be able to see films and to make films,” he told Die Zeit weekly… Godard, 76, is due to receive a lifetime achievement award from the European Film Academy in Berlin on Saturday… He told Die Zeit he had little time for most contemporary filmmakers… “Most directors, and three-quarters of the people who will receive prizes in Berlin, only pick up the camera to feel alive. They do not use it to see things that you cannot see without a camera.”

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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