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Ray Pride

By Ray Pride Pride@moviecitynews.com

Once, more

Hansard, Irglova, Carney


Two fresh comments from David Carr‘s Carpetbagger blog regarding the Oscar fortunes of “Falling Slowly” (all punctuation, etc., in the original): “I was lucky enough to have been peripherally engaged with the shooting experience of the Irish film ‘once’. The song contested, ‘falling slowly’ was written for the film, albeit a number of years before the film began actually shooting, but without going into long winded specifics I can assure all concerned that I was witness to the truth in this ridiculous matter. The song was written for the film. I have read alan’s material that his link provides. His presupposition that doubt should be cast upon the authenticity of the songs authors is bizzare to say the least. Certainly the fabric of his article has no argument to support his doubt. It is quite obvious that the true element of concern to the Academy in this issue is the fact that Glen Hansard had the gall to preform his composition before the motion pictures eventual release. Discussions that strive to debate the genesis of the song’s authorship are facile and to this observers mind without any merit or reason. I truly hope this great event for contemporary independent cinema is given the chance to gain a small degree of the recognition it truly deserves on the hallowed stage of the Academy, free from the impotent claims of falsehood of the aforementioned journalist and his ilk… — Posted by Paula R.” And: “The song Falling Slowly had been banging around Frames gigs for a couple of years in different guises and Glen said at these gigs that the song had been written for a film that his Friend John had written that at the time had been called Buskers and the name was then changed to Once. Glen has always stated that that particular song had been written for the film project his friend was working on, and this was back in 2002, about the same time that Glen and Mar started writing music together.
— Posted by Toni”

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“The worst thing that we have in today’s movie culture is Rotten Tomatoes. It’s the destruction of our business. I have such respect and admiration for film criticism. When I was growing up film criticism was a real art. And there was intellect that went into that. And you would read Pauline’s Kael’s reviews, or some others, and that doesn’t exist anymore. Now it’s about a number. A compounded number of how many positives vs. negatives. Now it’s about, ‘What’s your Rotten Tomatoes score?’ And that’s sad, because the Rotten Tomatoes score was so low on Batman v Superman I think it put a cloud over a movie that was incredibly successful. People don’t realize what goes into making a movie like that. It’s mind-blowing. It’s just insane, it’s hurting the business, it’s getting people to not see a movie. In Middle America it’s, ‘Oh, it’s a low Rotten Tomatoes score so I’m not going to go see it because it must suck.’ But that number is an aggregate and one that nobody can figure out exactly what it means, and it’s not always correct. I’ve seen some great movies with really abysmal Rotten Tomatoes scores. What’s sad is film criticism has disappeared. It’s really sad.”
~ Brett Ratner Has A Sad

“The loss of a local newspaper critic is a real loss. People who know the local audience and know the local cultural scene are very important resources. You can’t just substitute the stuff that comes in from nowhere through syndication or the wire. I think at the same time, some of the newer outlets have really beefed up and improved their coverage and made room for criticism. The real problem is in the more specialized art forms — fine arts, classical music, dance and jazz, say. There is a real slowing of critical voices, partly because those art forms have smaller audiences. Newspapers and magazines can say that doesn’t get enough traffic, so we don’t have room for that. To me, that’s especially worrisome. This is the opposite of what newspapers are supposed to do, which is not to try to figure out what people are already interested in and recite that back to them, but to hopefully guide them to something that they should be interested in, connecting potential audiences with more interesting work.

“Then again, not everyone needs a critic. People have been going to movies for more than 100 years now, and probably the vast majority of those people have not read movie reviews or cared what critics thought. But there has always been an important subset that wants to know more, that wants to think about what they’ve seen and what they’re going to see, and wants someone to think along with. I think critics are important, not just as dispensers of consumer advice — though that’s certainly part of it, too — but as trusted voices and companions for people to argue with in your head when you’re going to movies or afterwards.”
~ A. O. Scott