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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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“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