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Ray Pride

By Ray Pride Pride@moviecitynews.com

David Watkin's Holiday (1957)



Writes the BFI’s Robin Baker, “Few films have captured the kiss-me-quick pleasures of Blackpool more colourfully, energetically and convincingly than ‘Holiday’. Made by British Transport Films, it chronicles a day in the life of this most British of seaside resorts as it’s invaded by people hell-bent on getting the most fun possible from their precious holidays. It is certainly no chaste and po-faced trip. Among the candy floss and donkey rides the camera spies canoodling lovers; it lingers over near-naked flesh; captures some very suggestive shellfish-eating and offers images that must be among the most homoerotic in British cinema of the 1950s. Cinematographer David Watkin (who sadly died on 19 February 2008) achieved this level of intimacy by hiding his camera away from prying eyes under a cardboard box on the top of his van, presumably not worrying too much whether or not his subjects ever got round to signing release forms.”

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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