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Ray Pride

By Ray Pride Pride@moviecitynews.com

If Michel Gondry were to eat with his feet…

rubiks-salt-pepper-mills-3.jpgAnd for only $17.50: “Offically licensed by Rubik’s, these Salt and Pepper mills have been produced as a tribute to the world’s most addictive – and some would say annoying, puzzle. The iconic 80’s gadget is brought to life here as a kitchen condiment dispenser!Each cube is exactly the same size as an authentic Rubik’s Cube – 2.24 inches cubed! Sit the mills down next to the real thing and you won’t be able to tell between them – only difference with these cubes is you can’t play them! The Rubik’s Cube mills are built around a durable ceramic mill that grinds various courseness salt & peppercorns. And so only the top layer of the cube rotates to operate the mill and grind the salt & pepper. The salt mill has a white top and the pepper mill has a red top so you can easily tell the difference between the two cubes.”

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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