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Ray Pride

By Ray Pride Pride@moviecitynews.com

Toronto, 11 September 2001

After being awakened on September 11, 2001, I wrote this: “Pure joy, pure bliss: I saw a movie called Amelie on Monday night that seemed to have made my movie year. Little tears sting my eyes throughout. I join friends from New York at a party for a film set in Los Angeles. We talk about what we have seen. I think of questions to ask the director of Amelie today. I sleep on it. I wake a little after 10 on Tuesday to the words of my roommate at the Toronto International Film Festival. I’m supposed to interview David Lynch in a couple of hours, talk about the psycho-mayhem of Mulholland Drive, a movie of glittering absurdity. But CNN is on in the living room. My colleague, S., and I watch the footage from New York. We’re kibitzing in a void, not really listening to each other, just commenting and theorizing so gravity does not pin us to the ground. Toronto local lines work, I can get on-line. Cell phone, forget about it. I have to assume my friends are fine. None of them live or work near the World Trade Center. S. and I watch the footage, ash-covered emergency vehicles slaloming between pedestrians, spilled into the street, faces mostly blank, some bloodied, all urgently getting away: from danger, from cameras, from mad fact.” [The rest at the link.]

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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