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By Ray Pride Pride@moviecitynews.com

Assayas talks Carlos

carlos.jpg
In what’s described as an exclusive, Olivier Assayas talks to JM Frodon about his Cannes-bound five-and-a-half-hour Carlos at the French edition of Slate (Google translation). A quick tidying of one of the passages: “I knew I had the opportunity to do something unlikely, at least in France: a film this long, with great characters, situations and settings, without stars, with actors who are really the nationality of their characters, speaking in their own language. That’s the kind of freedom that only the [most powerful] in Hollywood can get when they are in a position to impose their conditions onto the studios. In France, it is impossible. Today, it makes me laugh that there are some among French cinema professionals, who tried to stop the film at Cannes, saying that is television and not cinema. I want to tell them: indeed it is not the kind of formatted, controlled film that you do. It is a form of cinema that you forbid me to do, and which is infinitely more cinematic than three-quarters of the shit you produce. For me, movies are made to be shown on the big screen. The paradox is that while this movie would never have been funded by the cinema as it operates in France, on television, although this is not the place of dramatic and aesthetic freedom, this is an opportunity offering me rare freedom.” [Link originale.]

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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.
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