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Ray Pride

By Ray Pride Pride@moviecitynews.com

This Is That Not All That There

Shuttering the brick-‘n’-mortar offices of This Is That Productions, Ted Hope email blasts 6,000 colleagues and acquaintances with a little William Carlos Williams-styled enjambment… also parsed out via Twitter: “Email blasted my poem in homage to WCW eating the plums on my change of address & the impossibility of keeping TITofc open. Whew… I never thought it was surprising that the company could have the #1 film in USA & still not afford to keep ofc open… If i could buy one book on financing indie film @KTFfilms And on investmt structure it would be Das Kapital or Shoot to Kill… Why do people think negative when you say you are leaving the physical world and will continue to strive virtually?…. Fire sale: Mac OS X Serve v10.5 Purchased in march 2009 best offer over $1000 DM me”

One Response to “This Is That Not All That There”

  1. hcat says:

    What a shame, the This is That name on a movie made it an immediate see for me.

Movie City Indie

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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