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Ray Pride

By Ray Pride Pride@moviecitynews.com

How To Deal With Cable Customer Service: A Profane Canuck Classic

Even the YouTube screen’s covered with profanity, so you’ll have to go below the fold for it. From Boing Boing’s description: “Via @kellyoxford’s tumblr, this profanity-laden rant from an extremely unhappy Canadian cable subscriber went viral via cassette tape and entertained junior-high-schoolers for years. Warning: LOTS of swearing.” Writes the uploader: “Recorded profanity-laced complaints of a frustrated cable TV customer in Canada to customer service, set to the music from Beethoven’s 9th Symphony. The recording is real. The guy in the clip has a talent for combining filthy swear words into whole sentences. We’ve all been there, frustrated for being neglected by customer service of a telecom or cable company, but this guy takes it to a different level. The ending is priceless.” [Via Boing Boing.]


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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