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Ray Pride

By Ray Pride Pride@moviecitynews.com

Paul Schrader posts on his Bret Easton Ellis project, THE CANYONS

THE CANYONS. “The material is classic BEE. Character driven, dialogue driven, explicit in word if not action. Two visual poles are emerging in the low budget world: on one side, Wong Kar-Wai’s Fallen Angels. On the other Xavier Dolan’s Heartbeats. Both styles mix approaches, use hand held, work economically. Both are composed as opposed to faux vérité. You could distinquish them by saying Fallen Angels aspires to the characters’ POV, Heartbeat to the director’s. A third path? Better examples from the microbudget world?”

John DeFazio will be the DP for The Canyons. John and I are now discussing possible approaches. Many things are possible on a microbudget. Some things are not. For example, you have to plug in for power rather than bring a generator. That limits the amount of artifical light you can use. Which means in turn that post-prod color effects may be more practical than onset gels. And so on. “Undoing” is just one style of cinematography we are dicussing. Any thoughts what the “look” of Canyons should be. Hard or soft? Back or front? Hand held or tripod? There are no longer any rules in cinematography, only choices.” (The project has 11 days left in its Kickstarter campaign, but is already 50% over its funding goal.)

 

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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