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Ray Pride

By Ray Pride Pride@moviecitynews.com

2013 FYC Screenplays: 34 Available On 12/24/13

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All Is Lost (J. C. Chandor)
The Armstrong Lie (Alex Gibney; transcript)
August: Osage County (Tracy Letts)
Before Midnight (Richard Linklater & Ethan Hawke & Julie Delpy)
The Bling Ring (Sofia Coppola)
The Butler (Danny Strong)
The Croods (Kirk DeMicco & Chris Sanders)
Dallas Buyers Club (Craig Borton, Melisa Wallack)
Despicable Me 2 (Cinco Paul & Ken Daurio)
Enough Said (Nicole Holofcener)
42 (Brian Helgeland)
Frozen (Jennifer Lee)
Fruitvale Station (Ryan Coogler)
Gravity (Alfonso Cuarón & Jonás Cuarón)
The Great Gatsby (Baz Luhrmann & Craig Pearce)
The Invisible Woman
 (Abi Morgan)
Kill Your Darlings (John Krokidas & Austin Bunn)
Lone Survivor (Peter Berg)
Monsters University (Daniel Gerson & Robert L. Baird)
Mud (Jeff Nichols)
Nebraska (Robert W. Nelson)
One Chance (Justin Zackham)
The Past (Asghar Farhadi)
Philomena (Steve Coogan and Jeff Pope)
The Place Beyond The Pines (Derek Cianfrance & Ben Coccio & Darius Marder) (With: an interactive map to its Schenectady locations)
Prisoners (Aaron Guzikowski)
Rush (Peter Morgan)
Saving Mr. Banks(Kelly Marcel and Sue Smith)
The Spectacular Now (Scott Neustadter & Michael H. Weber)
Spring Breakers (Harmony Korine)
12 Years A Slave (John Ridley)
Wadjda
 (Haifaa Al Mansour)
The Way, Way Back (Faxon & Rash)
The Wolf Of Wall Street (Terence Winter)

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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