By The Daily Buzz davidpoland@sbcglobal.net

The Daily Buzz podcast from South By Southwest (3/8/14)

thedailybuzz_sxsw14

Today’s Show Rundown, March 8, 2014

HOT TOPICS/TEXAS ROUNDTABLE
Kim Voynar/MOVIECITYNEWS
Eric Kohn/INDIEWIRE
Dave Karger/FANDANGO
Marjorie Baumgarten/AUSTIN CHRONICLE
Michael Tully/HAMMER TO NAIL
Holly Herrick/AUSTIN FILM SOCIETY
Joe Leydon/VARIETY
Jette Kernion/SLACKERWOOD.COM

INTERVIEW SEGMENT
Jason Bateman/BAD WORDS

UTAH at SXSW ROUNDTABLE
Hoby Darling/SKULLCANDY
Judy Robinett/JROBINETT ENTERPRISES
Deirdra Burgess/JROBINETT ENTERPRISES

DOCUMENTARY FILMMAKER SEGMENT
Michael Obert/SONG FROM THE FOREST
Alexandre Tondowski/SONG FROM THE FOREST

INTERVIEW SEGMENT
Larry Levine/WILD CANARIES
Sophia Takai/WILD CANARIES

NARRATIVE SPOTLIGHT
Bryan Reisberg/BIG SIGNIFICANT THINGS
Harry Lloyd/BIG SIGNIFICANT THINGS

EVOLUTION OF SX
David Madgael/DAVID MAGDAEL & ASSOCIATES
Irene Cho/DAILY BUZZ
Kim Voynar/MOVIECITYNEWS

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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