By Ray Pride Pride@moviecitynews.com

Luc Besson, Roughly Translated, To Cinépop Brasil On Movies Today

“It was great 10 years ago when we see the first Spider-Man and Iron Man. But now it’s like number five, six, seven. The superhero is working with another superhero, but it’s not the same family. I’m lost. What bothers me most is it’s to show the supremacy of America and how they are great. Which country in the world would have the guts to call a film ‘Captain Brazil’ or ‘Captain France?’ No one! We would be so ashamed and say, ‘No, no, come on, we can’t do that.’ They can. They can call it ‘Captain America,’ and everybody think it normal. I’m not here for propaganda, I’m here to tell stories.”
Luc Besson, Roughly Translated, To Cinépop Brasil On Movies Today

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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