By Ray Pride Pride@moviecitynews.com

“We live in an era of entertainment specialization and bifurcated audiences, and for the Oscars, much less its competitors, to remain relevant, each organization needs to retreat to its respective corner and focus on what it does best. Let the Golden Globes nominate James Franco and Jessica Chastain every year, and let them celebrate The Greatest Showman. Let the Independent Spirit Awards narrow further. Instead of Frances McDormand getting a chance to practice her Oscar speech, throw love towards Cynthia Nixon, who played Emily Dickinson in A Quiet Passion. Let’s see Olivier Assayas receiving plaudits for directing Personal Shopper. And what if Frederick Wiseman and Bill Morrison had to duke it out for Best Documentary? I know plenty who would watch that show in a heartbeat.”

“We live in an era of entertainment specialization and bifurcated audiences, and for the Oscars, much less its competitors, to remain relevant, each organization needs to retreat to its respective corner and focus on what it does best. Let the Golden Globes nominate James Franco and Jessica Chastain every year, and let them celebrate The Greatest Showman. Let the Independent Spirit Awards narrow further. Instead of Frances McDormand getting a chance to practice her Oscar speech, throw love towards Cynthia Nixon, who played Emily Dickinson in A Quiet Passion. Let’s see Olivier Assayas receiving plaudits for directing Personal Shopper. And what if Frederick Wiseman and Bill Morrison had to duke it out for Best Documentary? I know plenty who would watch that show in a heartbeat.”

 

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“Why put it in a box? This is the number one problem I have—by the way it’s a fair question, I’m not saying that—with this kind of festival situation is that there’s always this temptation to classify the movie immediately and if you look at it—and I’ve tried to warn my fellow jurors of this—directors and movie critics are the worst people to judge movies! Directors are always thinking, “I could do that.” Critics are always saying, “This part of the movie is like the 1947 version and this part…” And it’s like, “Fuck! Just watch the movie and try and absorb it and not compare it to some other fucking movie and put it in a box!” So I think the answer’s both and maybe neither, I don’t know. That’s for you to see and criticize me for or not.”
~ James Gray

“I have long defined filmmaking and directing in particular as just a sort of long-term act of letting go,” she said. “It’s honestly just gratifying that people are sort of reapproaching or reassessing the film. I like to just remind everyone that the movie is still the same — it’s the same movie, it’s the movie we always made, and it was the movie we always wanted to make. And maybe it just came several years too early.”
~ Karyn Kusama