By Ray Pride Pride@moviecitynews.com

“You see it with the media, when they come and say, ‘What do you think are your chances?’ You know what? The problem is that I don’t think there are filmmakers—certainly not very many filmmakers—that think like that. We’re just happy for the ride. We’re relieved in many ways, that our films are performing. There’s always the fear that your film is not going to perform one way or the other. So we’re in the mood to celebrate; it’s great that we are able to be on this ride. This industry has turned everything into something more vicious; or even very much so. The sad thing is it has become almost like a projection of how political campaigns are nowadays. Rather than politicians showing a vision, it’s about throwing dirt to the opponent. So rather than strengthening the values—and I’m not talking moral values, but the artistic merits of a film and the influence it may be having—it’s about trying to push the others down. I find that very sad. And I hope there’s a way—though I’m not sure there is—that it can be regulated by the Academy. I don’t know how.”

“You see it with the media, when they come and say, ‘What do you think are your chances?’ You know what? The problem is that I don’t think there are filmmakers—certainly not very many filmmakers—that think like that. We’re just happy for the ride. We’re relieved in many ways, that our films are performing. There’s always the fear that your film is not going to perform one way or the other. So we’re in the mood to celebrate; it’s great that we are able to be on this ride. This industry has turned everything into something more vicious; or even very much so. The sad thing is it has become almost like a projection of how political campaigns are nowadays. Rather than politicians showing a vision, it’s about throwing dirt to the opponent. So rather than strengthening the values—and I’m not talking moral values, but the artistic merits of a film and the influence it may be having—it’s about trying to push the others down. I find that very sad. And I hope there’s a way—though I’m not sure there is—that it can be regulated by the Academy. I don’t know how.”

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“I remember very much the iconography and the images and the statues in church were very emotional for me. Just the power of that, and even still — just seeing prayer card, what that image can evoke. I have a lot of friends that are involved in the esoteric, and I know some girls in New York that are also into the supernatural. I don’t feel that I have that gift. But I am leaning towards mysticism… Maybe men are more practical, maybe they don’t give into that as much… And then also, they don’t convene in the same way that women do. But I don’t know, I am not a man, I don’t want to speak for men. For me, I tend to gravitate towards people who are open to those kinds of things. And the idea for my film, White Echo, I guess stemmed from that — I find that the girls in New York are more credible. What is it about the way that they communicate their ideas with the supernatural that I find more credible? And that is where it began. All the characters are also based on friends of mine. I worked with Refinery29 on that film, and found that they really invest in you which is so rare in this industry.”
Chloë Sevigny

“The word I have fallen in love with lately is ‘Hellenic.’ Greek in its mythology. So while everyone is skewing towards the YouTube generation, here we are making two-and-a-half-hour movies and trying to buck the system. It’s become clear to me that we are never going to be a perfect fit with Hollywood; we will always be the renegade Texans running around trying to stir the pot. Really it’s not provocation for the sake of being provocative, but trying to make something that people fall in love with and has staying power. I think people are going to remember Dragged Across Concrete and these other movies decades from now. I do not believe that they will remember some of the stuff that big Hollywood has put out in the last couple of years. You’ve got to look at the independent space to find the movies that have been really special recently. Even though I don’t share the same world-view as some of my colleagues, I certainly respect the hell out of their movies which are way more fascinating than the stuff coming out of the studio system.”
~ Dallas Sonnier