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By Ray Pride Pride@moviecitynews.com

Oscars-Netflix: Alfonso Cuarón

Variety’s morning-after-Oscar director exit interview of Alfonso Cuarón includes this sentence: “’I wanted to explore some family wounds,’ Cuarón says as he slices into a wedge of avocado toast.”

Of greater moment, to the Netflix-Oscar conversation: “The conversation about theatrical is super-important. I’m a filmmaker. I believe in the theatrical experience. But there has to be diversity. The multiplex theatrical experience is a very gentrified experience. You have one kind of product with few variations. It’s hard to see arthouse films. It’s hard to see foreign films. Most theaters play big Hollywood movies.

“There needs to be greater diversity in how we release our films. Distribution models need to be more flexible, depending on the film,” Cuarón continues. “You cannot impose the release strategy of a tentpole film on a smaller film. You may need fewer theaters and longer runs or models in which the so-called window is shorter. We’re thinking in one single paradigm. It’s a moment to start opening up paradigms. Right now it’s a confrontation between economic models. It’s not like one model benefits cinema, and the other does not.”

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima