MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

If 'Pirates' wore 'Prada' all of the demographic bases would have been covered

7/10/06 If there were any single place on Earth for a crowd-phobic adult to avoid Saturday night, it would have been the local multiplex. Only 24 hours old, “Pirates of the Caribbean: Dead Man’s Chest” had already grown to juggernaut proportions, and I feared downtown Monrovia – that’s in the “other” Valley, for you west-siders…

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In Las Vegas, all they'll need is 'Love' … and lots and lots of Beatlemaniacs

July 2, 2006 LAS VEGAS – Ever since George Jessel, Jimmy Durante and Xavier Cugat opened the showroom of the Flamingo Hotel, 60 years ago this Christmas, little more has been expected of audiences than a willingness to tip the maitre’d for a decent table. The performers did all the heavy lifting, and, for 90…

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Dretzka

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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