MCN Columnists
Ray Pride

Pride By Ray PridePride@moviecitynews.com

Pride’s Friday 5 (June 29, 2012)

Sarah Polley’s “lucid and lucent” “Take This Waltz”; “Magic Mike” and the love of “Saturday Night Fever”; the modern dance between Andrew Garfield and Emma Stone in “The Amazing Spider-Man”; Mila Kunis, in a towel, in “Ted,” and the grave beauty of Nuri Bilge Ceylan’s “Once Upon A Time In Anatolia.”

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Pride’s Friday 5 (June 22, 2012)

The tangled red of “Brave”; the sensation of “Gerhard Richter Painting”; gentle geek fable “Nate & Margaret” and its light, platonic “Harold and Maude” vibe; the family dynamics of “Declaration of War” and the bop Italiano of Woody’s latest late-career ensemble comedy.

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Pride’s Friday 5: June 7, 2012

Three movies, in theaters now; two books, downloadable today. “Oslo, August 31”; “The Color Wheel”; “Moonrise Kingdom”; David Bordwell’s lucid, frightening overview of the digital bend-over, “Pandora’s Digital Box: Films, Files, and the Future of Movies”; and Paul Maher, Jr.’s oral history of the cryptic career of Terrence Malick, “One Big Soul.”

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Pride

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“I always thought that once I had lived in Chicago for a while, it would be interesting to do a portrait of the city – but to do it at a significant time. Figuring out when would be the ideal time to do that was the trick. So when this election came around, coupled with the Laquan McDonald trial, it seemed like the ideal time to do the story. Having lived in Chicagoland for thirty-five-plus years and done a number of films here, I’ve always been struck by the vibrancy of the city and its toughness. Its tenderness too. I’ve always been interested in the people at the center of all the stories. This is a different film in that regard, because we’re not following a couple of individuals over the course of the project in the way that a lot of the films I’ve done have, but I still feel like people’s voices and aspirations and hopes are at the center of this series.

It wasn’t easy. We started back in July 2018, it was actually on the Fourth of July – that was our first shoot. It’s like most documentaries in that the further you go along the more involved and obsessed you get, and you just start shooting more and more and more. We threw ourselves into this crazy year in Chicago. We got up every day and tried to figure out if we should be out shooting or not, and what it is we should shoot. We were trying to balance following this massive political story of the mayor’s race and these significant moments like the Laquan McDonald trial with taking the pulse of people in the city that we encounter along the way and getting a sense of their lives and what it means to live here. By election day, Zak Piper, our producer, had something like six cameras out in the field. You could double-check that, it might have been seven. We had this organized team effort to hit all the candidates as they were voting, if they hadn’t already voted. We hit tons of polling places, were at the Board of Elections and then were at the parties for the candidates that we had been able to follow closely. Then of course, we were trying to make sure we were at the parties of the candidates who made it to the runoff. So, yeah, it was kind of a monster.”
~ Steve James On City So Real

“I really want to see The Irishman. I’ve heard it’s big brother Martin Scorsese’s masterpiece. But I really can’t find the time. The promotion schedule is so tight, there’s no opportunity to see a three and a half-hour movie. But I really want to see it. In 2017, right before Okja’s New York premiere, I had the chance to go to Scorsese’s office, which is in the DGA building. There’s a lovely screening room there, too, with film prints that he’s collected. I talked to him for about an hour. There’s no movie he hasn’t seen, even Korean films. We talked about what he’s seen and his past work. It was a glorious day. I’ve loved his work since I was in college. Who doesn’t? Anyone involved with movies must feel the same way.”
~ Bong Joon-ho