Interviews Archive for January, 2011

“The Film That Changed My Life”: Richard Kelly On Brazil

Robert K. Elder’s latest book, “The Film that Changed My Life,” came together as he met filmmakers as part of his regular writing assignments, and then got them to expand on one film that changed their lives, and what form that “change” took. Among the thirty equally appealing conversations, Kevin Smith talks Slacker; Danny Boyle,…

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The Gronvall Files: Good Company: A Conversation with The Company Men Director John Wells

As this year’s Sundance Film Festival unfolds, one of the films that made a splash there a year ago, The Company Men, John Wells’s feature directorial debut, is gathering steam in its commercial rollout. The acclaimed writer-producer behind TV hits like ER and The West Wing, as well as Southland (which found a new home…

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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