By Ray Pride Pride@moviecitynews.com

Alex Ross Perry

“I was in Los Angeles last October and somebody asked me if I knew about ‘this new theater in New York.’ They were talking about Metrograph, and I replied that I am there several times a week. “What kind of movies do they play?” I was asked. “Movies you want to see and movies you don’t yet know you want to see,” was my answer. Filmgoing is, like anything worthwhile and culturally enriching, perpetually threatened by whatever new noise comes along to drown it out. It’s not lost on me that the first things I saw at Metrograph were a handful of Frederick Wiseman films followed by a weekend of kung fu. What joy it was to familiarize myself with a new theater by rewatching documentary masterpieces I hadn’t seen for years, followed by Sammo Hung. Going to the movies, for a brief time before I righted my mind, felt like homework. This is the essence of cinephelia and I believe it is a dead end: one that will fail to inspire all but the most radical young movie lovers to devote their lives to watching, considering, writing about or making movies. Sadly, ‘movie lover’ or ‘film buff’ are pathetically dumb sounding terms, so those like me are left without demarcation.”
~ Alex Ross Perry

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“We’ve talked about this before in the past, my obsession with the Shakespearean histories having the ideal combination of the sweet and the sour. In ‘Henry IV, Part II’ which we’ve discussed before, in the end of that story it’s very complex and haunting because Prince Hal becomes Henry the King, and he has transcended his hoodlum days and at the ceremony is Falstaff, his good friend with whom he has really fucked around and been a loser with, and Falstaff comes up to him and says, ‘Now that you’re king we can really party,’ and the king famously says, ‘I know thee not, old man.’ It becomes Henry IV’s anointment and Falstaff’s catastrophe. That’s life. I have experienced very little unfettered triumph. There are moments, such as when my children are born, but even that comes with new fears and anxieties. In a sense the better you can communicate that life is both at once, the more powerful over time something becomes. One strives for something where the threads are there because it lasts in way that is very palpable. The idea of a tragedy is powerful in literature and theater, but in cinema it doesn’t work, certainly not commercially, and less so critically. Why is that? I think it has to do with how movies are so close to us.”
~ James Gray

 

“Hollywood executives can rattle off the rules for getting a movie approved by Chinese censors: no sex (too unseemly); no ghosts (too spiritual). Among 10 prohibited plot elements are “disrupts the social order” and “jeopardizes social morality.” Time travel is frowned upon because of its premise that individuals can change history. U.S. filmmakers sometimes anticipate Chinese censors and alter movies before their release. The Oscar-winning alien-invasion drama “Arrival” was edited to make a Chinese general appear less antagonistic before the film’s debut in China this year. For “Passengers,” the space adventure starring Chris Pratt and Jennifer Lawrence, a scene showing Mr. Pratt’s bare backside was removed, and a scene of Mr. Pratt chatting in Mandarin with a robot bartender was added.”
~ “Hollywood’s New Script”