By Ray Pride

Alexander Chee

“It’s hard for me to remember when I didn’t know Kevin Spacey was gay, or at least hadn’t heard that he had sex with men. When he came out after Rapp’s accusation, it was a repellent act that made a mockery of the coming-out process itself, as well as of the accusation and Rapp’s own hard work, having been out for years while Spacey was hiding in plain sight. Spacey’s sexuality was an open secret, or barely even that, within the networks of gay men I know and have known in more or less every gay capital, as he was also a regular at gay bars in said gay capitals. He once hit on the boyfriend of a friend of mine at a gay bar in Los Angeles, and my friend confronted him, asking if he was gay. Spacey said, ‘Just because you scuba dive, doesn’t make you a scuba diver.’ It’s such a juvenile, patently conniving thing to say, that I can imagine Spacey coming up with it around the age Rapp was when he says Spacey assaulted him.”
~ Alexander Chee

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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