By Ray Pride Pride@moviecitynews.com

Alfonso Cuarón

“The theatrical experience has become so gentrified. There’s this whole opening weekend madness, and I think that it’s a problem that, while the business model has been sound, it hasn’t necessarily been something that’s healthy for cinema. Because then they make the argument, “Oh yes, but the more audiences that come to the cinema, the more healthy your industry.” That’s true, but what, then, is the cinema you’re offering?

“When all of this started happening with the paradigms shifting, each side had to cement their narrative, and they propagated that narrative. There’s going to be a dominant narrative, and that’s the one that everybody was following. Then, when another narrative starts to come up, there’s a conflict there. Many times I’ve said, “Well, that should be in the Wall Street Journal in the business section, not in the film section.” The business has completely overshadowed the whole thing.

“It’s a cause and effect, because then you have studios wanting to conform to that, rather than do something more diverse. What I find interesting now, and I think it has to do with uncertainty about paradigms—the whole thing about platforms versus theatrical and all that stuff—is that you have people in both camps trying to fly the flag of defending cinema. The discussion has nothing to do with cinema; those are economic models. They shouldn’t even touch cinema with their discussions.”
~ Alfonso Cuarón

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“With any character, the way I think about it is, you have the role on the page, you have the vision of the director and you have your life experience… I thought it was one of the foundations of the role for John Wick. I love his grief. For the character and in life, it’s about the love of the person you’re grieving for, and any time you can keep company with that fire, it is warm. I absolutely relate to that, and I don’t think you ever work through it. Grief and loss, those are things that don’t ever go away. They stay with you.”
~ Keanu Reeves

“I was checking through stuff the other day for technical reasons. I came across The Duellists on Netflix and I was absolutely stunned to see that it was exquisitely graded. So, while I rarely look up my old stuff, I stopped to give it ten minutes. Bugger me, I was there for two hours. I was really fucking pleased with what it was and how the engine still worked within the equation and that engine was the insanity and stupidity of war. War between two men, in that case, who fight on thought they both eventually can’t remember the reason why. It was great, yeah. The great thing about these platforms now is that, one way or another, they’ll seek out and then put out the best possible form and the long form. Frequently, films get cut down because of that curse in which the studio felt or feels that they have to preview. And there’s nothing worse than a preview to diminish the original intent.Oh, yeah, how about every fucking time? And I’ve stewed about films later even more because when you tell the same joke 20 times the joke’s no longer funny. When you tell a bad joke once or twice? It’s fine. But come on, now. Here’s the key on the way I feel when I approach the movie: I try to keep myself as withdrawn from the project as possible once I’ve filmed it. And – this is all key on this – then getting a really excellent editor so I never have to sit in on editing. What happens if you sit in is you become stale and every passage or joke, metaphorically speaking, gets more and more tired. You start cutting it all back because of fatigue. So what you have to do is keep your distance and therefore, in a funny kind of way, you, as the director, should be the preview and that’s it.”
~ Sir Ridley Scott