By Ray Pride

Chris Doyle

Filmmaker: You created a signature style. People recognize a Chris Doyle frame almost instantly.
Doyle: Isn’t it weird? I don’t know why, because I never studied film. Why do you think that is? I can’t judge. Hopefully it’s integrity — again, without patting myself on the back. Hopefully it’s because it comes from the heart. I come from literature, actually. I love books. I read more often than I ever go to the cinema. So I think that perhaps the idea of ideas, words transformed into images, the idea given light, the beauty of a woman reflected in the surface of water — all those things are ephemeral, but those moments are what cinema is about. It’s about moving images. It’s called “movies.” And I really believe we should be making moving images. Moving images means people have space to move. The way in which we respond or like them or share this moment with them is moving, so it’s a pun.
~ Chris Doyle

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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