By Ray Pride Pride@moviecitynews.com

Christina Kallas

“Kate Millet suggests that by changing our storytelling we could change our consciousness and, in doing so, change our reality. But what does that mean, when applied to film? I have long subscribed to the idea that Ancient Greek dramas were so very important, because they were serving as emotional education — what some scholars call the poets’ solution to the riddle of civilization. Might we be in dire need of a new poets’ solution? It would be worth it to add that Aristotle did not see drama as superficial entertainment in the sense of escapism, distraction or diversion. He speaks of the double-goal of entertainment and awareness. Drama should not only increase enjoyment, he says, but also enrich experience and knowledge. This presupposes stories that challenge and interest the audience, that shake up our everyday life; that broaden the spectrum of our experience since they intrinsically represent an experience themselves.”
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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