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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“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

To me, Hunter S. Thompson was a hero. His early books were great, but in many ways, his life and career post–Fear and Loathing on the Campaign Trail is a cautionary tale for authors. People expected him to be high and drunk all the time and play that persona, and he stuck with that to the end, and I don’t think it was good for him. I always sort of feel mixed emotions when I hear that people went and hung out with Hunter and how great it was to get high with Hunter. The fact is the guy was having difficulty doing any sustained writing at all for years probably because so many quote, unquote, “friends” wanted to get high with him … There was a badly disappointed romantic there. I mean, that great line, “This is where the wave broke, the tide rolled back … ” This was a guy that was hurt and disappointed and very bitter about things, and it made his writing beautiful, and also with that came a lot of pain.
~ Anthony Bourdain