By Ray Pride Pride@moviecitynews.com

David Lowery On Music

“Daniel Hart, who’s written the score to all of my films, has a band called Dark Rooms. And while we were doing the score for ‘Pete’s Dragon,’ he was also beginning to record songs for his next record with his band. He played that song for me one morning and I just became obsessed with it. I couldn’t stop listening to it; I was just driving around LA listening to it constantly, and it was right in early days of developing the project. The script existed, but we were just starting to put the pieces together, and I went into the script and just wrote the song into the script. It became the emotional centerpiece of the movie. It felt exactly the way I want the movie to feel.

“There’s sort of a hopeless longing to his vocals in this song. It’s very, very sad, and we feel this sense of desperately reaching out for something you can’t quite grab. Those emotions are what this movie was all about. I felt that he had already accomplished what I wanted to do with this movie with that song, and the best thing I could do was to just, you know, borrow it, and let the song lend those qualities to the movie at key moments.There’s a lot going on there. It’s as rich and as beautiful and transportive as any film I could ever hope to make. Once we had that song in there, Daniel knew that the score would be incredibly vital. He felt that the rest of the score should play upon that song. So every piece of score begins with an element from that song. Whether it’s a little piece of the strings, or a little bit of the vocals, every piece of the score is based on that song. And from there it goes off into completely different directions.”
~ David Lowery On Music

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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