By Ray Pride Pride@moviecitynews.com

Emily Watson

“My first film was Breaking the Waves, aged 29, so I went into the film business with a bit of clout. People didn’t mess with me. I wasn’t ever as vulnerable as a novice teenage actress might be – or maybe I just have that vibe. Fierce, I think it’s called. Although you shouldn’t have to be fierce to be safe in your workplace… I was never treated with anything other than respect. I can’t speak for others, though. It’s incredibly brave of people to come forward. But there’s a massive range of allegations, from the clearly criminal to much milder. We can’t put everyone in the same bracket. People still have a right to presumption of innocence and due process. It’s become a rolling media storm but it would be disrespectful to the women who have been brave enough to come forward if it wasn’t treated with the seriousness it deserves.”
~ Emily Watson

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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