By Ray Pride Pride@moviecitynews.com

Jane Birkin

“I think how wonderfully Serge got me over all my hang-ups about looking the way a girl should really,” Birkin says. “To have a man who said — after Brigitte Bardot, what’s more — ‘I love girls with no bosoms. It’s what I drew when I was at art school.’ ” And she helped him make the most of what he had as well. “I was the one who thought he looked better with the seven-o’clock shadow, because he used to have a very childish face,” she says. “He used to have those terrible inhibitions about it because he had to wait so long before shaving.” She preferred him without socks and underwear and bought him women’s jewelry “because he didn’t look like a hairy man.” Rather, he had “a gorgeous girl’s arm and not a hair on his chest, so he could have a piece of jewelry round his neck. He looked very refined.”
~ Jane Birkin

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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