By Ray Pride Pride@moviecitynews.com

Jason Bailey

“Bigelow has spent much of her career making movies about men, about their interactions, transactions, and bravado, and it’s hard to think of another director who could better capture the tension of escalating, toxic masculinity. Considering her preoccupations and Boal’s attention to historical detail, it’s dispiriting that a strain of criticism has appeared insisting that, as a white woman, it wasn’t Bigelow’s place to direct this film, or that it was made “by white creatives who do not understand the weight of the images they hone in on with an unflinching gaze.” Putting aside the troubling bad faith assumed by such a charge, it’s worth wrestling with whether white filmmakers are to tell stories rooted in the history and struggles of people of color. There should be more African-American filmmakers with resources to tell stories like these; inclusion behind the camera should be the ultimate goal. But does that mean there’s a moratorium on those stories in the meantime? Would it be better for this tragedy to go untold than for it to be dramatized by a gifted director? Is she permitted only to tell stories about white people – and thus, put even more of them into a cultural marketplace that’s already saturated?  That’s everyone’s own call to make. If Detroit had been made by a person of color, it might have been a better film; it might not’ve. It would’ve certainly been a different film.”
~ Jason Bailey

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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