By Ray Pride Pride@moviecitynews.com

Jeff Wood

“‘Twin Peaks: The Return’ is a synthesis, if not the apotheosis, of all of Lynch’s periods as an artist, and the glass box, as its opening puzzle-piece, is something of a sigil for the notion of that retrospective, or archive, and the collective potency it might wield if it were distilled into one archival object. It also vividly recalls the production design of Lost Highway, itself a reiteration of his earliest work, with its deeply encoded, deeply interior spaces-by-design; and quite possibly as though the signature sound of interstitial spaces on the Lynchian end of the bandwidth might originate here, in this very box. The physicality of the box is palpable, and renders the cinematic space alive, imbued with a dimension beyond the theatrical artifice. It’s also deeply effective, causing the viewer to crane forward and wonder at the edge of our seat: ‘What the hell is it!?'”
~ Jeff Wood

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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