By Ray Pride

Joachim Trier

“We are seeing a late phase of a master and I think that we should be generous and look at all these films he is releasing back to back as cinematic explorations. I think we are too concerned at the moment just about “Thumbs up” or “Thumbs down,” you know? Is it good? Is it bad? I think it’s much more interesting to look at the ambition and the moments of success that all his films have where you really feel that he’s trying to explore the possibilities for cinema to be both existentially potent but also visually explorative in terms of form. He’s trying to use the camera to be a philosopher. I’m tired of people putting down Terrence Malick because they want him to do what he did in his first few films. I watch his films with great admiration. I’m not a film critic, thank God, so I don’t have to decipher things up against each other, I can just be a human being watching another human being express themselves. Everyone is complaining that nobody is doing original cinema and then Terrence Malick is blowing the roof off in terms of trying to explore just how far you can push associative, voiceover-driven cinema without dramatic dialogue scenes in a way that nobody else has done. Whether you like it or not you have got to give him respect for the exploration of the possibilities of making movies, of what the language can be and I admire that tremendously. Who is else is doing that? Let’s root for the people that take risks, let’s root for the people that keep exploring and don’t abide by the rules of the dramaturgically constructed movies of the present moment.”
~ Joachim Trier

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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