By Ray Pride Pride@moviecitynews.com

Joe Carnahan On Eli Roth’s Death Wish

“It’s being shot right now, they’re off shooting a version of that script with Bruce Willis, I think in Montreal, maybe Chicago? I’m not sure. It’s, you know, if you don’t have something nice to say, you probably shouldn’t say it. I got a glimpse of that script, that was reported to be kind of a re-engineering of my script, and I would be less than hospitable if I commented on that. And whatever, I think they’re gonna get exactly what they want, and that wasn’t what I was interested in doing, and bully to them for sticking their guns, and I’m content to stick to mine, and that script will live to fight another day. That’s what I’m gonna look forward to, because it’s so radically different from what I did that I’m confident I can rework that into something just as good as it is on the page. It’s really a great script, man… I think I’ll wait a few years and explore that, because I believe that it’s, in terms of that genre and revenge vigilante, I just thought it was so cool. And it’s set in a completely different place. A big part of mine was where it was set, which is L.A. It wasn’t cold weather, it wasn’t a Chicago or New York film, it was an L.A. film, and it was much more of a Michael Mann kind of world, Collateral kind of world, than it was the original Bronson. And I think they’re going back to something that hews more closely to that, which is fine, but I’ll be interested to see what it does and what the reception is.”
~ Joe Carnahan On Eli Roth’s Death Wish

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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