By Ray Pride Pride@moviecitynews.com

Jonathan Rosenbaum

“What does being a film critic mean? It means in my case having a forum to write about things that matter a great deal to me, including film—though by no means restricted to that topic. I hope to reach other people who care passionately about the same things, and what I hope to commu­nicate above all is the passion and interest that we share. We don’t have to agree. “I like to think of myself as an airplane, not an airport,” Jean-Luc Godard once said to me in an interview, and I feel the same way. In other words, I’d be happy in some cases if readers use me to travel somewhere—somewhere specified by them and not by me—and then get off, rather than just regard me and what I have to say as the final destination. Dialogue adds up to more than monologue—at least if it includes multiple viewpoints rather than simple assent. It’s also true, of course, that in my criticism I’m often proselytizing on behalf of certain films and filmmakers, which means that I hope some things will be more widely seen. But that doesn’t mean that I always learn the most from the critics I agree with, or that I necessarily expect readers to take what I say without a discussion or an argument. As Manny Farber has suggested, evaluations often turn out to be the least important aspects of criticism, and I’m particularly fascinated by those moments in his own writing when you can’t even tell whether he’s ridiculing or celebrating something. By and large, I’m most in favor of whatever takes film out of the realm of business, since just about everything in our life and culture seems bent on placing it exclusively in those terms, which I generally find both limited and monotonous. I realize it’s important for business people to keep up with film as a business, but why anyone else should care how much money someone else makes is a total mystery to me. There’s so much else to think and write about, although sometimes it becomes necessary to discuss cer­tain aspects of business that get in the way of criticism.”
~ Jonathan Rosenbaum

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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