By Ray Pride Pride@moviecitynews.com

Joseph McBride

“I was fortunate to spend a lot of time with Jean Arthur in the 1980s at her home in Carmel, thanks to an introduction by Frank Capra. I was one of only a handful of people she would see in her later years, and we had a lot of fun talking. Life magazine once wrote that she was so reclusive she made Garbo look like a party girl. She told me some revealing things, such as when I asked why she left Hollywood. She said that when she was under contract to Columbia in 1945, the female stars’ dressing rooms were in a row, with a dark hallway connecting them. There was a secret entrance, and studio chief Harry Cohn would come in there and attack the actresses. Jean decided to kill Harry Cohn. She thought she could shoot him in the hallway and get away with it. But she told me that instead she walked the backlot for three hours and decided to quit the business instead. She left Columbia for the theater and made only two more films, A Foreign Affair for Billy Wilder and Shane for George Stevens, plus her short-lived TV series. Sexual harassment and assault in Hollywood did not begin with Harvey Weinstein; it’s always been an odious part of the movie business.”
~ Joseph McBride

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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