By Ray Pride

Paul Thomas Anderson

“Some love stories work out, some don’t. I always like the feeling of, you know… Here’s looking at you, kid. I mean, that doesn’t work out, does it? I can have that feeling sometimes of real joy in sadness. Or that kind of joy that you get from a sad song that’s got you crying your eyes out, that’s just making you feel so deeply. It just kind of overcomes you with—whether it’s melancholy, or just sadness, and it allows you to kind of open the floodgates and to sit in that for three or four minutes in the song. That can be so great. It’s just as therapeutic as hearing an up-tempo dance number that makes you want to jump around the house. I mean, those things can have the same effect. And sometimes it’s nice. I think I’ve always been a sucker for those kinds of things.”
~ Paul Thomas Anderson

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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