By Ray Pride Pride@moviecitynews.com

Paul Verhoeven

“What comes out of making a movie can have more depth in retrospect than you really thought while you were doing it. There are, of course, elements in your brain that do these things while you’re not aware of it. You can read all these things into it afterwards, but it’s good that you’re not thinking about them while you’re doing it, otherwise you’re going to preach. Intrinsically it’s a commentary on American society, where everyone has a gun, but while we were making it, we weren’t thinking of it as a critical study of the United States, we were just laughing at our ideas. We don’t know if it’s Trump’s America. We hope it’s not. You couldn’t get a green-light on that movie today, certainly the way we made it. If you took all that stuff out, like they did with the remakes of RoboCop and Total Recall, you’d be taking out all the ambiguity, satire and irony. Straight, that’s what they want now. They think audiences are so stupid that they can’t handle another layer.”
~ Paul Verhoeven

 

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“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

To me, Hunter S. Thompson was a hero. His early books were great, but in many ways, his life and career post–Fear and Loathing on the Campaign Trail is a cautionary tale for authors. People expected him to be high and drunk all the time and play that persona, and he stuck with that to the end, and I don’t think it was good for him. I always sort of feel mixed emotions when I hear that people went and hung out with Hunter and how great it was to get high with Hunter. The fact is the guy was having difficulty doing any sustained writing at all for years probably because so many quote, unquote, “friends” wanted to get high with him … There was a badly disappointed romantic there. I mean, that great line, “This is where the wave broke, the tide rolled back … ” This was a guy that was hurt and disappointed and very bitter about things, and it made his writing beautiful, and also with that came a lot of pain.
~ Anthony Bourdain