By Ray Pride

Ruben Östlund

“It’s very important to have an understanding for what the characters are doing. If you have a character that you want to judge and say, “He’s doing the wrong thing,” “He’s stupid,” “He’s a psychopath,” or whatever, then it becomes less interesting. It’s much more interesting to have someone do something stupid or amoral out of pure candor or naïveté. Because then you have to reflect and look back on yourself.  I wanted to make a tragicomedy, or a comic tragedy, where at a certain point, you don’t know if you’re allowed to laugh anymore. It’s really nice when the viewers can’t be 100% sure where we take them. They have to accept that they don’t know, and we take them to unexpected places. Just like in real life, when you have something really comical happening, and there’s something really tragic attached to it. And when something really tragic has happened, there’s often something trivial and comic about it.”
~ Ruben Östlund

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“Would I like to see Wormwood in a theater on a big screen? You betcha. I’d be disingenuous to argue otherwise. But we’re all part of, like it or not, an industry, and what Netflix offers is an opportunity to do different kinds of films in different ways. Maybe part of what is being sacrificed is that they no longer go into theaters. If the choice is between not doing it at all and having it not go to theaters, it’s an easy choice to make.”
~ Errol Morris

“As these stories continue to break, in the weeks since women have said they were harassed and abused by Harvey Weinstein, which was not the birth of a movement but an easy and highly visible shorthand for decades of organizing against sexual harassment that preceded this moment, I hope to gain back my time, my work. Lately, though, I have noticed a drift in the discourse from violated rights to violated feelings: the swelled number of reporters on the beat, the burden on each woman’s story to concern a man “important” enough to report on, the detailed accounting of hotel robes and incriminating texts along with a careful description of what was grabbed, who exposed what, and how many times. What I remember most, from “my story” is how small the sex talk felt, almost dull. I did not feel hurt. I had no pain to confess in public. As more stories come out, I like to think that we would also believe a woman who said, for example, that the sight of the penis of the man who promised her work did not wound her, and that the loss she felt was not some loss of herself but of her time, energy, power.”
~ “The Unsexy Truth About Harassment,” by Melissa Gira Grant