By Ray Pride Pride@moviecitynews.com

Wyatt Mason With The Decent Magazine Profile Lede Of The Day

“On a summery afternoon in late September, I arranged to meet Adam Driver near his home in Brooklyn Heights. He beat me to the restaurant and, for a second or two, as I stood on the sidewalk looking through the large plate-glass windows, I gawked at him unobserved. He was sitting alone in full sun at a table by the window facing out, a thirty-four-year-old guy in a plain dark T-shirt with a bright flop of black hair, a conversation-piece nose, and deep-red, complicated lips, his features scattered across a big and—perhaps because of the openness of its acreage—friendly-seeming face. Unselfconscious in this New York storefront, Driver was looking at his phone as if Disney’s marketing millions had somehow failed in their mission to transform him into one of the most recognizable faces in the world.”
~ Wyatt Mason With The Decent Magazine Profile Lede Of The Day

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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