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sieclesetcieux · 3 years

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On Saint-Just’s Personality: An Introduction

Saint-Just’s personality is deeply misunderstood.

Saint-Just was a very secretive person, and guarded his personality behind walls. It might come off as surprising, considering how he’s usually depicted, but he actually was very introverted and reserved at the Convention, at the Committee of Public Safety, and during his missions in Alsace and in the North.

He was also a very sensitive person. He didn’t take slights easily (neither did Robespierre). But unlike Robespierre, he was also extremely young and wanted to be taken seriously. He was building off from nothing. So he built his own “myth”: the man (re)born with the Revolution. He made his youth his advantage: he hadn’t been as corrupted as the others by the old ways. This is something that was used by other revolutionaries, for example Marc-Antoine Jullien, who was 19 years old in 1794. They would say their youth made them closer to “nature” – that is, the natural, uncorrupted state of humanity as defined by Enlightenment philosophy.

The Saint-Just people think they know via novels and movies doesn’t really exist. I can’t think of any fictional representation that accurately portrays him. How people think of Saint-Just is basically several different “fanon” interpretations, some built by his enemies, some built by people who did appreciate him but didn’t quite understand him – which didn’t help much in the end.

This is important to point out because in the end these are the sources we have to learn who Saint-Just was as a person:

What those who knew him wrote about him (sometimes writing many decades later, which naturally impacts memory)

The little insight we can gleam from the few personal notes he left here and there in notebooks (and an unsent letter) that were never meant to be read by anyone

I know this seems obvious, but people often forget that historical figures are not fictional characters. They were real, living, breathing, human beings. They were people, and people have flaws and contradictions. People don’t necessarily remain the same at 20 years old, at 25, at 30 and so forth. People change.

The Saint-Just who writes Organt before the Revolution isn’t the Saint-Just who writes L’Esprit de la Révolution et de la Constitution de France in 1790 and isn’t the Saint-Just who gets elected deputy to the Convention in 1792. The Saint-Just who writes an unsent letter to Villain d’Aubigny (usually dated of July 20 1792, though it’s a topic of debate) is a Saint-Just no one was supposed to see. Same with most of his personal notes they built the Fragments des Institutions républicaines with.

Most importantly of all, a person will appear different to different people in different contexts. It’s a matter of perspective.

If you only take Desmoulins’ and Hilary Mantel’s and Tanith Lee’s perspectives on Saint-Just, well, I’m sorry to say, that’s not Saint-Just. That’s a perspective of Saint-Just.

Moreover, Saint-Just has many faces, many images, many legends, some of which he created himself while he was alive.

Victor Hugo was influenced by the Romantic Historians of the French Revolution, Michelet and Lamartine specifically, and their descriptions of Saint-Just to create Enjolras.

This is how you can find this connection making it even through novels that don’t like Saint-Just very much:

“He has a mind of fire and a heart of ice.”

- Bertrand Barère on Louis-Antoine Saint-Just

“It is a thing unheard of that a man should be as cold as ice and as bold as fire.”

- Bossuet on Enjolras, in Victor Hugo, Les Misérables

“...Camille felt an instant aversion, as to the touch of ice, which is what the young man most resembled. Chiseled from an ice floe.”

- Camille on Saint-Just, in Tanith Lee, The Gods Are Thirsty

Thus, even traces of this Saint-Just lives on in Tanith Lee's book.

Main testimonies

Most of them are here, in French, and some have been translated. If not, I will work on it. I will repost them on this tumblr as well, along with additional information about their author, their reliability, their personal biases, etc.

Sources by Saint-Just’s hand

While some revolutionaries have enough correspondence to fill entire volumes, Saint-Just comparatively left few letters behind. We do have one letter that gives incredible insight into his state of mind, but it’s important to remember this letter was never meant to be read by anyone. It was an unsent letter, found in his things after Thermidor, and then made public against his wishes, much like most of his personal notes. It is, however, an amazing letter nevertheless, but it’s important to keep this context in mind: he did not want you to see him like this.

Secondly, we have a lot of decrees he wrote during his missions. Though most don’t say very much, they do give clues on his personality, on his attitude, on his perspective. In some cases, he would write a quick postscript to a letter written by Le Bas and addressed to Maximilien Robespierre. Interestingly, while Le Bas would use the “vous” with Robespierre, and admitted to his wife Élisabeth he felt closer to Augustin than to Maximilien, Saint-Just always uses the “tu”. This isn’t just a matter of revolutionary zeal – the whole “vous vs tu” question during the Revolution is another, much more complicated story.

Finally, we have personal notes scattered through the manuscript that became known as the Fragments des Institutions républicaines. It’s a strange document to study and refer to. There is, indeed, a project he was working on concerning the Republican Institutions. There are at least two drafts. But the document has other things has well: from notes he later used in speeches (you can pinpoint the similarities) to a very short fictional romance between a man and a woman that’s hard to interpret.

The document known as the Fragments des Institutions républicaines was made from random papers found on him when he was arrested, taken from his apartment, and in a notebook that Barère kept. Pages are missing. Some pages are obviously torn. This is the one place where he confided some of his deepest thoughts, which reveal a great deal of insight on the Revolution and on his role, as well as his mental state. It was written in the last months of his life, when he could feel what was coming.

Saint-Just wrote fiction: yes, there’s the much maligned, very misunderstood Organt. In the same period, which is shortly before the Revolution, he also wrote a play called Arlequin Diogène, a short story called La Raison à la Morne, and a very short epigram of 8 verses, Épigramme sur le comédien Dubois qui a joué dans Pierre le Cruel.

Most of these must be treated as any work of fiction regarding their author: separating fiction from the author is complicated. Is he referencing his own life? Is he even aware that he is? The context of their redaction, however, gives a lot of information and some insight on himself. One of these texts is extremely interesting in order to study his personality. It’s a sort of foreword to Organt titled Dialogue entre M... D... et l’auteur du poëme d’Organt. The format almost resembles that of an interview. This is important as this is Saint-Just the Author, as he wants to be seen. The style is trenchant, concise, straight-to-the-point. Here Saint-Just the Author of 1789 meets Saint-Just the Representative of Year II.

(This post in an introduction to a series of several posts in the process of being written. Please be patient. If you want to know more, feel free to send me questions though! I’ll try to answer as well as I can.)

#saint-just #saint just #antoine saint-just #antoine saint just #jean pierre gross #bernard vinot #marie christine bacquès #testimonials and commentaries #references #saint-just the author #saint-just the revolutionary #saint-just the representative on mission #saint-just the deputy

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thewhiterabbit42 · 7 years

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Ground Rules

Part 4 of Home for the Holidays (Masterlist)

Summary: You finally arrive at your destination where you find the accommodations aren’t quite what you expected.

Pairings: (eventual) Gabriel x Reader

Warnings/tags: Human Gabriel, slow burn, bed sharing, implied PTSD

Word Count: 2180

Author’s Note: BRING ON THE TROPES. Also, my muse is really digging the slow burn.

Special thanks to my wonderful beta @sumara62 for all her help and support <3

***Please do not repost or copy my work to any other site without my written permission. Giving credit does NOT count. Reblogging is ok.***

<<Previous Chapter Ground Rules Next Chapter>>

Gabriel had fallen asleep again, which was honestly for the best. Your trip had taken longer than anticipated once you got into the heart of the country. Winding, one-lane roads replaced interstates and highways, making it tough to make good time when you became stuck behind slower cars.

The route itself became more scenic. The only things you passed anymore were lakes, rivers, trees, and the occasional small town that broke up the stretches of untouched countryside. Maybe Gabriel would have enjoyed the landscapes, but you had a feeling the monotony would have only made him crawl out of his skin.

You had just passed through the last little pocket of humanity left on your drive when he began to stir. He ran a hand over his face, his fingers continuing up through his hair. It took some time for gold to shake its glassy look as he scanned the surrounding area. You wondered if he was going to be one of those slow to wake individuals who needed to ease into their day.

After a few minutes he cleared his throat, his voice a little scratchy. “Anyone else, and I’d be worried about why we’re headed this far into the woods.”

He didn’t quite sound like he was joking.

“I have plenty of places to hide bodies that are much closer to Kansas,” you assured him, trying to keep things light. He let out a soft snort but left things there, drawn in once more by his thoughts or the scenery. You weren’t sure which anymore.

It took another fifteen minutes before your turn came into view, and you were glad to see the gates had been left open. You had debated whether or not to come in through the back, but over the river and through the woods seemed the best way to arrive without drawing attention. Your current plates were from Arkansas, an unusual state to be visiting up this far. You hoped your friends still kept an extra set of local plates stashed in their barn to help you blend in.

You eased your way onto the long, sloping driveway, taking your time to scout what you could see of the grounds on your way up. When you crested the hill, the treeline broke and the inn came into view. It looked so different from the last time you were there. You were used to thick woods, lush lawn, green as far as the eye could see.

Everything had become faded, muted now that autumn’s colorful song had passed, leaving only brittleness and bare branches behind. A number of tall pines was the only spark of color along with the bright white siding of the structure itself, and you imagined it must be quite the sight to behold in the fall when the leaves turned.

The snow would come, however, and change the barren view before you. There was that dry, winter nip in the air that promised soon. A series of aches flared throughout your body, and you weren’t certain if it was due to just the thought of a winter storm, the result of your long drive, or if it was another set of memories unlocking beneath your skin.

Nothing good had ever brought you here, yet you felt a sense of calm as you neared the building. You had spent more time in this place than any other over the last several years. It might have been as close to home as you came.

“We’re staying here?” Gabriel asked, wide eyes painting his words with disbelief as he stared up at the structure.

You could only imagine what he expected considering hunting didn’t really go hand in hand with having any tangible resources. He’d probably envisioned some run down, oversized house that tried to pass as habitable.

Red and Roxy weren’t your average hunters, however, and, in Gabriel’s defense, this place was more impressive than your standard inn. The architecture was a mixture of a few traditional New England styles with modern additions, and the building itself was a combination of a three-floored original structure and a two story addition that had been added along the side in a way that made the structure appear to wrap around itself.

The guest rooms were located in the original half, with each room having its own window. The newer wing was where your friends lived, having renovated it from storage into an apartment so they could live on site. They also added a wraparound porch that ran along the front entrance facing the east, making it a prime spot to spend the morning. You could see a few of the chairs still remained, though most had been removed in anticipation of the colder weather.

“Well, I’m staying here,” you teased, inclining your head up at the large, red building you began to pass. “You’re welcome to sleep in the barn, if you’d like.”

He had no other comments after that.

You parked your car along along the back entryway, content that this side of the property kept your presence shielded from either entrance to the property. The inside was far different than the exterior. Quiet, dark, and eerie, it looked more like a potential case. It didn’t help that your friends were in the midst of some construction.

Clean, plastic sheeting hung down across walls and overlaid every doorway you passed. Most of the furniture had been covered with sheets and the floors removed, leaving thick boards of plywood as the only thing that stood between you and the basement. You noted that the kitchen, thankfully, appeared fully functional as you passed through the hallway that connected to the main entrance.

You didn’t bother switching on the lights until you reached the front foyer, dispelling the gloomy atmosphere. The large open area was welcoming, adorned with bright colored wood that gave the room a cozy, rustic feel. The front desk sat off to the side, bare, save for a white envelope with your name across it. The fact that the script was neat and legible suggested Roxy was the one who had left it.

You picked it up, noting the unusual heaviness to it before you opened the flap. Inside was an antique key and a note written in the same handwriting.

Sorry about how the place looks - we finally got around to renovating, but needed to take care of a few things before we could finish. We managed to get one of the rooms completed after you called. Here’s the key. We should be back within a week.

Your brows drew together. Your friends had no family left (or at least in Red’s case, none that he’d consider family anymore), and since purchasing the inn they made it a point to stay local. What kind of business could they have that would pull them away for that long?

Help yourself to whatever you need (if you can find it - and if you do, please put it back some place that makes sense since Red’s idea of organization translates to finding the first available place to stash something).

Your lips pulled up, imagining your friend’s frustration at her other half’s less than stellar ability to keep track of anything that wasn’t anti-angel or barbecue sauce.

Oh and just one more thing - I haven’t gotten a chance to discuss that thing we talked about.

You frowned. You didn’t remember any thing, unless...

You know… the large, feathered elephant in the room.

You knew it. You knew the moment Red wasn’t there to greet you with a stern nod and Gabriel with a shotgun that she had lost nerve to tell him his mortal enemy would be living under his roof.

You sighed. What the hell were you supposed to do now?

One cluster at a time.

You were getting awfully tired of telling yourself that.

We’ll figure it out though, Roxy finished. We always do.

Sure you guys did. Usually after certain words were exchanged, and sometimes certain bullets.

“Something wrong?” Gabriel asked, his body moving closely behind yours as he peered over your shoulder. Your instincts flailed as snippets of sensation exploded across your system and--

--white sterile tile, unforgiving fingers digging tight into your skin, your entire body burning, from the harsh antiseptic smell in your nose, to the tears in your eyes, to the heavy rage and betrayal searing through your veins--

--you let out a yelp, clutching the paper to your chest as you spun around. Hearing his voice was the only thing that kept you from attacking. Mostly. You hit him soundly in the chest, your panic quickly morphing into anger.

“Yeesh, someone’s jumpy these days.” The look he gave you contradicted the flippant remark, helping to dampen some of your ire.

“Of course I’m jumpy, I’m a hunter” you reminded him, hoping to ease some of the worry on his face. “A very sleep deprived one.”

“Shall we fix that?” He asked. “Because my next suggestion would be to disarm you if you have other plans.”

You couldn’t tell if he was joking or not. He still looked more serious than anything, but his words began to shake off some of their stiffness.

“Rule number one: always stay armed,” you instructed. The only reason you were still alive was because you made sure you had your main weapon, a backup, and a backup for your backup if possible.

“Hate to break it to you, sweets, but that rule’s been broken from the start,” he replied.

You blinked once. Twice. Once more for good measure. Because it was sure as hell better than unleashing the fury that flowed into your veins. “They didn’t give you anything?”

“They didn’t even trust me with the toaster,” he said with a bitter smile.

Just when you thought your opinion of the Winchesters couldn’t get any worse.

You clenched your jaw, hard, probably ensuring that some lucky dentist would be putting their kid through college in the near future. You reached across your body, unclipping the gun from your side before offering it to him. “Every other bullet in this is a devil’s trap. You can have it until we get you your own.”

He looked impressed for a moment as he took it from you, testing the weight in his hand before his eyes flicked back up to you. “What about you?”

You lifted the other side of your shirt to reveal a second weapon.

“Can’t be too careful these days,” you explained, shifting slightly as that intense look overtook his gaze again. You brushed past him, eager to escape his scrutiny. “Come on. Let’s go find our room.”

“Wait - room?” He echoed after a few moments. You pulled the key out of the envelop and held it up over your head, his footsteps hastily shuffling in your direction. You braced yourself, waiting for him to make some comment, but he didn’t say another word.

You would have preferred it if he did. You knew how to handle his jokes; the silence, however, was harder to navigate, especially when there seemed to be so much of it.

Thankfully your room was one of the first on the second floor, leaving only the short ascent up the main staircase before you found yourself at your door. You slid the key into the lock, giving it a firm turn before pushing your way in. What you walked into had your eyes growing wide.

The design was a combination of intricate masonry and warm wooden tones. Unlike the rest of the house, the hardwood flooring was intact, recently replaced but still retaining a rustic, worn look to it. To the right lay a fireplace and mantel, built from stone and laid into the wall with a small outcropping in front of it, where the spare wood and tools for the fire were stored.

Both remaining walls had windows, and you realized this was the room that sat in the front corner of the house, giving you the best view of the sunrise and surrounding area. The incredible scene became lost on you, however, as your eyes remained riveted on the furniture… or lack thereof.

A solitary bed adorned the space, looking out of place with its antique headboard stained several shades darker than the floor and decadent throw pillows and comforter. You would bet the sheets were just as lavish, and you almost dropped your face into your palm. What were you supposed to do now? There was no way you were going to make him sleep on the floor and your body was in no condition to try and brave it.

“You know, if you wanted to snuggle, all you had to do was ask,” Gabriel teased, doing his best to give you space as he peered in around the opposite side of the doorframe. This time there was something beneath his tone, breathing life back into his words and features as he gave you the tiniest smirk.

“Rule number two:,” you announced, suddenly finding the need to re-prioritize your guidelines. “Keep your hands to yourself…”

Next Chapter>>

ALL the tags:

@girl-next-door-writes @sumara62 @fand0maniac @feelmyroarrrr @omgreganlove @jannalionheart @baritonechick, @deaths-maiden @lucifer-in-leather @stone-met @blondecoffeecake @raspberrypuddle @ourloveisforthelovely @the-moose-of-baskerville @deanxfuckingadorablexwinchester @crowley-you-sinnamon-roll @tistai @christinalibertymikaelson @room-with-a-cat @authoressskr @revwinchester @flufy07 @greieba

Gabe Squad:

@theblackenedsky @bloodstained-porcelain-doll @pepperwoodatnight @lacqueluster @samikitten @a-vast-african-plain @onlyanothersocialcasualty @kazosa @carryon-wayward-winchester @nobodys-baby-now @dlb1999 @ludwigs-a-monster

Home for the Holidays: @unleashthemidnight @archangelgabriellives @4evergeek @schizonephilim @winchestergirl-13 @keepingcalmisoverratedgoddamnit

#Gabriel x reader #Gabriel fluff #gabriel series #fluff #bed sharing #human gabriel #home for the holidays #rabbit writes

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joshhutchsource · 7 years

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Josh Hutcherson shows his new face–

He tells us, exclusively, his plans to venture into the field of film directing, in addition to acting.

This article was translated for Josh Hutcherson Source by @vega-sheliak. Please credit if you repost.

I always wanted to be a director … It gives me the tools and space to create and it is something that is often more attractive than any paycheck, at least for me.“ - JOSH HUTCHERSON

Having starred in four ‘Hunger Games’ blockbusters; now, without Jennifer Lawrence or Liam Hemsworth, Josh Hutcherson finds a new way to stand out in the cinema. And to demonstrate the experience he has accumulated in more than ten years working, this young 24 year-old, is determined to cross the other side of the camera to follow the path of the greatest in film, as a director.

Have you gotten used to the title 'Josh Hutcherson, film director’?

I always wanted to be a director, and to mix with experienced people and to work with other young directors who I also admire.

Is it time to show the world that you really consider yourself a film veteran … at 24 years of age?

Since I was very, very young, they tried to keep me out of the movie studio, although I wanted to stay, which went against the schedule child actors had to follow. I wanted to learn all the elements of moviemaking. I was in the camera truck and nobody could find me, just because I was learning a little about the lenses or I was going to the scenery truck to learn how to build a studio, I was fascinated by the whole process. I was always a sponge, absorbing all the elements of a shoot. And now, I will be able to apply it.

Do not you feel too much pressure to sit in the director’s chair, being so young?

Yes, it’s a new challenge for me, to direct other people who I also have to act with, but it’s something I’ve always wanted to do. I’ve worked with many directors who also started as actors and those are also the directors that I like the most, because they always come with a story based on the character. And when I have to direct, I’m going to concentrate on the characters as well.

Read the full article under the cut. (This is a long one!)

Are you also going to work as an actor in the movie you are directing?

Yes. I’ll start with a short film, because they say it’s easy enough. You can act and direct at the same time. We’ll see what happens. But yes, I will act too. The title is 'Ape’, it’s a rather dark film, about a young man suffering from schizophrenia. It’s a very complicated story that ruins the family. It’s very dark, but it’s a genre that has always really attracted me.

Have you ever wanted to change the direction of any of your movies?

In any performance, one always wonders what would happen if we did something different, but we can’t say that because it’s disrespectful to the director. And now, I can say what I always thought, while still being respectful, of course.

With directing a short film, do not you also make much less than a real movie?

In this case, I have the opportunity to become the director so that I can add my voice to the project. It gives me the tools and space to create, and is something that is often more attractive than any paycheck, at least for me.

Does it mean that, at this point in your career you are choosing creative control over a million-dollar paycheck?

Exactly, yes. The good thing about film is to be able to make blockbusters to then have the opportunity to move away a little, and concentrate on something much more artistic that really matters to you, as a form of expression.

The idea is quite original, in Hollywood. Together with Indigenous Media, Josh Hutcherson plans to create a series of short films, with new directors, as an original way of presenting ideas to film studios about future films, instead of working only with the script and a list of possible actors. It is similar to television, where TV producers usually create a pilot episode so that after a TV channel gives the OK, they can produce the full series. And just as the idea of a movie, with a trailer, is being sold to us, Josh Hutcherson tries to sell to the big film studios the idea through the filming of the short version of the film.

Could you explain in your own words the idea of this new project?

I think it’s a very good concept. The idea is to take the script from a full-length and make a short version. And just after making it, the full-length would be produced, because it often takes years to develop a script, because people commit and then pull out. And after you realize it, ten years has passed since you got the script for a movie.

Is there an example of an important movie that has started with a short film first?

'Whiplash’ with Miles Teller (JK Simmons won the Oscar for Best Supporting Actor). They made a short film first. Only when people understood the idea, did they go forward with the movie. It’s also much easier to attract actors, producers, and get funding. It’s like an incubator to create a movie. I think it’s a great idea.

Is it also a way to find your own films to star in?

It’s hard to find roles that are interesting for my age range. I starve for them, that’s my Hunger Game. They keep offering me characters that are still in high school, or just fresh out of college, and I’m stuck in that bracket all the time.

Are you going to try to keep your adolescent fans or 20 year olds?

We definitely want to talk to that audience, which also exists in Turkey or Italy. It exists all over the world. We want to create human stories where people can identify beyond language and culture. That’s the good thing about film. Sometimes it works … but sometimes it doesn’t.

And from the point of view of a young director, what do you think about the debate about the lack of women like Jennifer Lawrence in the most important positions of the cinema?

I am very aware, and personally I want the film industry to represent a diverse group of people. And, at least one of the projects we have is by a woman. It’s good to have a woman’s voice, and it is necessary that the younger female screenwriters and directors have enough confidence to represent themselves in film and television. I say this, because it surprises me when I see that a female screenwriter or even on TV writer write a typical female stereotype, when there are so many interesting women in the world. The greatest achievements and also biggest mistakes…always have to do with a woman in your life.

Nothing can compare to the success of having played the role of Peeta Mellark in the 'Hunger Games’ series with Jennifer Lawrence.

Does it upset you when in Hollywood you hire a foreign actor for the role of an American character?

Well, there are enough Australians and British taking away my roles. But the accents are very difficult for any performance. That’s the truth. Having an accent doesn’t let you focus exclusively on acting. It is a challenge. And I think there are actors who do very well and others who don’t. I just think that the characters should be open to those who can interpret them the best way. If you are a British actor playing an American, or vice versa, whatever, what matters is that you feel authentic doing it.

Taking into account the idea of creating a short film to present a full-length movie script, have you ever finished one of your films and it’s turned out completely different than the original script?

I remember when we shot ’The Kids Are All Right’, we were at Sundance and when I first saw it, I was surprised when the audience laughed, because I thought we had made a dramatic movie. I had no idea that it was literally a dramatic comedy about a very strange family. When I read the script, it seemed like a drama on all sides. We filmed it as such, but when it was shown, the audience thought it was funny. I didn’t know if that was good or bad at the time, but I guess it worked.

What is the most fun thing about directing your own movie?

When the first scripts arrive. That’s the most exciting part, because there are so many. The Black List is an organization that collects these incredible scripts that have never before been produced and have an amazing library with great content from totally unknown filmmakers. I was surprised to see how good they were. And being a director for the first time, I also immersed myself into everything, calling my friends, people I worked with before, asking for favors to help me bring my vision to life. That part is really fun, too.

Now the actor stars in a half-hour comedy of 13 episodes, produced by Seth Rogen and Evan Goldberg. In the series, Josh Hutcherson is Josh Futturman, a depressed gamer who is strangely summoned to become a hero.

And the hard part?

The most difficult part is transforming the script of a feature film into a short film, keeping the tone and heart of the story, without the audience feeling unsatisfied.

Can we imagine a world of filmmaking where instead of paying fifteen dollars to see a two-hour movie, we can have a shorter version that costs much less?

I have many friends who literally don’t watch cable. They use other services like Netflix or Hulu. And when you can get that kind of content, you don’t need to spend too much money to generate a giant event where everyone has to go to the movies and pay $15 for a ticket plus another $3 for popcorn. It’s like getting to a new audience in a way, it’s interesting.

Does the emergence of new media like Snapchat or YouTube, turn the short films into a new system of cinema?

Short films, for me, were always a platform for true artistic expression and the best way to discover filmmakers. That’s the good thing. If I could get people to pay attention to young, fresh voices, that would be the biggest success of my life.

If this is a good way to reduce the risks, how come the film industry didn’t use this system before?

I don’t know, it’s interesting. I guess it’s because everything is still new, like Netflix or Amazon, so it’s something we’re also learning to use.

Are Netflix or Amazon the new film competition?

I know people in parts of the United States who love movies, but they don’t live near a movie theater. So they are forced to jump in the car and drive an hour and a half to watch a movie, when they can view Netflix at home. A few years ago, I had a movie that never had a huge release beyond 'On Demand’ (on cable TV) and some movie theaters. And in my mind, I thought it was a failure, but not because the subject wasn’t interesting, but because it didn’t really get exposure.

Josh’s popularity came in 2005, when he starred in 'Zathura: A Space Adventure’

What movie was the one that never got to theaters?

’Escobar: Paradise Lost’, the story of Pablo Escobar.

How big is the gap between the artistic side of cinema and the commercial profile, where today they make a film with the sole objective of raising millions?

Without being too philosophical or annoying, cinema began as pure art. They didn’t care about the money made…they filmed exclusively as a form of artistic expression. But when filmmaking became more popular, big companies realized they could make fortunes, like the Marvel world that is so lucrative, but in the end, it’s pure business. And now that there are new platforms, it feels like we can go back to the big reason why the films originally came out, trying to get a true artistic expression. That’s very cool.

So does media like Netflix and Amazon that charge less than the cost of a movie ticket to see an unlimited number of movies per month, help or hurt the film industry?

The reality is that there is no business model. And basically what we say, is that if we do something good, people will watch it. And now, that there are so many options, we will always be able to do that.

[source]

#josh hutcherson #ape #future man #article #side note–the author ages him at 23 #we updated that to reflect his age at the time of publishing

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