The first guest speaker on the first morning of the Moving Image Institute in Film Criticism and Feature Writing, New York Times critic A.O. Scott made a comment about the problematic nature of Iraq films that seemed to me to serve as a wider metaphor for the current crisis facing those of us struggling for security and longevity as film writers. To paraphrase, Scott suggested that dramatizations of the Iraq conflict have so far been generally disappointing because not only do we not yet know the outcome of the war, but it’s hard to hypothesize what either a positive or negative end would actually look like. This is essentially how I’ve come to feel about my chosen profession of late: unable to imagine what either a best or worst case scenario would actually look like, the idea of establishing long-term career goals seems unfathomable.

The Scott session, for me, reinforced the notion that there’s a divide between those of us who struggle to cobble together a living out of our engagement with the online film community, and those who, because of age or professional stature or other factors that I’m too young and naive to grasp, see the increasing empowerment of the audience as a nuisance.

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• Chris Thilk points to Mark Bell’s take on that “asinine piece that appeared in The Hollywood Reporter that seems to hang the failure of independent movies on their inability to get a major newspaper reviewer.” Says Bell: “I know that an audience exists for indie film; I am a part of that audience. I don’t think that audience is waiting or needing to be pandered to by the print promotion and corporation whores anymore, though.”
• In a recent New York Times column, Maureen Dowd made an offhanded analogy comparing George W. Bush to the late Gene Kelly. Kelly’s widow was not amused. “To suggest that “George Bush has turned into Gene Kelly” represents not only an implausible transformation but a considerable slight,” fumes Patricia Ward Kelly at the Huffington Post. “If Gene were in a grave, he would have turned over in it.”
• Sean Nelson, star of Lynn Shelton’s SXSW Competition entry My Effortless Brilliance (see review here) blogged his festival experience for The Stranger.  “Though there are several competitions—narrative, documentary, short, etc.—within the festival, the atmosphere among the artists is 100 percent noncompetitive. Even when you’re all drunk.” Via GreenCine Daily.