MCN Originals

Countdown To Cannes: Tommy Lee Jones

TLJ

The first in a series of snapshots outlining the eighteen directors in the 67th Palme d’Or Competition.

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Wilmington on Movies: 2014 COLCOA Film Festival — Truffaut, Lelouch

TheTruffaut

Here’s the bill of fare. The COLCOA Film Festival, a fixture in Los Angeles for 17 years, shows new and classic French films in two American movie theaters at the Directors’ Guild complex: plush theaters named for legendary French filmmakers, François Truffaut and Jean Renoir. They mean a lot to me — the filmmakers, the films, and especially those two directors (or cineastes), Renoir and Truffaut.

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The Weekend Report

Weekedn Estimates 2014-04-20 at 9.13.29 AM

A quartet of new releases couldn’t unseat Captain America: The Winter Soldier from the lead on Easter weekend. The Marvelous super hero grossed an estimated $26.2 million, with Rio 2 not far off with $22.6 million. Among new national releases was the unexpectedly competitive true-life inspirational saga Heaven is for Real with $21.2 million and, conversely, the unexpectedly non-competitive Transcendence, which downloaded only $11.1 million. Chiller spoof A Haunted House 2 did an OK $8.9 million and nature tale Bears was off to a fair start of $4.8 million.

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Wilmington on Movies and DVDs: The TCM 2014 Classic Film Festival: How Green Was My Valley; Meet Me in St. Louis; Make Way for Tomorrow

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Friday Box Office Estimates

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The DVD Wrapup

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The Torontonian Tips Cannes

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“Cinema is looking at people: Every aspect of their hearts, their emotions, their clothing, their closets, their bathrooms, their food, their lovemaking, the way they comb their hair. I want you to become very intimate with them, because these people are the music of the movie.”
I’d Guess… David O. Russell?

NY Times

“This is not a venture just to try and do Hulu, or just to try and duplicate Hulu. Our primary focus is to build operating companies.”
Chernin Group And AT&T To Invest $500 Million In Online Video Venture

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Quote Unquotesee all »

Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé