MCN Originals

Wilmington on Film: Poltergeist / When Marnie Was There


One thing you can say in favor of the latest Poltergeist is that at least nobody in it gets tortured, hideously maimed, eviscerated, eaten, or chopped to screaming bits. Children may take their parents to this picture, without fear of nightmares.

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The Weekend Report (4-Day Estimates)

4 day estimates 2015-05-25 at 12.02.59 PM

The four-day estimates are in and Tomorrowland expands its lead slightly for the 34th best Memorial Day Weekend gross ever (but expect the “actuals” to be a little lower because of an aggressive Monday estimate). If Disney wants some information about what went wrong, they can call 411, which is also the number of millions Avengers 2 hit domestically this weekend. Poltergeist turns in the 13th best four-day of 2015 so far. Far From The Madding Crowd expands positively, though gently. And I’ll See You In My Dreams tops all per-screen grossers.

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The Weekend Report

3Day Weekend Estimates 2015-05-24 at 9.31.22 PM

It was the future by a nose as Tomorrowland edged out Pitch Perfect 2 for the holiday box office crown. It opened to an estimated $32.2 million to PP2 with $30.3 million (all figures reflect 3-day box office). Also bowing for Memorial weekend was the reboot of Poltergeist that generated a scary $22.7 million that slotted fourth overall.

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Cannes 68: A Wrap

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Wilmington on Movies: Tomorrowland

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Friday Box Office Estimates

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The DVD Wrapup: Leviathan, Lovesick, Before I Disappear, Blue Room and more

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“My aim was not to make a woman’s film but rather to create a contemporary film. Picasso, Modigliani, had changed the arts. I was a photographer and I wanted to change filmmaking,”
Agnès Varda Likes “Girls,” Says Money Remains The Biggest Issue

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“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

“I was having issues with my script for It’s All About Love, so I called Ingmar Bergman and we ended up talking about everything but the script. He said, “Well, Festen is a masterpiece, so what are you going to do now?” At that point, I had not decided if I was going to make It’s All About Love, so I answered, “Hmmm, I don’t know. Maybe this, maybe that.” There was just a long pause, and then he said, “You’re fucked.” I said, “Well, how can you know?” “Well, Thomas, you always have to decide your next movie before the movie you’re doing presently opens.” And I said, “Why is that?” “Well, two things can happen. One thing is that you fail, and then you’ll feel scared and humiliated. It’ll get into your head. Second, and even worse, you have success, and then you’ll want more of it, or you’ll want to maintain it. But if you decide on your next film while you’re in the middle of editing, it becomes a very nonchalant choice. And then it’s shorter from the heart to the hand.”
~ Thomas Vinterberg