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Movie Search Results


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MCN Articles Search Results

Anne Meara Was 89

Anne Meara Was 89

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The Weekend Report

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

It was a Festival divided from the outset.

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Weekend Estimates by Barely-Winning-Land Klady

Tomorrowland barely wins the weekend (if it actually did), but it is an underwhelming Memorial Day 3-Day anyway you slice it. It’s not a flying car wreck, as it may well break the Top 30 of Memorial Day weekend numbers… but it’s not the thing of futuristic dreams. (X-Men did $91 million over 3 days…

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Bill Nighy On The “Groovy” Part Of His Career

Bill Nighy On The “Groovy” Part Of His Career

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Parents Of Woman Who Died In Aurora Theater Shooting May Owe $220,000 In Legal Fees To Websites Where Weapons Were Bought

Parents Of Woman Who Died In Aurora Theater Shooting May Owe $220,000 In Legal Fees To Websites Where Weapons Were Bought

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Amazon Relents, Will Pay Corporate Tax On UK Sales

Amazon Relents, Will Pay Corporate Tax On UK Sales

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From Cannes, Arabian Nights’ Miguel Gomes On The Porous Boundaries Of Fiction And Documentary

From Cannes, Arabian Nights‘ Miguel Gomes On The Porous Boundaries Of Fiction And Documentary

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Kristin Thompson On “The Waning Thrills Of CGI”

Kristin Thompson On “The Waning Thrills Of CGI”

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A Beautiful Mind’s John Nash, 86, In Taxi Crash With Wife

A Beautiful Mind‘s John Nash, 86, In Taxi Crash With Wife

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Wilmington on Movies: Tomorrowland

Watching Tomorrowlan—a great big film hunk of love and optimism and confusion from the Walt Disney Studio—you sometimes get the idea that director-writer Brad Bird and company are trying not just to create a new movie but maybe to found a new movement; Dianetics for Disneyphiles, or Pessimists Anonymous or Worldmakers. (Just kidding.)

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Postering The Many Faces Of Andrei Rublev

Postering The Many Faces Of Andrei Rublev

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Michael Phillips Finds A 1916 Sherlock Holmes In The Cinémathèque Française

Michael Phillips Finds A 1916 Sherlock Holmes In The Cinémathèque Française

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Jen Yamato Talks To Tom Six About His Lofty Goals

Jen Yamato Talks To Tom Six About His Lofty Goals

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Farran Smith Nehme Charmed, Always, By Claude Rains

Farran Smith Nehme Charmed, Always, By Claude Rains

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A Trim Recitation Of The Ways M. Night Shyamalan’s Ego And M. Night Shyamalan Went Wrong

A Trim Recitation Of The Ways M. Night Shyamalan’s Ego And M. Night Shyamalan Went Wrong

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Hmmm…

  

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Producer Gavin Polone On The Punishing Hours Of Television And Film Production

Producer Gavin Polone On The Punishing Hours Of Television And Film Production

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Cannes Un Certain Regard Prizes Go To The Ram, The High Sun, Kiyoshi Kurosawa, More

Cannes Un Certain Regard Prizes Go To The Ram, The High Sun, Kiyoshi Kurosawa, More

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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

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