Colin Greenwood: “European touring made Radiohead the band we are. Brexit must not destroy it”
Tokyo Olympics Chief Who Says Meetings Take Too Long Because Women “Talk Too Much” Might Quit, Maybe
Lucasfilm Renounces Ties To Gina Carano
Gina Carano Compares Being A Republican To Being A Jew During The HolocaustAnd – Carano Tweets Cute About Jeffrey Epstein And Still Likes The Message She Took From 300
How Andrei Konchalovsky Does It: “Both Dear Comrades! and Sin were bankrolled by the Uzbek billionaire Alisher Usmanov, whom Konchalovsky compares to a Renaissance patron. ‘When the Medici worked with Michelangelo, they never thought about recuperating their investment. Alisher is one of the crazy men that can afford to follow his curiosity.”
Larry Flynt Was 78
Oscar Broadcast Planning Details Parceled Out
Alex Ross: “Tarkovsky’s breakthrough relied on his V.G.I.K.-trained crew, particularly the cinematographer Vadim Yusov, who might be considered the co-creator of the Tarkovsky style. A famous scene in “Ivan” shows the boy and two soldiers making their way at night through a flooded forest in a boat, with flares exploding high above them. The cinematographer Roger Deakins has named one lingering shot—in which a stand of bare trees is silhouetted against a gray expanse of land, water, and sky—his favorite in movie history. Yusov had scouted the location and mapped out the scene before the director arrived for the shoot. Still, Tarkovsky’s collaborators were working in his spirit. Yusov recalled, ‘Tarkovsky frequently could not understand the limitations, and this ignorance made him bold.'”
Sarah Michelle Gellar: “While I am proud to have my name associated with Buffy Summers, I don’t want to be forever associated with the name Joss Whedon.”
Director Kirill Serebrennikov: “I want you to know that the most valuable and important thing in Russia is not the power of the government, or the media. The most valuable thing is Russian culture. It’s the language, the culture, the discoveries within the arts that make life a little more bearable.”
Janet Pierson: “It’s just a very engaging experience of trying to move forward and then having to readapt and readapt and readapt. And I noticed it with all our industry partners, people we spoke to, you could just see people changing. Like, ‘We would never do that’ and then a month later they’re like, ‘OK, we’re going to do this now.’ It’s just everyone trying to be humble about what they’re learning and what they’re trying and bringing this sort of beautiful spirit of, ‘Let’s try to get to the parts of this stuff that are so important to us. Let’s find ways to connect. Let’s try to find ways to enjoy great work.’ And it’s challenging every day.”
SXSW Announces 75 Features And Other Attractions For 2021 Online Edition
“In January 2018, Cathy Yan took her first feature to the Sundance Film Festival. She’d begun dabbling with filmmaking in her mid-20s, and had spent the past three years working on Dead Pigs – a low-budget, Chinese-language satirical drama about Shanghai’s up-and-comers and left-behinds. She’d edited it in the living room of her New York apartment, driving her husband half-crazy in the process, but got it finished in time for its world premiere, held in a converted hotel function suite. ‘My only hope at that point was that a few people would turn up to watch the movie and the whole experience wouldn’t be deeply depressing,” says Yan, now 34. What actually happened was this: within three months of the screening, Yan had been hired to direct the $100 million comic-book blockbuster Birds of Prey, featuring the sometime Batman villainess Harley Quinn, after being earmarked by its star Margot Robbie as the only woman for the job.”
“The UCLA School of Theater, Film and Television administration repeatedly disregarded student complaints and potentially violated university policy in recent years, students and alumni said. Alumni and current students sourced in this story requested to remain anonymous because of fear of retaliation from faculty or industry professionals. This story refers to all sources using gender-neutral pronouns to avoid possible identification. In 2018, Professor Phyllis Nagy became the head of screenwriting and began making problematic changes to the program right away, several students said…”
“Dallas Mavericks have stopped playing national anthem before home games at owner Mark Cuban’s direction”
Amy Taubin: “Opening exhibit in the Impeachment trial is a demonstration of perfect Griffith parallel editing, right down to the intertitles.”
David Jenkins: “While we grudgingly shift into this transitory phase of seeing new films streamed on home computer screens, it’s hard not to think that, for festival organisers, this is not why they got into this particular game. There would seem to be something contradictory about the concept of a festival which did not see people converging on a physical space. As someone watching streamed films from one of these cloistered events, it does feel a little as if I’m cheating on an old, argumentative paramour. And yet, there’s a general feeling that the films shown at Rotterdam and Sundance did get their time in the spotlight, in the same way as they would had they played exclusively to a physical audience in a packed-out cinema. The social media airwaves carried a certain level of hype, and even allowed for a couple of insidery arguments that only made sense to those partaking in the fun. Platforms such as Letterboxd allowed attendees to indulge in the gamesmanship of daisy-chain viewing, while there was also no shortage of erudite coverage as each title received its virus-compliant world premiere.”
450 Out As Disney Shuts Down Blue Sky
Takeshi Kitano Sets Sayonara As Director With Seven Samurai-Era Adaptation of Own 2018 Novel
Sam Levinson: “I have faith in the collaborative process and in my partners that if I write something that doesn’t feel true, that JD or Z don’t respond to or feel to be honest, that they are going to say something and we’ll work it out. I didn’t have anxiety in that sense because I have too much respect for the collaborative nature of filmmaking.”
