Gurus
MCN Originals

Who’s The Next Star Of The Red Carpet?

Who’s The Next Star Of The Red Carpet?

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Scott Feinberg Thinks Mike Binder’s Black And White Is On Its Way To Awards

Scott Feinberg Thinks Mike Binder’s Black And White Is On Its Way To Awards

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Golden Globes Change Animation Rules

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Academy Invites 271 New Members

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48 Weeks To Oscar: Reviewing The 2014 Oscar Show

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20W2O: Rebooting The Independent Spirit Awards

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20 Weeks To Oscar: 3 Days To Go

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Gurus o’ Gold: Time To Open Envelopes

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Gurus o’ Gold: Top 3

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20W2O: 12 Days To Go – Season of Pudding

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Gurus o’ Gold: If We Could Sway The Academy

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Gurus o’ Gold: Frontrunners & Potential Upsetters

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20W2O: What The Oscars Should Learn From This Super Bowl

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20W2O: 10 Best Picture Nominees – Part 2, Call & Response

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20W2O: 10 Best Picture Nominees – Part 1, Why It’s Good

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Gurus o’ Gold: A Week Since Nominations (2 of 2)

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Gurus o’ Gold: A Week Since Nominations (1 of 2)

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PGA Awards Tied Up Over Gravity And 12 Years A Slave

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Gurus o’ Gold: Nomination Day (Page 2 of 2)

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20 Weeks To Oscar: Nominations Morning

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“I’m telling you straight and true that Paul Dano‘s performance as the youngish Brian Wilson in Bill Pohlad‘s Love and Mercy is almost spookily great.”
Avers Jeff Wells

NY Times

“The films get hurt, and the filmmakers get hurt.”
Cieply Measures The “Toronto Effect” On Awards Season

“Screeners may include closed captioning and simple menus that allow viewers to select different starting points (chapter stops) and audio formats, although the chapter stop headings in the menu may not include captions.”
Academy’s Very Specific 87th Oscars Rule Changes On Promotion Fall Largely On Music Branch

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DEADLINE: How does a visualist feel about people watching your films on a phone or VOD?
REFN: It depends on what kind of movie you make. We had great success with Only God Forgives on multiple platforms in the U.S. Young people will decide how they see it, when they want to see it. Don’t try to fight it. Embrace it. That’s a wonderful opportunity. We’re at the most exciting time since the invention of the wheel, in terms of creativity because distribution and accessibility have changed everything. A camera is still a camera whether it’s digital or not; there’s still sound; an actor is an actor. Ninety-nine percent of what you do is going to be seen on a smart phone – I know this is the greatest thing ever made because it allows people to choose, watching what you do on this format or go into a theater and see it on a screen. That means more people than ever will see what I do, which is personally satisfying in terms of vanity. But you have to be able to adapt, to accept things in different order and length than we’re used to. We are in a very, very exciting time.
~ Nic Refn to Jen Yamato

DEADLINE: You mention Tarantino, who with Christopher Nolan and a few other giants, saved film stock from extinction. To him, showing a digital film in a theater is the equivalent of watching TV in public. Make an argument for why digital is a good film making canvas.
REFN: Costwise, it’s a very effective way for young people to start making movies. You can make your movie on an iPhone. It’s wonderful seeing how my own children use technology to enhance creativity. For me it’s a wonderful canvas. Sure, I love grain in film. I love celluloid. But I also like creativity. I like crayons, I like pencils, I like paint. It’s all relative. Technology is more inclusive. A hundred years ago when film was invented, it was an elitist club. Very few people got to make it, very few people controlled it and very few people owned it. A hundred years later, storytelling through images is everyone’s domain. It’s ultimate capitalism. There are no rules, and no barriers and no Hays Code. Where does this go in another hundred years? I don’t know but I would love to see it.
~ Nic Refn To Jen Yamato