Curated Headlines

hollywoodreporter.com

“My position has always been that, like them or not, the HFA are worthy of coverage by awards columnists/bloggers like myself because most of the top Oscar contenders show up for them, and when they do anything en masse, especially in front of a massive audience (as was the case this year when the Hollywood Film Awards, which is now owned by Dick Clark Productions, which, in turn, is owned by The Hollywood Reporter’s parent company, was nationally televised for the first time), then, well, it’s news.”
Scott Feinberg‘s Rationale For Supporting The H’wd Film Awards

“The lost boys that crowd Oscars 2015 have no real qualities to be leaders or heroes. They are fumbling around trying to avoid failure at all costs. That failure claps through the canyon like a falcon’s cry—who are we now?”
Sez Sasha Stone

daily beast

“On the whole I kind of quite like my films without watching them every night like Gloria Swanson in Sunset Boulevard. But I do actually think they are alright. A lot of filmmakers say ‘I can’t watch myself’ and, very often it is because the film that got made isn’t the film they wanted to make because a few people had their hands all over it and f—ed it up.”
Mike Leigh Regards Mike Leigh

“The infinitude of time as conveyed in Birdman’s unbroken stream of visuals is its most prescient conceit; were this a drama about radio or cinema, it would not work. On the stage where there is no barrier between performer and audience, where the performance—like life—unfolds without edits in a fluid stream of happenings (and non-happenings), there is nothing but now, no state of being but on.”
Fine Young Filmmaker Barry Jenkins Oh-So-Admires Birdman

NY Times

“Given my choice between allowing portrayals of women who are sexually manipulative, erotically aggressive, fearless in a deranged kind of way, completely true to their own temperament, desperately vital, or the alternative—wallowing in feminist propaganda and succumbing to the niceness plague—I’ll take the former.”
Maureen Dowd Is In True Rare Form As She Loves, Loves, Loves Amazing Amy spoilers, of course

“Perhaps Gone Girl‘s greatest insight is that the men aren’t mere brutish exploiters. Where a more simplistic narrative would posit that every loss for women is a gain for men, Flynn shows again and again that nobody is a winner—everyone is a dupe.”
Try And Top “Marriage Is An Abduction,” Elif Batuman‘s Superb Take On Gone Girl, Book And Film

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Six rules for filmmaking from Mike Nichols
1. The careful application of terror is an important form of communication.
2. Anything worth fighting for is worth fighting dirty for.
3. There’s absolutely no substitute for genuine lack of preparation.
4. If you think there’s good in everybody, you haven’t met everybody.
5. Friends may come and go but enemies will certainly become studio heads.
6. No one ever lost anything by asking for more money.
~ Via Larry Karaszewski and Howard A. Rodman On Facebook

“I expected ‘Salesman’ to take the step backward every day that Chekhov and Beckett did — but no, it was there to help all the time. The circumstances are like a brick shithouse, they are so solid. You can’t really be satisfied, but I am pretty close to it because the cast took it and ran. They get better every day. I’ve never seen anything like that before, and I don’t know if I’ll ever see it again. Is my ambition sated? I don’t know. To get something right, it can’t be sated because you can’t ever get enough of it right—and even if it is right, it won’t stay right. That’s the thing about a play. But with ‘Salesman,’ it’s different. I don’t know how, but they just keep getting better each night. I really don’t think I’ll direct another play. This is as good a time as I’ve ever had, and I don’t want to fuck it up.”
~ Mike Nichols To Stephen Galloway At The Time Of “Death Of A Salesman”