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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

“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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“The city to me is the only possible vehicle we have to measure human achievement. We’re an urban species now. If you look at Karachi or Mexico City or Hong Kong or London or New York or Yonkers or Baltimore or any of these other places, the pastoral is now a part of human history. We’re either going to figure out how to live together in these increasingly crowded, increasingly multi-cultural population centers or we’re not. We’re either going to get great at this or we’re going to fail as a species.”
~ David Simon

“I wondered how different it would be to write a novel and it’s totally different. It’s very internal. The weird thing about it is that I found that novel-writing was much more like directing than it is like screenwriting. You’re casting it, you’re lighting it, you’re doing the costumes, you’re doing the locations, you’re doing it all yourself as a director would. In screenwriting, you don’t do that stuff. You don’t describe the face of the actor or the character when you’re writing a screenplay because Tom Cruise is going to do it and he doesn’t look like that, whereas in the novel to describe what he is is what he is. The actual act of writing, just like shooting on a set, is a slow slog. It’s going to work every day.”
~ David Cronenberg On Screenplay vs. Novel