MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

Emmy Rossum

It isn’t often that an entertainment reporter gets to extend a relationship with the subject of an interview beyond the confines of a publicity junket. Precious little time is allotted for idle chatter and there simply aren’t any good reasons for an actor or filmmaker to memorize the face of someone sitting across from them….

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The Maid

The gifted Chilean filmmaker Sebastián Silva came to Hollywood this week to promote his critically lauded film, The Maid, not pick a fight with the Motion Picture Academy. In fact, it probably was the furthest thing from his mind. This time of the year, however, we in the reporting dodge can hardly think of anything else. The movie…

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Bronson

As a criminal, Michael Petersen could best be described as inept. As a self-made celebrity, though, the prison-hardened thug couldn’t have been more of a success … not that he didn’t get some help along the way. As depicted in Nicolas Winding Refn’s powerful profile, Bronson, Peterson was born of a bad seed and grew ever more twisted….

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Dretzka

Quote Unquotesee all »

“I’ve been pleasantly surprised by how many recappers, while clearly over their heads, are baseline sympathetic to finding themselves routinely unmoored, even if that means repeating over and over that this is closer to “avant-garde art” than  normal TV to meet the word count. My feed was busy connecting the dots to Peter Tscherkassky (gas station), Tony Conrad (the giant staring at feedback of what we’ve just seen), Pat O’Neill (bombs away) et al., and this is all apposite — visual and conceptual thinking along possibly inadvertent parallel lines. If recappers can’t find those exact reference points to latch onto, that speaks less to willful ignorance than to how unfortunately severed experimental film is from nearly all mainstream discussions of film because it’s generally hard to see outside of privileged contexts (fests, academia, the secret knowledge of a self-preserving circle working with a very finite set of resources and publicity access to the larger world); resources/capital/access/etc. So I won’t assign demerits for willful incuriosity, even if some recappers are reduced, in some unpleasantly condescending/bluffing cases, to dismissing this as a “student film” — because presumably experimentation is something the seasoned artist gets out of their system in maturity, following the George Lucas Model of graduating from Bruce Conner visuals to Lawrence Kasdan’s screenwriting.”
~ Vadim Rizov Goes For It, A Bit

“On the first ‘Twin Peaks,’ doing TV was like going from a mansion to a hut. But the arthouses are gone now, so cable television is a godsend — they’re the new art houses. You’ve got tons of freedom to do the work you want to do on TV, but there is a restriction in terms of picture and sound. The range of television is restricted. It’s hard for the power and the glory to come through. In other words, you can have things in a theater much louder and also much quieter. With TV, the quieter things have to be louder and the louder things have to be quieter, so you have less dynamics. The picture quality — it’s fine if you have a giant television with a good speaker system, but a lot of people will watch this on their laptops or whatever, so the picture and the sound are going to suffer big time. Optimally, people should be watching TV in a dark room with no disturbances and with as big and good a picture as possible and with as great sound as possible.”
~ David Lynch