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Other Voices

Voices By Other Voicesvoices@moviecitynews.com

Part Two: The First 120 Hrs. Of Production

May 17, 1982 FIRST DAY OF SHOOTING The first of two days on location, out doors, in Modesto, California, two hours south of San Francisco where we’re headed for ten days after this… Sonny Landham & James Remar Get Dirty Basically our job is to shoot the sequence of Ganz and his native American partner…

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Part One: Before The Movie Shoots

Walter Hill APRIL 18, 1982 Last Thursday Walter Hill phones.  A call my agent had promised me would come but didn’t know when.  I’d hung on for four long days. He was calling, I knew, already, to discuss my gong to work for him on a go picture in active pre production at Paramount called 48 Hours….

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Hollywood, Inc.: May 5, 2008

By R.J. Matson

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Voices

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“I don’t really believe in guilty pleasures. I like to subscribe to Susan Sontag’s thought of no highs and lows. I think dismissing popular culture and popular films can be really dangerous because they may seem innocuous, but some are works of art and even when they’re not they can say so much about the culture that they’re reflecting. This also gets into the idea of canon. What is good and isn’t good? Lately, I’ve been thinking a lot about that. Specifically, who writes these canons? Mainly, straight white guys — which basically rigs the system. So, if you have a knowledge of female filmmakers, queer filmmakers, African or Asian filmmakers, some people won’t give them the same culture capital. They’ll say, “Oh, that’s nice niche knowledge.” No, it’s not. You’re just seeing it through the prism of something white and male. Like Shonda Rhimes’ ‘Scandal.’ I love that show, but is it a guilty pleasure because it’s a soap on TV? No. I think it has incredible writing, incredible thought and characters, so we should take it seriously. That’s a long-winded answer to say, “Yes, I love Titanic.” I was 10 years old when it came out and my mom took me to see it three times. I was so obsessed with it. A big thanks to my mom who’ll never get those nine hours of her life back.”
~ Toronto Int’l Programmer and Critic Kiva Reardon

“A lot of us felt blindsided,” Van Vliet told me. In the seventies, Van Vliet was drafted out of film school by Industrial Light & Magic, where he worked on The Empire Strikes Back and Raiders of the Lost Ark. Now 62 and semi-retired, he said, “Once you get into your fifties, you’re pretty disposable.” Van Vliet was in the middle of reviewing DVD screeners before casting his Oscar votes, a process he estimated would take a hundred and twenty hours. “The Academy is essentially asking us to give them three weeks of labor, and then they’re going to take our results, put them into a ceremony, and sell it,” he said, referring to the seventy-five million dollars that the organization earns from the television broadcast. “Then they’re turning around and kicking us in the teeth.”
~ “Shakeup At The Oscars”