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Disney-Univision Fusion Media Aims Toward Millennials; Misses

Disney-Univision 250-Employee Fusion Media Aims Toward Millennials; Misses

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Guillermo Del Toro On Being On The Cannes Jury

“The process of being a jury member is that you know a competition is an imperfect process. have been given awards and I have not won awards, and many times in festivals your movie gets a lot of buzz but doesn’t win awards.. We are not judges, we are people who are going to share…

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Laurie Penny Likes Fury Road

“Patriarchy, it turns out, is prettiest when it’s on fire. If you’re going to bring feminist propaganda to the masses, there are worse ways than in a giant exploding truck covered with knives.” Laurie Penny Likes Fury Road

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“Fury Road has its problems. It suffers from a white desire to be indigenous. It might have upset the men’s rights activists, but it isn’t feminist cinema. Charlize Theron is a degendered hero, and most of the other female characters turn out to be expendable. The way disability figures is more interesting.”

“Fury Road has its problems. It suffers from a white desire to be indigenous. It might have upset the men’s rights activists, but it isn’t feminist cinema. Charlize Theron is a degendered hero, and most of the other female characters turn out to be expendable. The way disability figures is more interesting.”

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Anne Meara Was 89

Anne Meara Was 89

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The Weekend Report

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Cannes 68: A Wrap

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Weekend Estimates by Barely-Winning-Land Klady

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Bill Nighy On The “Groovy” Part Of His Career

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Parents Of Woman Who Died In Aurora Theater Shooting May Owe $220,000 In Legal Fees To Websites Where Weapons Were Bought

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Amazon Relents, Will Pay Corporate Tax On UK Sales

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From Cannes, Arabian Nights’ Miguel Gomes On The Porous Boundaries Of Fiction And Documentary

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Kristin Thompson On “The Waning Thrills Of CGI”

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A Beautiful Mind’s John Nash, 86, In Taxi Crash With Wife

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Wilmington on Movies: Tomorrowland

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Quote Unquotesee all »

“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

“I was having issues with my script for It’s All About Love, so I called Ingmar Bergman and we ended up talking about everything but the script. He said, “Well, Festen is a masterpiece, so what are you going to do now?” At that point, I had not decided if I was going to make It’s All About Love, so I answered, “Hmmm, I don’t know. Maybe this, maybe that.” There was just a long pause, and then he said, “You’re fucked.” I said, “Well, how can you know?” “Well, Thomas, you always have to decide your next movie before the movie you’re doing presently opens.” And I said, “Why is that?” “Well, two things can happen. One thing is that you fail, and then you’ll feel scared and humiliated. It’ll get into your head. Second, and even worse, you have success, and then you’ll want more of it, or you’ll want to maintain it. But if you decide on your next film while you’re in the middle of editing, it becomes a very nonchalant choice. And then it’s shorter from the heart to the hand.”
~ Thomas Vinterberg

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