MCN Curated Headlines

“That’s a decision we’re going to work together with George Lucas and Mellody.”
Chicago Rahm May Ask George Lucas To Move His Museum Off The Lakefront

“Sitting through a boring film, my mind will wander: ‘How can I turn this monotony into money?’ There’s always an incentive to attend a film festival if the invitation’s there, though, because a large part of your momentum as a freelance journalist depends on being seen at a place.”
Michael Pattison On A Life Of A Freelance Film Critic

NY Times

“Using public and private databases, The Times compiled data on nearly 1,100 acting branch members. Along with the white members, about 6 percent are black, under 4 percent are Hispanic and less than 2 percent are Asian. Women make up about 42 percent of the branch. A spokeswoman for the academy confirmed all of those percentages.”
Cieply & Barnes Feet-First Into Academy Diversity Moves

“Every Coen brothers movie is distinctive in its own right—you’d never mistake one for another—and yet they constantly traffic in the same story elements, characters, and situations.”
Ebiri Ranks Coens

“The worse things get, the more necessary it is not to allow the satanic mood of despair to take hold.”
A Profile Of Director Peter Brook, Still At Work At 90

“I call it the ultimate form of cosplay.”
Two Toronto Artists Recreate Ferris Bueller Bedroom

“It’s against the notion that we’re just supposed to have fun. Turn off your brain and eat your popcorn. I’m offended by that. If someone is spending $200 million to make and market a movie, there’s no way you can say, ‘That’s just nothing.’ Plus, it’s two hours of your own life, $15 of your own money, and all the dreams and emotions you bring into the theater with you. Why empty out your own experience? Why be passive about it?”
Christian Lorentzen On The Road With A. O. Scott

“We actually write movies in which the characters are Jews or Minnesotans.”
Coens Again Challenged On Diversity


“Schamus was viewed as being too professorial, too much a product of the Cahiers du Cinéma set, while Schlessel was viewed as being able to give an arthouse gloss to violent, star-driven projects that were more overtly commercial. “
Brent Lang Offers Quirky Analysis Of Focus Films Palace Coup


“We are making the Academy more truly what it has always been or meant to be, a society of working professionals actively involved in the making of films.”
Pete Hammond Looks Back To On The 1970 Academy Changes Spearheaded By Pres Gregory Peck

“Sarandon is 69 and therefore it’s apparently not OK for her to remind us all that she’s still a living, breathing, sexual being. “
Reacting To The Reactions To Susan Sarandon’s Cleavage (And Black Bra) At Screen Actors Awards

“I’ll fight you on Creed. Creed is a f—ing great movie.”
A. O. Scott At Length On “Better Living Through Criticism”

MCN Curated Headlines

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“There are critics who see their job as to be on the side of the artist, or in a state of imaginative sympathy or alliance with the artist. I think it’s important for a critic to be populist in the sense that we’re on the side of the public. I think one of the reasons is, frankly, capitalism. Whether you’re talking about restaurants or you’re talking about movies, you’re talking about large-scale commercial enterprises that are trying to sell themselves and market themselves and publicize themselves. A critic is, in a way, offering consumer advice. I think it’s very, very important in a time where everything is commercialized, commodified, and branded, where advertising is constantly bleeding into other forms of discourse, for there to be an independent voice kind of speaking to—and to some extent on behalf of—the public.”
~ A. O. Scott On One Role Of The Critic

“Every night, we’d sit and talk for a long, long time and talk about the process and I knew he was very, very intrigued about what could be happening. Then of course, one of the fascinating things he told me about was how he had readers who were reading for him that never knew it was Stanley Kubrick. So if he heard of a novel, he would send it out to people. I think he did it through newspaper ads at the time. And he would send it out to people and ask for a kind of synopsis or a critique of the novel. And he would read those. And it was done anonymously. But he said there were housewives and there were barristers and all sorts of people doing that. And I thought, yeah, that’s a really good way to open up the possibilities. Because otherwise, you’re randomly looking, walking through a bookstore or an airport. I said, “How many people are doing this?” It was about 30 people.”
~ George Miller’s Conversations With Kubrick