MCN Curated Headlines

“Even in the guise of character work, a comedian’s monologue can’t help but somehow seem to reflect a personal outlook, a secular or not-so-secular mode of confession. (That’s a big part of why stand-up works.) Cosby can’t seem to understand a thing about the women that surround him. There’s something worrisome now about how gendered this unavailability of the other is to Cosby. There’s an almost conspiratorial sense of women as a species against men, and a fear about his loss of control.”
Adam Litovitz Pokes Around In Cosbyland

“It’s what drew me to the theater to begin with. You find ways to express the underneath without words; sometimes it’s the opposite of the words, or a tangent of the words. I think Silkwood has a lot of those things—unexpressed undercurrents that are palpable.”
Gavin Smith‘s Comprehensive 1999 Film Comment Interview With Mike Nichols

“The thing about being an outsider, no matter what, is that there’s a good part, which is that it teaches you to hear what people are thinking. Because I learned to hear what people are thinking, quite literally, I think it stood me in good stead. It’s probably why I’m in the theater, because I can hear an audience… I could hear an audience thinking when I was in front of them.”

NY Times

“He was among the most decorated people in the history of show business, one of only a dozen or so to have won an Emmy, a Grammy, an Oscar and a Tony.”
EGOT Game: Bruce Weber‘s Epic Obit For Mikhail Igor Peschkowsky

“He was coming out of a serious illness, and was quietly exhilarated, looking so forward to making a film out of Terrence McNally’s brilliant ‘Master Class’ with Meryl Streep, the rights to which had been acquired for him by David Geffen and presented as a tonic, the perfect one at the right moment. And we both knew it was going to be a summation and a perfect small jewel.”
Playwright Jon Robin Baitz On Mike Nichols

“There’s a lot of inversion in Interstellar, ideas floating weightlessly in spaces constantly spinning so that there’s no up or down.”
Aaron Stewart-Ahn On Ideas In Interstellar, Love, Time And How All Movies Are Truly Time Travel

“Cosby needs to throw in the towel and go live out the rest of his life in cushy ignominy. If that seems unfair, well, tough —-. It is the consequence of being a bad person.”
So Opines Lindy West

indie wire

“I love you as a filmmaker. I have one beef to pick: You don’t make enough films! Why the huge gaps in between projects, I’m curious.”
Nigel M. Smith Queries Foxcatcher‘s Bennett Miller

“Pisssssco! Good to drink in company when you’re getting pissed. It’s really nice, isn’t it?” 
Jada Yuan Examines Benedict Cumberworld: Inside The Memes

“How many minutes does a movie have to run before potential viewers say, ‘Screw that, I’ll wait for it on Netflix’? It’s a question Christopher Nolan has been exploring, however inadvertently, for the past few years.”
A Compelling Question Of Space And Time

MCN Curated Headlines

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Six rules for filmmaking from Mike Nichols
1. The careful application of terror is an important form of communication.
2. Anything worth fighting for is worth fighting dirty for.
3. There’s absolutely no substitute for genuine lack of preparation.
4. If you think there’s good in everybody, you haven’t met everybody.
5. Friends may come and go but enemies will certainly become studio heads.
6. No one ever lost anything by asking for more money.
~ Via Larry Karaszewski and Howard A. Rodman On Facebook

“I expected ‘Salesman’ to take the step backward every day that Chekhov and Beckett did — but no, it was there to help all the time. The circumstances are like a brick shithouse, they are so solid. You can’t really be satisfied, but I am pretty close to it because the cast took it and ran. They get better every day. I’ve never seen anything like that before, and I don’t know if I’ll ever see it again. Is my ambition sated? I don’t know. To get something right, it can’t be sated because you can’t ever get enough of it right—and even if it is right, it won’t stay right. That’s the thing about a play. But with ‘Salesman,’ it’s different. I don’t know how, but they just keep getting better each night. I really don’t think I’ll direct another play. This is as good a time as I’ve ever had, and I don’t want to fuck it up.”
~ Mike Nichols To Stephen Galloway At The Time Of “Death Of A Salesman”