MCN Curated Headlines

“Making a movie about someone who’s cut off and out to lunch doesn’t make me out to lunch.”
Stephanie Zacharek Meets Up With Sofia Coppola

“I don’t see ‘everything’ anymore and I haven’t been to Cannes since 2011 still there’s nothing that even a recovering film critic likes better than a list.”
J. Hoberman Joins The New Century’s Listifiers

“I miss the experience of communal and theatrical filmgoing, mostly as a child in my family’s theaters in Alabama during the late 1940s and the 1950s. Part of that experience was quite clearly the experience of being part of a community, which is much harder to find and to feel these days in the United States—except, perhaps, on the Internet, where it’s a radically different notion of community, both physically and metaphysically.”
Jonnie Rosenbaum Chats With Uruguayan Film Mag

indie wire

“If cinema survives, it will perhaps be for an unexpected reason. We’re so used to fearing the end of film, and so familiar with the thought that the golden age of Hollywood is long gone, that we sometimes forget how very young the movies are. Compared to opera, painting, theater, novels, poetry, architecture or music, film is but a teenager. Its hormones are raging. It’s still scared by what lies ahead, and is trying different guises.”
Mark Cousins Turns Optimist

“Peele has found a concrete metaphor for the ultimate unspoken fear: that to be oppressed is not so much to be hated as obscenely loved. Disgust and passion are intertwined. Our antipathies are simultaneously a record of our desires, our sublimated wishes, our deepest envies.”
Zadie Smith On Get Out

indie wire

“In almost every lead of Beasts of No Nation stories, [the box office] was the coverage. That’s the narrative. That’s very silly because we’re talking about the behavior of a couple hundred people. If it had been on three screens instead of 30, the per-screen-average would be great and it would be a hit. How ridiculous box office reporting is! We don’t need Oscars at all. I just don’t want our filmmakers to be disqualified for it because they did their movie with us. I want their films to compete for the Oscars on equal ground.”
Netflix Invests In Oscar Strategists Julie Fontaine, Ginsberg/Libby, Lisa Taback, Cynthia Swartz

“Oh, I guess I’ve never studied film. That’s so funny, but there are a lot of women talking about a man in this.”
Kristen Yoonsoo Kim Introduces Sofia Coppola To The “Bechdel Test”

“One must delve a bit into the history of lighting for the cinema. Back in 1919 and 1920, or even further back than that, long before incandescent lights ever came, we used to light from the floor with Kleig arc lights and our general lighting came from banks of mercury vapor lamps.”
American Cinematographer Flashes Back To Their 1966 Interview With Alfred Hitchcock

“When you put it in Arnold’s mouth, Arnold’s saliva would creep into the seams of this thing and attack the batteries. The batteries would immediately start disintegrating and start putting out battery acid into Arnold’s mouth.”
Further Reveries On The Making Of Batman & Robin At 20

“Canadian journalism is essential to our democracy. The proposal for an expanded Canadian Periodical Fund will put journalists back on the street at a time when the advertising revenue that pays for them is stripped away by Google and Facebook.”
Group Of Remaining Canadian Publications Seek Gov’t Subsidy

“News is about community. It goes back to gathering around the fire in front of the cave. Fox News built a community of people around a shared view of the news. That’s not a view that resonates with me, but I think there is a community of people that are a little bit progressive but don’t like or want the elite part. I do love the Washington Post. I do love the New York Times. But they are elite. They’re proud of that. But that’s not where we want to be.”
$15 Million Bid For Chicago Sun-Times And Reader Moves Forward With Labor Backing

“Watts isn’t just excelling in her task playing straight woman to a candy-colored clown. Her performance creates an entire context for what the Joneses’ marriage was like before Dale Cooper was reborn in Dougie’s body, and the mix of irritation, heartbreak, indifference, and devotion she’s shown in the face of her husband’s bizarre condition feels a lot like the texture of real, everyday monogamy.”
Adam Nayman Worships Naomi Watts In “Twin Peaks”

Neill Blomkamp Debuts Rakka, A Twenty-Minute Sigourney Weaver-Starring Apocalyptic Thriller, On YouTube

“There are early indications this could prove to be David Lynch’s masterwork, and one reason for this is his commitment to operating in the register and affect rather than plot. ‘Twin Peaks’ is an open text, able to accommodate wild intrusions untamed by the laws of narrative economy.”
Michael Sicinski Offers “Five Ideas Regarding ‘Twin Peaks: The Return'”

“The thing that’s new is that somebody is using the arts as a way of manipulating people and lying about the arts. That’s the new toxic element in our culture. My fear is that we’re going to have a climate where the level of discourse turns into what happens to Antony in the mob scene. The people are led to destroy the thing they want to preserve.””
Director Oskar Eustis On His “Julius Caesar”

NY Times

“I like men. I like their stories. I’m a big Sam Shepard fan. But seeing women too expansive and untidy for pigeonholing narrate their own lives, well, that’s a thrill. So is their demand to be seen as flawed heroes instead of helpmates, sexual subjects as well as sexual objects.”
Alexis Soloski On Soloway’s “A Short History Of Weird Girls” Episode Of “I Love Dick”

“With free terminals at home or work, people in France could connect to more than 25,000 online services long before the world wide web had even been invented.”
A Short History Of France’s Pre-Internet Minitel Network And Lessons It Might Hold For Today

daily beast

“I can’t even stand people trying to make sense out of it. There’s no point in trying. There’s a scene I’ve always loved in Dr. Strangelove, where General Turgidson is reading his letter from Brigadier General Ripper in the Pentagon war room, and Ripper is going on and on about precious bodily fluids. Peter Sellers’ president says ‘Give me that,’ looks at the letter, and suddenly says, ;It’s obvious: this person is insane!’ Well, it’s obvious! It’s so obvious, it’s overt! I mean, every day you pick up the paper and it’s appalling.”
Errol Morris In The Modern Moment, On Photography, With Hints About “Wormwood,” His Upcoming Six-Part Netflix Series

“Everybody should be speaking out because what’s going on is terrifying and despicable. It’s really an emergency. I think that Ivanka Trump is a fake feminist who will go down in history as someone who really betrayed human beings and who should be ashamed of herself.”
Jenny Slate In The Modern Moment

“Something is happening with our understanding of theater and its ability to explore political themes. Now is a golden opportunity for us to correct this understanding, reminding theater boards, audiences, and funders about the important role the theater plays in the civic life of our nation. These waters are all the more fraught for non-profit productions that often depend on the good graces of image-sensitive benefactors.”
Rob Melrose On Two “Caesar”s, His “Obama” Rendition And Oskar Eustis’


“We set out to be a service provider. We are considering renaming ourselves as Alibaba Pictures Infrastructure. We are not your competitor; we are your partner.”
Alibaba Pictures Chairman Yu Yongfu Has A Vision

“In defending their client, Cosby’s lawyers have invoked the changing public discussion around sexual assault to imply that the deck is stacked against him—to imply that female accusers have developed an unfair, outsized power against men. ‘It’s sickening, what they did here,’ spat the defense attorney Brian McMonagle in his closing argument, gesturing toward the prosecution.”
Gia Tolentino On The Cosby Mistrial

MCN Curated Headlines

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch