MCN Curated Headlines

“Sandler has always been press shy and had never been a critics’ favorite, but during his heyday, he’d at least put forth a token effort at making the promotional rounds. He had to push his movies; he was making them for the masses. In Netflix, though, he’s found a happy home. You’re not sold a Netflix movie — you’re suggested it.”
Adam Sandler’s Goodbye To Big-Screen Stardom

“Since I knew I’d never get the job, I half-jokingly pitched him the idea that the chimp gets drafted into a brand-new NHL expansion team, not as a real player but as a mascot to drum up media attention. When it turns out he can really play, the coach puts him on the ice.”
Elan Mastai On “The First Time I Got Paid To Write”

“You can hardly lead a global community when you make your money from capturing people’s attention and selling it to advertisers.”
Historian Yuval Noah Harari Contests Mark Zuckerberg’s Latest Vision Of Facebook At The Center Of All Human Commerce

“If his other films are historical fantasia, then the experience of The Boy Friend is about being high on movie-musical iconography; dream-factory fantasia in the highest form.”
Steve Lippman On Ken Russell’s The Boy Friend

“I don’t think I have a problem with happy endings. I’ve got a problem with the neatness of life. Because it’s never neat, is it? Cruelty and randomness just feels more honest to me. When I see stuff which has a really good resolution and everything is all right, I think: ‘What the fuck?’ Because a happy ending is only the point at which you choose to end the film. I mean, if you ended the story a few years later, it probably wouldn’t be so happy. They’d only have got themselves into still more trouble.”
Free Fire‘s Ben Wheatley

“What issue could there possibly be with casting her? The Major is a cyborg and her physical form is an entirely assumed one. The name ‘Motoko Kusanagi’ and her current body are not her original name and body, so there is no basis for saying that an Asian actress must portray her. Even if her original body (presuming such a thing existed) were a Japanese one, that would still apply.”
Original Director Mamoru Oshii On Ghost In The Shell

MCN Curated Headlines

Report: Obama To Pen Memoir On Marlon Brando’s Tetiaroa

“The Writers Guild asserted that the studios have largely refused to respond to their efforts to address the financial strains that many TV writers in particular are facing amid broad changes in the industry.”

“Rock’s demographic crisis has been a concern for some time. But the spate of deaths over the past 18 months highlights the limited time frame the industry has to buttress its future and figure out how to better attract young audiences and develop young stars.”

Academy Launches 2017 Student Academy Awards Competition

“To Donald Trump, The American City Will Always Be A Dystopic, 1980s-Movie New York”

Elon Musk Putting A Billion Dollars Toward Preempting An “Artificial Intelligence Apocalypse”

Looking Back To Toronto’s Renegade UHF CITY-TV, Partial Inspiration For Videodrome

Barry Jenkins’ Adaptation Of Colson Whitehead’s “The Underground Railroad” Confirmed In Development For Amazon Limited Series

Amazon Streaming Crackdown On “Extreme” Content

“TV industry executives and Wall Street skeptics question whether Netflix can add enough subscribers, especially in international markets, to support its breakneck spending pace and justify a $60 billion market capitalization that values Netflix at more than 300-times its 2016 earnings. Netflix’s overall subscriptions grew 25% in 2016 from the previous year to nearly 94 million. Netflix has financed the spending by borrowing money, increasing its debt burden more than seventeen-fold since 2012 from $195.8 million to $3.4 billion.”

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“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas