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MCN Curated Headlines

deadline

“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 the things that make them enthusiastic about a particular movie.”
Guillermo Del Toro On Being On The Cannes Jury

“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

NY Times

“I’ve made five films with him, and every time he has a film coming out in the United States, he always does a kind of show for promotion, and it works.”
Vincent Maraval On Cutting Abel Ferrara’s Welcome To New York

“It is one of my most strongly held critical beliefs that you should not write about films you don’t like. First, it is bad for the soul to exult in pointing out the deficiencies of the film…”
Colin McCabe On Son Of Saul

indie wire

“The target is freelance budget rather than number of reviews.”
A. O. Scott Tells Sam Adams Why The Times Changed Its All-Encompassing Review Policy

“Chemo isn’t the worst thing. A particularly stubborn kind of cancer that keeps popping up again is. So on my last chemo-free weekend for several months, my husband and I dropped my daughters off at my mom’s and bought tickets to Mad Max: Fury Road.”
Fury Road and the Spectacle of Damage and Disease,” By Cynthia Hawkins

MCN Curated Headlines

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“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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