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.”
MIKE NICHOLS WAS 83

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

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 “Teaching how to make a film is like trying to teach someone how to fuck. You can’t. You have to fuck to learn how to fuck. It’s just how it is. The filmmaker has to protect the adventurous side of their self. I’m an explorer, I’m an inventor. Doc Brown is the character I relate to the most and he’s a madman. He’s a madman alone, locked up with his ideas but he does whatever he wants. He makes what he makes because he wants to make it. Yes, the DeLorean has to work in order for him to be a madman with a purpose—the DeLorean should work—but the point is I think everyone should try and find their own DeLorean. When Zemeckis was trying to get Back To The Future made, which he was for seven years, he was trying to get a film made where basically a teenager gets in a time machine, goes back to 1954 and almost —-s his mother. That pitch is extremely subversive and twisted in a way. My point is, he had a fascinating idea that no one had done before, but was clearly special to him and he stuck to it and made it what it was. When you do that you can create culture, but I think a lot of movies are just echoing culture and there’s a difference.”
~ A Girl Walks Home Alone At Night Filmmaker Ana Lily Amirpour

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