MCN Curated Headlines

“MGM helped drive a stake through the Code’s heart by simply creating a subsidiary company and releasing Blow-Up under that banner instead.”
Mark Harris‘ First 1967 Pic Revisit: Blow-Up

“We are observers like everyone else and we’re excited about the freedom of speech and what people are bringing to the party or anti-party, whatever you want to call it.”
Sundance Prepares For Saturday March

“For me, every time the audience can laugh, they should laugh.”
Paolo Sorrentino On Tone


“That’s a category we took from kind of cheap, second-window programming to something that really becomes an event and a subscriber-acquisition driver for Netflix.”
Why Is Netflix Paying Tens Of Millions To Corner The Big-Name U. S. Standup Market?

“The growth market of English language films out of the U.S. is China. The new growth must come from China. It is a major source of income. So, if China were to retaliate, it’s bad for both parties. I do not wish to see that materialize.”
Dalian Wanda Chairman Wang Jianlin, China’s Richest Man, Cautions Against United States Regulating Chinese Investment In Hw’d
And – New Cinemas May Require Subsidies To Keep Lights On translated


“If you want politics, the movies are one of the last places you’re gonna get ’em. You’ve got Twitter, Instagram, Facebook, television, radio, newspapers. People have their own personal polarized media for their beliefs and points of view, and I don’t think this is the time or place where political movies are going to work.”
Will Sundance Films See A Trump Effect? Gregg Goldstein Inquires

“I do not own a private jet. Never have. And everything I do is completely offset with carbon credits. I do everything I can to walk the walk as I talk the talk.”
Al Gore On Sundance Opener An Inconvenient Sequel: Truth To Power

MCN Curated Headlines

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“I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
~ Lauren Milici On “The Final Girl”

“‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
~ Greil Marcus On Michael Jackson