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Movie City News

Producer Gavin Polone On The Punishing Hours Of Television And Film Production

Producer Gavin Polone On The Punishing Hours Of Television And Film Production

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Cannes Un Certain Regard Prizes Go To The Ram, The High Sun, Kiyoshi Kurosawa, More

Cannes Un Certain Regard Prizes Go To The Ram, The High Sun, Kiyoshi Kurosawa, More

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Anne Hornaday On The Hopes Of The Completion Of “The Other Side Of The Wind”

Anne Hornaday On The Hopes Of The Completion Of “The Other Side Of The Wind”

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Southpaw Gets Cannes Sneak On Yacht

Southpaw Gets Cannes Sneak On Yacht

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“Diary Of A Wimpy Kid” Finances Jeff Kinney’s Ambitious New Bookstore In Plainfield, Massachusetts

Diary Of A Wimpy Kid Finances Jeff Kinney’s Ambitious New Bookstore In Plainfield, Massachusetts

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Digital Cos Buy At Cannes, Disrupting Traditional Int’l Distrib Models

Digital Cos Buy At Cannes, Disrupting Traditional Int’l Distrib Models

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Vincent Maraval On Cutting Abel Ferrara’s Welcome To New York

“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

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Colin McCabe On Son Of Saul

“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

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A. O. Scott Tells Sam Adams Why The Times Changed Its All-Encompassing Review Policy

“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

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Read The Opening Chapter Of A New Edition Of Werner Herzog’s “Walking In Ice”

Read The Opening Chapter Of A New Edition Of Werner Herzog‘s “Walking In Ice”

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The Fog Of Comic Sans: Errol Morris On Typography

The Fog Of Comic Sans: Errol Morris On Typography

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From Cannes, Manohla Dargis Says Sometimes Good Isn’t Good Enough

From Cannes, Manohla Dargis Says Sometimes Good Isn’t Good Enough

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Confusing Publication Strategies Of Innovative Website Medium Shift, What It Is And Will Be Still Unclear

Confusing Publication Strategies Of Innovative Website Medium Shift, What It Is And Will Be Still Unclear

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Georgia Governor Courts H’wd For Location Shoots

Georgia Governor Courts H’wd For Location Shoots

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Friday Box Office Estimates

“Let’s play two,” says Pitch Perfect 2 as Tomorrowland comes out of the blocks slow, hoping that family audiences will power it to a long weekend win, while Poltergeist is going to scare up some business, but nothing quite as shocking as a scary clown. Meanwhile, the much beloved Mad Max: Fury Road continues to do mediocre business, struggling towards $100m domestic, while PP2 passses that landmark today, just nine days into the run.

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Jen Yamato And Tomorrowland’s Damon Lindelof Rank On His Haters

Jen Yamato And Tomorrowland‘s Damon Lindelof Rank On His Haters

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“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 the next several months, my husband, Joe, and I dropped my daughters off at my mom’s and bought tickets to Mad Max: Fury Road.”

“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…

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The DVD Wrapup: Leviathan, Lovesick, Before I Disappear, Blue Room and more

Instead of being iron-fisted by Communist Party functionaries, however, the populace is ruled by an increasingly militaristic government and bullied by plutocrats, gangsters, small-minded politicians and conservative leaders of the ascendant Russian Orthodox Church. That much, at least, can be inferred in Andrey Zvyagintsev’s overtly allegorical drama, Leviathan, which ironically was inspired by the story of a Colorado man whose beef with city officials eventually led him to armor-plate a bulldozer and use it as a battering ram against bureaucratic intransigence.

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DeNiro Does Standup As NYU Tisch Commencement Speech

“Yeah, you’re -—ed.” DeNiro Does Standup As NYU Tisch Commencement Speech

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Marty Pasetta, 82, Directed Oscars Show From 1972-88

Marty Pasetta, 82, Directed Oscars Show From 1972-88

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Movie City News

Quote Unquotesee all »

“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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