Movie City News Archive for May, 2018

Michael Moore Announces He’s Still Relevant

“I know Roseanne. And I know Trump. And they are about to rue the day they knew me…” Via Twitter, Michael Moore Announces He’s Still Relevant

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Japan PM Snubs Kore-eda

Japan PM Snubs Kore-eda

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Peter Howell In Praise of Caddyshack, the “Glorious Disaster that Endured”

Peter Howell In Praise of Caddyshack, the “Glorious Disaster that Endured”

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Slender Man Producers Gamble Sony Pictures Exit

Slender Man Producers Gamble Sony Pictures Exit

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Rachel Kushner On Sharing Sidney J. Furie’s The Leather Boys With Her Parents

Rachel Kushner On Sharing Sidney J. Furie’s The Leather Boys With Her Parents

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Solo Costume Designers Glynn Dillon and Dave Crossman On Dressing Lando And Han

“Our main influence was more Hendrix, Marvin Gaye, and James Brown. The main concentration was getting Donald looking good in the black cape and the yellow shirt, because the story demanded that was gonna be his main costume throughout.  The whole Lando’s closet thing grew. In the end we made around 30 capes for that…

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Ed Solomon On Building Bill & Ted’s Excellent Adventure (And A Career) From A Succession Of Failures

Ed Solomon On Building Bill & Ted’s Excellent Adventure (And A Career) From A Succession Of Failures

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When Donald Pardoned Dinesh

“Nobody asked me to do it. I read the papers – I see him on television.” When Donald Pardoned Dinesh

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The Ankler Is Skeptical On I. P. Drive

“The whole point of Bob Iger’s great leap forward was supposed to be that once you had these mega-brands they would sell themselves. Apparently not! Marvel’s incredible winning streak remains the exception. The Rule, which has not been repealed, remains defined by DC, Universal Monsters, etc.: A run continues as long as you keep making great…

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The DVD Wrapup: Annihilation, Kaurismäki, Borzage, Sweet Sweetback, Two of Us, Cold Turkey, Weinstein, Jackass and more

Alex Garland is a terrific writer-director who challenges the imagination and rewards viewers, for whom patience a virtue. Garland received sole screenwriter credit on 28 Days Later … (2002), Sunshine (2007), Never Let Me Go (2010) and Dredd (2012), while sharing the writing credit with Tameem Antoniades on the video games and “DmC: Devil May Cry” and “Enslaved: Odyssey to the West.” He also wrote the novels from which The Beach (2000) and The Tesseract (2003), were adapted. None of them enjoyed an easy stroll to the big screen. Those difficulties were a walk in the park compared to the difficulties the London-born author and filmmaker faced getting Ex Machina (2014) and Annihilation into theaters. Together, they represent two of the finest examples of Earth-bound science fiction — or, if you prefer, speculative fiction or cutting-edge fiction – to be produced sequentially, in memory.

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For RWF’s 73rd Birthday, Filmmaker Reprints 1997 Remembrances By Everett Lewis, Harmony Korine, Tom Kalin, Lynne Stopkewich, Ira Sachs, Jon Moritsugu, Todd Verow

For RWF’s 73rd Birthday, Filmmaker Reprints 1997 Remembrances By Everett Lewis, Harmony Korine, Tom Kalin, Lynne Stopkewich, Ira Sachs, Jon Moritsugu, Todd Verow

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Jason Bateman Says It’s Time He Gets To Play A Woman

Jason Bateman Says It’s Time He Gets To Play A Woman

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Drew Magary Has Words For The Sainted New York Times Op-Ed Cadres

“This is not a time to calm down. David Brooks has no right to tell people who are mad as hell to stop being mad as hell. He can afford to be calm and collected because he is so wealthy and sequestered that nothing truly awful can happen to him. His civility is a luxury….

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The Star Child Lives

The Star Child Lives

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Dumb on purpose

I don’t like that word and I’m not thrilled my friend and hero used it, but to suggest it’s equivalent to a historic and ugly racist stereotype is dumb on purpose. — John Hodgman (@hodgman) May 31, 2018

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Outrage cycles

There's basically no one left involved in these Fake Outrage games that doesn't know they're fake. Literally everyone involved, on every side, in the media, reading Twitter, everyone knows. It's just become this weird ritual that we all enact over & over. — David Roberts (@drvox) May 31, 2018

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Gideon Resnick

it owns to be completely emotionally dead and worn down by outrage cycles and the cycles of outrage about the outrage cycles and the performative outrage about the outrage around the outrage cycles — Gideon Resnick (@GideonResnick) May 31, 2018

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I would like to sincerely apologize to Ivanka Trump and to my viewers for using an expletive on my show to describe her last night. It was inappropriate and inexcusable. I crossed a line, and I deeply regret it. — Samantha Bee (@iamsambee) May 31, 2018

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Sally Field In Defense of That Word

Sally Field In Defense of That Word

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Movie City News

Quote Unquotesee all »

“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima