MCN Curated Headlines

“smfjjjsomuchrandomstuffsomuchegjwogpjwd bldklhjitslikeyouthoughttheearliermovieswereeconfusinghahahah mfjff7ga98fhfhfplwxczchowarekidssupposedtounderstandanyofthisVSSH gmnskglactuallyhowareadultssupposedtounderstandanyofthisjskjjlvr lmnkrjsljrjsaywhatyouwillbutonceuponatimejsogrjdvpvarivpaeimp grfggjsfsfpoemichaelbaycouldbringbeautytoanactionsceneeeevgrhcgg oiwxgamanicpoetryfilledwithkineticgraceandheroismgjvbbp mnfwdwdwkpad3dkkalikewhateverhappenedtoTHATguydzxwqs”
Form Meets Function As Bilge Ebiri Reviews Transformers

indie wire

“I’m a brown woman immigrant, my family escaped the Iranian Revolution, I grew up on two continents, English wasn’t the first language in my home. I know what it is to be the ‘other’ very, very well. My film and my filmmaking is all about asking questions about how the system pits us against each other. If anything, this movie is about how we are eating each other. It’s fine, I get it, some people don’t see those things or ask those questions. Cinema is a private, personal experience for individual. But this felt personal against me…What is art? I find myself asking that question all day these past few weeks. I’m thinking, you shouldn’t be able to answer that. That’s the fucking problem. People think they can.”
Ana Lily Amirpour Replies

“A play is not a tweet. It can’t be compressed and embedded and it definitely can’t be delivered apologetically. The very act of saying anything more nuanced than ‘us good, them bad’ is under attack, and I’m proud to stand with artists who do.”
Corey Stoll On Playing Brutus In The Park

“I don’t think there’s going to be a winner. There may be a dominant platform, and I don’t think it’s going to be big screen movies.”
Young Han Solo Director Ron Howard On The Future Of Movies

the wrap

“Warm Cheddar Drop Biscuits… Roasted Veggie Kabobs…Veggie Cheeseburg” 
Netflix Enforcing Vegetarian-Only Dinner Menu During iPic Booking Of Okja

LA Times

“People want to see a world that looks like theirs.”
CAA Study: Diverse Casts Rake More Cash

“Outside the silos, there has been a big waste of money on projects that don’t make sense. They’re not going to make a movie like The Judge with Robert Downey Jr. for $60 million. For $35 million — maybe.”
What Will Warner Under Emmerich (And AT&T) Look Like?

“From the beginning of cinema, models of production and distribution have changed almost every 10 years. I mean, filmmakers thought the end of the world was happening when sound was invented because there had been this whole silent movie thing, which made a lot of people millionaires and certainly famous. And then sound came along and this whole silent thing just fell off the edge of the earth.”
Hal Hartley Accepts Change


“I really hate it. Being the producer is just not interesting. Being a director of a movie would be fun, being a writer on a movie would be fun, being an actor, being an editor. When you’re the producer, you’re herding people to do stuff. You’re organizing money. You’re dealing with people’s feelings. It’s a horrible job! I don’t understand why Scott Rudin would want to have that job. It seems like an awful job. God bless him for doing it.”
Ira Glass Hates Producing Movies

“This is an exciting time for cinemas and their business partners all around the world as the industry enters a new era of global collaboration and ongoing innovation.”
Distrib Bigs Launch Worldwide Industry Body

“There are only six companies that comprise all the elements of a major studio, and this is one of them. You want to see it achieve its full potential. There’s no reason why it shouldn’t be more successful than it’s been recently.”
THR Cover-Stories Jim Gianopulos And The New Paramount

“All of this — the money, the dissatisfied and reduced staff, the failure to compete — puts Guardian US on the verge of being a flameout as a US-based news operation, reduced to a glorified foreign bureau for the UK paper.”
“How The Grauniad Lost America”

“The world of digital advertising is a nightmarish joke. Mark Zuckerberg’s first post about fake news, Facebook managed to serve an ad for fake news next to it. It’s a joke. It’s out of control. There are all sorts of creepy, borderline fraudulent middlemen, this thicket of strange companies, tracking pixels on everything. You couldn’t think of a more dangerous environment for a brand.”
NYT CEO Has Words

“Her own story, the way she tells it, repeatedly returns to adolescence, those years which were abruptly taken from her, which she continuously reclaims on screen. To Coppola, womanhood is imprisonment, girlhood is freedom, and her feminism lies in her refusal to compromise the latter. She will not, for instance, adopt the ‘feminist’ label, despite her constant devotion— albeit a devotion that is blind to intersectionality—to female identity.”
Soraya Roberts On The Notion Of Sofia Coppola

“You could parse Coppola’s erasure of blackness as a writer and director any number of ways. The Beguiled certainly whitewashes the novel, denies a possible role to an actress of color, contributes to the racial absolution of white women’s role in upholding slavery, and glamorizes what Coppola calls the ‘super-feminine, lacy worlds’ of antebellum femininity. This is not the first time the director has simplified a story by excising its racial implications.”
Inkoo Kang Does Not Care For Coppola At All

“Drabinsky’s counsel had argued that he has unique and valuable talents as a creative producer that the entertainment industry can benefit from.”
Disgraced Canuck Producer-Impresario Garth Drabinsky Barred From Company Directorships After Half-Billion Dollar Fraud

Bob Iger, Reed Hastings & Ted Sarandos, Steve Burke, Les Moonves, The Murdochs, Shari Redstone & Bob Bakish, Jeff Bewkes, Alan Horne, Oprah, Peter Rice…
Reporter Anoints Its 100 Top Figures In Entertainment

NY Times

“Solace came in nightly, and soon light-of-daily, visits to Tosca, an Art Deco drinking landmark that became a second home. As befitting the place’s diva-inspired name, its jukebox played only opera. Pretty soon, Wenders was listening again and again to one 45: the aching aria of the lovelorn fisherman Nadir, from Bizet’s little-performed ‘Les Pêcheurs de Perles.'”
Wim Wenders Directing His First Opera At Age Of 71

MCN Curated Headlines

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch