MCN Curated Headlines

“Before BlacKkKlansman had its world premiere, I wondered which black American film critics would be writing on it. The answer, it turns out, was just me (and one other woman who wrote more about her experience getting a ticket than on the film itself). I felt that pressure and resented it. The frustration grew as reviews came in, most glowing, about how this is The Film We Need Now. Some criticized the film‘s missteps while missing some of the racial frissons. I wanted to be a critic writing about the film, not the black critic sassily setting everyone straight. ‘My profession is not Black,’ was the phrase in my head before writing this review.”
Miriam Bale From Cannes

“Are scrawny guys suddenly ‘in’? Or are straight men just, finally, getting openly objectified like women and gay men long have been?”
The Atlantic Blogs Upon The New York Times And Its “Age of The Twink” Venture

“In 1997, I was raped by Harvey Weinstein at Cannes. I was 21 years old. This festival was his hunting ground. I want to make a prediction: Harvey Weinstein will never be welcomed here ever again. He will live in disgrace, shunned by a film community that once embraced him and covered up for his crimes. Even tonight, sitting among you, there are those who still have to be held accountable for their conduct against women, for behavior that does not belong in this industry, does not belong in any industry. You know who you are. But most importantly, we know who you are. And we’re not going to allow you to get away with it any longer.”
Asia Argento Addresses Cannes Awards Ceremony

variety

“The outing of public figures has also been made difficult because of France’s strict libel laws.”
French Actress Alleges May 10 Luc Besson Sexual Assault

deadline

WGA And Luc Besson’s Seaside Productions Reach $1 Million Unpaid Residuals Settlement

“I said very early on to them: “This is not a murder trial, we’re a film festival jury. We have to be there with respect, joie de vivre and curiosity”. We’re really trying to respect every single filmmaker, their culture, their gender or their age, and just to see what is in front of us. It’s like a great rehearsal room, there is an attempt to understand what people are saying or trying to say!”

Cannes Prizes
Shoplifters
Grand Prix: Blackkklansman
Jury Prize: Capharnaüm
Special Award: Jean-Luc Godard
Best Director: Pawel Pawlikowski, Cold War
Screenplay (shared): Lazzaro Felice, 3 Faces
Actor: Marcelo Fonte, Dogman
Actress: Samal Yeslyamova, Ayka
Camera d’or: Dhont

“Lacking Bresson’s sensuality, Godard’s existentialism, Spielberg’s former ecumenical vision, and Jared Hess’ beatific embrace of humanity in Nacho Libre and Don Verdean, Schrader’s dour films score points for the gatekeepers of today’s agnostic film culture… hipster nihilism.”
National Review Online’s Armond White Endorses Paul Schrader’s First Reformed With Chunky-Clunky Thumbs Down

variety

“I tried Black Panther. I escaped from the cinema after 20 minutes. I thought it was as bad as Star Wars. (I hated Star Wars.) I hated the R&B music. The music was so bad that I had to escape.”
Gaspar Noé

“I just got up one morning and said to my office, ‘I’m moving to New York. I’m not going to live long if I’m staying here.’ So I sold everything. Got a place in New York. And sure enough I thought I had left all my drug friends behind. But I made new drug friends. I didn’t know they had drug friends in New York. So then I had to move on to Japan.”
Paul Schrader Looks Back Over His Shoulder

the wrap

“I don’t understand why men are taking pay cuts to establish ‘gender equality.’ Snow was worth his previous salary – he’s brilliant at his job – and any women who are as good as him should be paid the same, or more if they’re better. THAT is equality, surely? No, I don’t. It’s market force in the commercial TV game. If you deliver ratings/advertising, you get paid accordingly. If you don’t, you get fired.”
Blighty’s Piers Morgan, Once Fired From CNN, Goes On About A Thing

MCN Curated Headlines

Sergio on: "Even though the Marvel series are TV shows, Netflix has become entranced by this notion of the '13-hour movie' when developing a season. This format mashup does a disservice to both mediums. Television's strength lies in episodic structure, which allows writers to explore different tones, characters, story structure and conflict. Movies allow a filmmaker to hone in on one or two central themes, attack it from multiple angles and get out. Netflix’s model takes the most incompatible parts of each and slaps them together, creating a lumbering mutant medium. The '13-hour movie' model means we don’t get the brevity of a film or the variation of television; it means we get the singular focus of movies stretched out to television length. It’s exhausting and it does these heroes no favors."

tidalmediainc on: Black Panther: $387 Million Worldwide

Frances Aubrey on: David Klion On “Unlearning Woody Allen”

Ray Pride on: 2017 FYC (For Your Consideration) Screenplays Now Up To 36 Titles

YancySkancy on: 2017 FYC (For Your Consideration) Screenplays Now Up To 36 Titles

Debbie on: 2017 FYC (For Your Consideration) Screenplays Now Up To 36 Titles

Warren on: "Whatever it is that people are reacting to in these superhero films, it’s not what they say they’re reacting to. They clearly don’t care about consistent characterization, original storytelling, or anything else they say they do, because if they did they’d be a lot more picky. What they really like is what we all like: confidence. Movies boil down to someone – or a group of someones – telling us a story. And telling a story well takes confidence. If a storyteller has a great story packed with interesting characters and exciting developments but they stumble over the order of things and mumble during the important bits, the experience is going to suck. Likewise, if the story is poor but they tell it well it’ll be a good time even if afterwards we realize it didn’t make any sense."

Amazing GBG on: "Whatever it is that people are reacting to in these superhero films, it’s not what they say they’re reacting to. They clearly don’t care about consistent characterization, original storytelling, or anything else they say they do, because if they did they’d be a lot more picky. What they really like is what we all like: confidence. Movies boil down to someone – or a group of someones – telling us a story. And telling a story well takes confidence. If a storyteller has a great story packed with interesting characters and exciting developments but they stumble over the order of things and mumble during the important bits, the experience is going to suck. Likewise, if the story is poor but they tell it well it’ll be a good time even if afterwards we realize it didn’t make any sense."

Ray Pride on: "Whatever it is that people are reacting to in these superhero films, it’s not what they say they’re reacting to. They clearly don’t care about consistent characterization, original storytelling, or anything else they say they do, because if they did they’d be a lot more picky. What they really like is what we all like: confidence. Movies boil down to someone – or a group of someones – telling us a story. And telling a story well takes confidence. If a storyteller has a great story packed with interesting characters and exciting developments but they stumble over the order of things and mumble during the important bits, the experience is going to suck. Likewise, if the story is poor but they tell it well it’ll be a good time even if afterwards we realize it didn’t make any sense."

Roy Batty on: "Whatever it is that people are reacting to in these superhero films, it’s not what they say they’re reacting to. They clearly don’t care about consistent characterization, original storytelling, or anything else they say they do, because if they did they’d be a lot more picky. What they really like is what we all like: confidence. Movies boil down to someone – or a group of someones – telling us a story. And telling a story well takes confidence. If a storyteller has a great story packed with interesting characters and exciting developments but they stumble over the order of things and mumble during the important bits, the experience is going to suck. Likewise, if the story is poor but they tell it well it’ll be a good time even if afterwards we realize it didn’t make any sense."

Quote Unquotesee all »

“There are different signs that this is not stopping. I don’t think that anger and frustration and those feelings can go away. I hope they don’t. The attention and support for the victims needs to be continued, more than people worried about these abusers and what’s next for them, how are they going to move on — shut up. You know what? If any of these people come back, I would say, “I can’t wait to see who is actually going to support them.” That is going to be the glaring horror. Who is going to be, like, “This is a pressing issue, and we need to get them back?” If a janitor was so great at cleaning the building but also tended to masturbate in front of people, would the people at that building be like, “Yes, he masturbated, but I’ve never seen anyone clean so thoroughly, and I was just wondering when he’s going to get his job back, he’s so good at it.” No, it would be, “That’s not acceptable.” It’s fame and power that people are blinded by.”
~ Tig Notaro in the New York Times

“It’s never been easy. I’ve always been one of the scavenger dogs of film financing, picking up money here and there. I’ve been doing that all my life. This was one was relatively easy because certain costs have gone down so much. I made this film in 20 days whereas 30 years ago, it would have been made in 42.”
~ Paul Schrader