MCN Curated Headlines

“You can have a deep affection for your characters, you can feel that they have a future. Tomorrow has the possibility of being as good or even better than today. In their lives there is always the possibility as well as the reality of things getting better. There are, however, many other options for what might happen and how it might be perceived. This, then, is not ‘optimistic,’ which has to do with naively underestimating the terrible situations and dire circumstances that people confront every day. You can believe and hope without exactly being optimistic.”
Louis Black On His Friend Jonathan Demme

paint-dryingCharlie Lyne Continues His Absurdist Battle Against British Film Censorship

NY Times

“A personable man with the curiosity gene and the what-comes-next instinct of someone who likes to both hear and tell stories, Mr. Demme had a good one of his own, a Mr. Deeds kind of tale in which he wandered into good fortune and took advantage of it.”
Bruce Weber’s Lilting Obit For Jonathan Demme

hollywoodreporter.com

“We are exploring theatrical distribution of these two films in France, for a limited theatrical run, day-and-date with the films’ release on Netflix.”
Netflix May Do Truncated Theatrical Releases Of Cannes Competition Titles

hollywoodreporter.com

“None of that changes the fact that I am scared shitless. I am not a 24-year-old kid coming out of film school and sharing an apartment with a gaggle of friends. I have a family that needs health insurance and a mortgage that needs to be paid. I am a grown-ass man who lives in the real world.”
Marc Bernardin On Voting WGA Strike Authorization

“Jonathan’s skill was to see the show almost as a theatrical ensemble piece, in which the characters and their quirks would be introduced to the audience, and you’d get to know the band as people, each with their distinct personalities. They became your friends, in a sense.”
David Byrne On His Friend Jonathan Demme

Mark: I just wish you’d stop sniping.
Joanna: I haven’t said a word.
Mark: Just because you use a silencer doesn’t mean you’re not a sniper.
Mark Harris Looks Back To Two For The Road For “Cinema ’67 Revisited”

deadline

“Every night we were shooting, I’d study the scene for tomorrow, and I’d also go back to the book and read what Harris had written, all the levels that were going on there. I’d arrive on the set just tremendously fortified, from the Harris point of view and the terrific Ted Tally script.”
From Its 25th Anniversary, An Oral History Of How Silence Of The Lambs Made It To The Screen

“For a love story, it mirrors what often happens when people do fall for another – it’s destabilizing and terrifying.”
Kim Morgan On Jonathan Demme’s Something Wild

“I didn’t even know that I was in the documentary until a ‘fan’ messaged me telling me they knew my real name and personal information. Do you understand how scary that is? Nobody called me to warn me.”
Allegations Of Exploitation By Netflix’s “Hot Girls Wanted: Turned On”

“What struck me instead was the haunting notion that we’ve reached a point in history where an explicitly political, feminist work of art must be depoliticized and downplayed for fear of alienating the men who might feel excluded by it.”
On “The Handmaid’s Tale” And That “F” Word

variety

“Miramax is a storied brand that is poised for growth across all of its divisions. It is an honor to helm this legacy and expand it qualitatively across all platforms including the immense growth potential across digital and in new media.”
Expansion-Minded Miramax Names Bill Block CEO

“Leni Riefenstahl’s playbook was key for him. I think he used her technique of fear, which you can see in that movie.”
“The barriers in Hollywood are simple. First, you have to have talent. And, second, you have to know how to get along with people. It’s a small club.”
Connie Bruck On How H’wd Remembers Steve Bannon

“I think about walking out on stage somewhere in the United States of America and sitting down in a chair and giving the performance that will be the beginning of the next chapter of my career.”
Bill Cosby Prepares For Sexual Assault Trial And Comedy Comeback

“It’s not really about design or style. It doesn’t start there. It starts with the way you live and an architecture that supports or even advances in the way you communicate and the rituals you have in your day-to-day life.”
Modern House Built After Bulldozing Ray Bradbury’s Home Nearly Done; A Metal Screen With Bradbury Quotes Among Its Irksome Features

“Over the years it’s gotten more and more accepted, and – I don’t know, can you make all your money back just showing on TV every Mother’s Day? That’s where it ended up.”
John Waters On Serial Mom

MCN Curated Headlines

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“One of my favorite things in watching any performance on film is when there isn’t a lot of cutting going on and when you get a chance to become really absorbed in the artist in hand. The same way we do, hopefully, at a concert, when we get a chance to really trip in to something that’s happening on stage. Whether the singer’s singing, or one of the other musicians is playing, we sort of stay there instead of cutting round with our eyes a lot.”
~ Jonathan Demme

“We’ve talked about this before in the past, my obsession with the Shakespearean histories having the ideal combination of the sweet and the sour. In ‘Henry IV, Part II’ which we’ve discussed before, in the end of that story it’s very complex and haunting because Prince Hal becomes Henry the King, and he has transcended his hoodlum days and at the ceremony is Falstaff, his good friend with whom he has really fucked around and been a loser with, and Falstaff comes up to him and says, ‘Now that you’re king we can really party,’ and the king famously says, ‘I know thee not, old man.’ It becomes Henry IV’s anointment and Falstaff’s catastrophe. That’s life. I have experienced very little unfettered triumph. There are moments, such as when my children are born, but even that comes with new fears and anxieties. In a sense the better you can communicate that life is both at once, the more powerful over time something becomes. One strives for something where the threads are there because it lasts in way that is very palpable. The idea of a tragedy is powerful in literature and theater, but in cinema it doesn’t work, certainly not commercially, and less so critically. Why is that? I think it has to do with how movies are so close to us.”
~ James Gray