MCN Curated Headlines Archive for May, 2011

NY Times

MSNBC Asserts: “Fake Dragon Tattoo Trailer Is Fake”
But – NYT: Sony Sez Probably Pirated Off U.S. Screen, Using Same Evidence
Oh, Wait – Salon Has Precisely The Same Conclusions!
While – THR Quotes A Buncha Bloggers And Cites Unnamed Sony Spokesperson With No Direct Quotes
Plus – “From a media perspective, it’s dealing in bad faith. Web sites and studios have an implicit agreement to work on the latter’s schedules; we withhold obviously pirated or leaked material until an authorized, theoretically superior version is available. It basically reduces us to another Hollywood marketing arm, but at least we have the prerogative to tell you if the campaign is stinky or ineffective.”
Vanairsdale On The Implications If It’s All A Salander-Fashioned “Hack”

NY Times

“There is something flattering and exciting about the permanence of paper, and we committed to doing serious journalism at a time when there has been this onslaught of hit-and-run bloggers.”
Carr Media-Equates Janice Min’s H’wd Reporter

LA Times

Raiders was the first movie where I actually shot the movie without thinking. I like to say that the line that most typifies the production of that movie was when Harrison says, ‘I’m making this up as I go along.'”
Spielberg On Raiders At 30

“He plays the role of the dedicated artist convincingly. This makes it extremely difficult for critics to believe that a man so devoted to his creations, so uninterested in grosses or the trappings of fame, could actually be quite an inept filmmaker. But such is the case. It has to be said: There is something mulish about his sophomorism, something stupefying about his work.”
Schickel Takes To Outlet Less Known Than Time To Point Pop Gun At Tree Of Life; Invokes, Yes, Preston Sturges’ 70-Year-Old Gag About The “Deep-Dish Movie”

NY Times

“Audiences are very smart. When they smell something aspiring to be more than it is, they catch on very quickly.”
3D! We Hardly Knew Ye!

NY Times

Serious-Funny x 2
“I’m a terrible actor,” he said, eating scrambled eggs. “I’m too self-conscious. I’m not a fan of me,” Mr. Ayoade said, “and I can’t become one.”
Richard Ayoade, The Quietly Self-Deprecating Mind Behind The Beguiling Submarine
And – Mike Mills On The Start Of Beginners

MCN Curated Headlines

Quote Unquotesee all »

“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