MCN Curated Headlines Archive for October, 2011

“He gave me a carefully crafted self-portrait of a tyrannical genius. I gave him the satisfaction of seeing my total self-abasement. We’re even.”
Seemingly Mad Director Ilya Khrzhanovsky’s Years-In-The-Making Movie That Transformed A City In Ukraine

NY Times

“She fired up her exultantly vernacular American prose as if she were writing high-octane fiction, not passing judgment on Cabaret.”
Frank Rich On Pauline Kael
And – Louis Menand’s 1995 NYRB Essay On The “Promiscuity” Of Her Attentions
Plus – Renata Adler’s Notorious 1980 Shakedown Of Kael, Cited By Rich

Shaks. Smear?
“To remain silent in the face of stupidity this blatant is to acquiesce to a kind of culture-destroying ugliness.”
Ron Rosenbaum‘s “10 Things I Hate About Anonymous And The Stupid Shakespearean Birther Cult Behind It”

guardian

“Not just a failure; it is an assault on a great body of art so thuggishly moronic as to make one genuinely depressed.”
One More BritWit Takes A S—: Guardian Showcases Its Fourth Tintin Takedown

guardian

“Do I have a small movie in me? Yeah, probably, when I’m 60. But I’m not Hal Ashby, I’m not Roman Polanski. I’m true to myself. Whether you like it or not.”
“Rat” Ratner Talks The Talk

nymag

“I f—ing hate photos. It makes me so self-conscious because the whole goal is to look attractive and sell the clothing. My friends always laugh at me because I’ll send them pictures from the studio and they know that I’m such a f—ing ghoul.”
Anton Yelchin Is Not A Commodity

MCN Curated Headlines

Wilder on Lubitsch Touch

“It is time to let this franchise finally go to the great beyond,” says Eric Handler of MKM Partners.

Parasite’s Genres

The Variety Sunday Column Tut-Tuts JoJo Rabbit

“I think that’s not true. I think it’s unfortunate. I think myself and everyone who works on these movies loves cinema, loves movies, loves going to the movies, loves to watch a communal experience in a movie theater full of people. We did Civil War. We had our two most popular characters get into a very serious theological and physical altercation, Everybody has a different definition of cinema. Everybody has a different definition of art. Everybody has a different definition of risk. Some people don’t think it’s cinema. Everybody is entitled to their opinion. Everyone is entitled to repeat that opinion. Everyone is entitled to write op-eds about that opinion, and I look forward to what will happen next. But in the meantime, we’re going to keep making movies.”

Bob Weide

Irvine Welsh on IRISHMAN

Fourth Annual Critics’ Choice Documentary Awards Drop Five on Apollo 11

Pre-Trial, Harvey Weinstein Returns To Exclusive Club Nightlife In NYC

“Little Women seamlessly continues the preoccupations of Gerwig’s previous work, which includes directing Lady Bird and co-writing Frances Ha and Mistress America: the terrible intimacies of sisters; the complexities of mothers and daughters; and the existential lives of women in states of becoming, their realities hopelessly exceeded by their own desires. These protagonists are caught up in an ineffable sense of want—to be someone else, to be somewhere else—that slowly, through and with the other women in their lives, sharpens into a bittersweet understanding of who they are and where they belong. The modest settings and contemporary, urban characters of the earlier films are reimagined within the grander, weightier frameworks of history and literature. The becoming of the characters in Little Women is also the becoming of an era, a canon, and a kind of womanhood.”

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon