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MCN Curated Headlines Archive for November, 2011

110 Features From 31 Countries
88 World Premieres
46 First-Timers
4,042 Feature Submissions
Sundance 2012 Announces Films In Competition

BBC

“We have to react against the theme park film, as well made as they are, and as enjoyable as some of them are.”
Marty Says: Don’t Take The Ride

Early Voters Give Out Only One Award For A Film Not Seen Or Released By October 1
NYFCC Announces The Early Winners

The Artist vs The Descendants is the story in another year of all big indies duking it out
Indies Spirit Noms Announced

“The film must be refused classification because it contains gratuitous, exploitative or offensive depictions of violence with a very high degree of impact and cruelty which has a high impact. Films classified RC cannot be sold, hired, or advertised in Australia.”
Oz Censors Refuse Human Centipede 2‘s Refuse

“Much of the drama emerges through the interstices of the tensely unfolding scenes of emotional writhing and indecision; the sixty-nine-minute sketchbook implies a novelistic amplitude of experience.”
Sounds Like Richard Brody Likes What’s Likely 2011’s Last Joe Swanberg Joint

MCN Curated Headlines

“’The thing is, love makes you feel alive,’ Vincent Cassel says. ‘If most women are looking for security, I think men look for adventure. There’s an expression in French–to go around the world with your dick and a knife–”n’avoir que la bite et le couteau.” Later in life, a man has the possibility to reinvent himself again and again.’”

Blunt Comic Doug Stanhope Defends His Friend Johnny Depp

“The thing you have to remember with Warcraft, probably more than with any other computer game, ever, is that people spend more time in this place than in the places they live. It actually is like their home town. So if you get that wrong it’s a bit like the people in Notting Hill, who are still recovering from the Notting Hill movie.”

Babadook Director Jennifer Kent Goes From Horror To “Horrific” Nexxt

“I woke up one morning and discovered that my tweet was on CNN. My name and words were on television—all without making me a dollar. The irony was not lost on me, someone who finds irony in things for a nonliving. I was barely able to pay my rent while simultaneously (briefly) entertaining people all over the planet. The Internet is like a broken slot machine. I didn’t put any money into it, I received all of its flashing, shrieking, beeping cacophony when I hit its jackpot, and no money came out.”

Alice Screenwriter Linda Woolverton On Her Process Of Banging Her Head On The Table During Script Meetings

Owen Gleiberman Gives Instruction On James Bond’s Next Moves

John Carpenter On Horror That Doesn’t Cut It

Seminal Filmmaker Haile Gerima Is “So Alienated By The Whole Idea Of Love”

Frank Modell, 89, Contributed Over 1,400 Cartoons To The New Yorker

Quote Unquotesee all »

Tsangari: With my next film, White Knuckles, it comes with a budget — it’s going to be a huge new world for me. As always when I enter into a new thing, don’t you wonder how it’s going to be and how much of yourself you are going to have to sacrifice? The ballet of all of this. I’m already imaging the choreography — not of the camera, but the choreography of actually bringing it to life. It is as fascinating as the shooting itself. I find the producing as exciting as the directing. The one informs the other. There is this producer-director hat that I constantly wear. I’ve been thinking about these early auteurs, like Howard Hawks and John Ford and Preston Sturges—all of these guys basically were hired by the studio, and I doubt they had final cut, and somehow they had films that now we can say they had their signatures.  There are different ways of being creative within the parameters and limitations of production. The only thing you cannot negotiate is stupidity.
Filmmaker: And unfortunately, there is an abundance of that in the world.
Tsangari: This is the only big risk: stupidity. Everything else is completely worked out in the end.
~ Chevalier‘s Rachel Athina Tsangari

“The middle-range movies that I was doing have largely either stopped being made, or they’ve moved to television, now that television is a go-to medium for directors who can’t get work in theatricals, because there are so few theatricals being made. But also with the new miniseries concept, you can tell a long story in detail without having to cram it all into 90 minutes. You don’t have to cut the characters and take out the secondary people. You can actually put them all on a big canvas. And it is a big canvas, because people have bigger screens now, so there’s no aesthetic difference between the way you shoot a movie and the way you shoot a TV show.

“Which is all for the good. But what’s happened in the interim is that theatrical movies being a spectacle business are now either giant blockbuster movies that run three hours—even superhero movies run three hours, they used to run like 58 minutes!—and the others, which are dysfunctional family independent movies or the slob comedy or the kiddie movie, and those are all low-budget. So the middle ground of movies that were about things, they’re just gone. Or else they’re on HBO. Like the Bryan Cranston LBJ movie, which years ago would’ve been made for theaters.

“You’ve got people like Paul Schrader and Walter Hill who can’t get their movies theatrically distributed because there’s no market for it. So they end up going to VOD, and VOD is a model from which no one makes any money, because most of the time, as soon as they get on the site, they’re pirated. So the whole model of the system right now is completely broken. And whether or not anybody’s going to try to fix, or if it even can be fixed, I don’t know. But it’s certainly not the same business that I got into in the ’70s.”
~ Joe Dante

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