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

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“Any time a movie causes a country to threaten nuclear retaliation, the higher-ups wanna get in a room with you… In terms of getting the word out about the movie, it’s not bad. If they actually make good on it, it would be bad for the world—but luckily that doesn’t seem like their style… We’ll make a movie that maybe for two seconds will make some 18-year-old think about North Korea in a way he never would have otherwise. Or who knows? We were told one of the reasons they’re so against the movie is that they’re afraid it’ll actually get into North Korea. They do have bootlegs and stuff. Maybe the tapes will make their way to North Korea and cause a fucking revolution. At best, it will cause a country to be free, and at worst, it will cause a nuclear war. Big margin with this movie.”
~ Seth Rogen In Rolling Stone 1224

“Yes, good movies sprout up, inevitably, in the cracks and seams between the tectonic plates on which all of these franchises stay balanced, and we are reassured of their hardiness. But we don’t see what we don’t see; we don’t see the effort, or the cost of the effort, or the movies of which we’re deprived because of the cost of the effort. Paul Thomas Anderson’s Inherent Vice may have come from a studio, but it still required a substantial chunk of outside financing, and at $35 million, it’s not even that expensive. No studio could find the $8.5 million it cost Dan Gilroy to make Nightcrawler. Birdman cost a mere $18 million and still had to scrape that together at the last minute. Imagine American movie culture for the last few years without Her or Foxcatcher or American Hustle or The Master or Zero Dark Thirty and it suddenly looks markedly more frail—and those movies exist only because of the fairy godmothership of independent producer Megan Ellison. The grace of billionaires is not a great business model on which to hang the hopes of an art form.”
~ Mark Harris On The State Of The Movies