MCN Curated Headlines Archive for November, 2011

NY Times

“I believe in what I’m doing wholeheartedly, passionately, and what’s more, I simply go about my business. I suppose such a thing can be annoying to some people.”
Dennis Lim Obits Ken Russell

LA Times

“I believe in the things I make. The fact that God doesn’t want me to make them is beside the point.”
Hard-Luck Kid Terry Gilliam Turns 71

telegraph.co.uk

“There’s not a lot of films I’d watch that are made over the past 20 years, because I’m much more of a romantic.”
Spielberg Sez Not Many Good Movies Made Anymore

“What seems grossly unfair is there doesn’t seem to be any adult supervision looking out for the average investor like myself. You have unemotional, ruthlessly efficient and litigious investors attempting to extract whatever they can from whomever they can.”
Bankrupt TribCo’s Creditors Set To “Claw Back” Bucks From Even Smallest Past Investors

NY Times

“He is playing to the movie industry’s wobbly sense of self, exactly at a time when it is fretting about declining attendance, weak economics and constant pressure from other media.”
Together Again For The Very First Time! Weinstein As Seen By Cieply!
And – “I told my girls that I have a weakness for movies about the creative process.”
Harvey Blogs Freely At HuffPo

telegraph.co.uk

“I have a career that’s sort of stacked up behind me, and if I was once guilty of that sin of doing too much, which seems rather vulgar in British eyes, it can be forgiven if a few conspicuous failures and kickings pile up. So you go through the hubris and schadenfreude and out the other side. And there’s a whole bunch of people coming up behind you who are the next lot to annoy.”
Kenneth Branagh Likes To Think The Public No Longer Detests Him

“It’s one of the great performances in my 50 years of movie-going.”
Vanity Fair Film Cricket Paul Mazursky Chirps For Michelle Williams’ Marilyn

My Lovely Teacher… It’s Never Too Late… Larry Crowne – Smile of Fate”
2011 US Releases Get Refreshing Titles Elsewhere

Oscar? “It’s the greatest Good Housekeeping seal in the world. It’s the greatest brand. It’s as good as Louis Vuitton and Dior in the world of moviemaking. It’s the Super Bowl. It’s just greater than all the above.”
Rocchi Gets On The Blower With Harvey

“We kept all the KEMs and the Moviolas, and we kept all the white gloves, we kept the Scotch tape. We’ve still got a couple million feet of sound leader, sound film standing by for us.”
Spielberg On Digital Editing

NY Times

“A previous version of this article incorrectly spelled the name of Alfred Hitchcock.”
Rafferty Would Like To Point Out That A Dangerous Method’s Mad Character Would Have To Be A Woman, Wouldn’t She?

LA Times

“Everything in the Philip K. Dick world is complicated”
Even The Rights To Adapt His Work

MCN Curated Headlines

Quote Unquotesee all »

Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé