MCN Curated Headlines Archive for December, 2011

LA Times

“We had this normal conversation. He was feeling me out. And I didn’t have any preconceived notions of him because I didn’t really know what a director really was.”
Gina Carano Kicks It

hollywoodreporter.com

“It’s not portraying the poor people and the desert camels.”
The Making Of A Separation

Museum Of The Modern Image’s Must-Soak Moments Of 2011
Part One Draws 25 Writers, Programmers, Observers
And –  Part Two Offers A Further 24 Diverse Thinkums

telegraph.co.uk

“Imagine if he was sitting right here! Ooh, I want to tweet! I want to tweet!”
Benedict Cumberbatch Encounters An Adoring Public

NY Times

“The only thing I didn’t build was my pencil.”
Dante Ferretti On Hugo

MCN Curated Headlines

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“One of my favorite things in watching any performance on film is when there isn’t a lot of cutting going on and when you get a chance to become really absorbed in the artist in hand. The same way we do, hopefully, at a concert, when we get a chance to really trip in to something that’s happening on stage. Whether the singer’s singing, or one of the other musicians is playing, we sort of stay there instead of cutting round with our eyes a lot.”
~ Jonathan Demme

“We’ve talked about this before in the past, my obsession with the Shakespearean histories having the ideal combination of the sweet and the sour. In ‘Henry IV, Part II’ which we’ve discussed before, in the end of that story it’s very complex and haunting because Prince Hal becomes Henry the King, and he has transcended his hoodlum days and at the ceremony is Falstaff, his good friend with whom he has really fucked around and been a loser with, and Falstaff comes up to him and says, ‘Now that you’re king we can really party,’ and the king famously says, ‘I know thee not, old man.’ It becomes Henry IV’s anointment and Falstaff’s catastrophe. That’s life. I have experienced very little unfettered triumph. There are moments, such as when my children are born, but even that comes with new fears and anxieties. In a sense the better you can communicate that life is both at once, the more powerful over time something becomes. One strives for something where the threads are there because it lasts in way that is very palpable. The idea of a tragedy is powerful in literature and theater, but in cinema it doesn’t work, certainly not commercially, and less so critically. Why is that? I think it has to do with how movies are so close to us.”
~ James Gray