MCN Curated Headlines Archive for January, 2012

daily beast

“I’d been married 10 years when I started writing it and I was certainly asking a kind of existential question that I think people ask when they’ve been married that long: what is the perfect love?”
“Her Madgesty” Expands The Universe With W. E.

“You know, we’re talking about maybe 10 or 12 bloggers who have left out of 135, we still have 120 bloggers. It’s not a question of having well-known people or not. We’ll just have quality blogs.”
Huffington Post Quebec Loses Writers Who Decided Not To For Le Free

NY Times

“I’m dazzled by this director.”
Sean Penn Talks Sorrentino At Sundance

LA Times

Good Bye, You Sunk My Franchise
Universal Sez No Mo’ Hasbro

“Hi. I’m Tim Heidecker the “star” of The Comedy. There is clearly a destructive agenda running through the piece, starting with the incendiary, hyperbolic, misrepresentative title of the article.”
Commenters Illuminate Small Blog Entry About Response To The Comedy Screening At Sundance

“We will lose a lot of little theaters around the country.”
From The Arthouse Convergence, Good Dr. Bordwell On Pandora’s Digital Box

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