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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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Aloha is the movie equivalent of a man in a donkey suit with a tree branch growing out of his forehead. I don’t know what the fuck this movie is. It feels like Cameron Crowe tried to make some Pynchonesque contemporary riff on Casablanca, then either or he or the studio chickened out halfway through and tried to turn it back into Jerry Maguire. But don’t confuse Aloha with hackwork. It’s more like a mad scientist had 10 beakers bubbling, and instead of unlocking cold fusion, he blew up his lab and melted an ear. I swear, this movie is like some bastard offspring of Casablanca, Inherent Vice, ‘Goosebumps,’ and ‘Baywatch Hawaii.’ My takeaway? Making movies is hard, yo.”
~ Vince Mancini

“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

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