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MCN Curated Headlines Archive for February, 2012

LA Times

“(the full title is unprintable in this newspaper)”
The LAT On B*ing Fl*nn‘s Original Title, “Another Bullshit Night In Suck City”

NY Times

“He didn’t believe in flat light or just bright, Rexall drugstore lighting, which a lot of times you can get if you get somebody that isn’t very imaginative.”
Cinematographer Bruce Surtees, 74, Shot Play Misty For Me, Lenny, Night Moves, Beverly Hills Cop

“She was merely doling out the screenplay awards, but her pose bore a definite, don’t-f—-with-me trace of the gunslinger, and so it was, across the time zones, that a billion people sat there with their hands up: Freeze.”
Anthony Lane Deigns To Condescend To Oscar (But Not Angelina)

MCN Curated Headlines

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“I was a brat back when I made Pootie Tang. I was dealing with people every day whose pressures I didn’t understand, and I wasn’t very nice about how I said no to them. I put myself in a position I didn’t have to be in. A lot of what makes this kind of stuff work is empathy. If you’re taking money from somebody, they have a right to look after it. It’s all just trying to be clear about the arrangement. That’s why when I set up ‘Louie,’ I just said, ‘This is what I’m comfortable doing, and if you don’t want to do it, I don’t blame you. But in exchange, I’ll take very little money.’ I was only getting $200,000 per show from them, which is insane, and it goes up just by tiny increments every year. The other part of the arrangement with FX is that if this stops working for them, they should just tell me and we’ll stop doing it. Contractually, FX has a right to demand that the scripts be filtered through them before I shoot them, just like any other show. But from the beginning, they haven’t read anything, and they like the show. If I start turning in shit, then they’re going to start asking to see scripts, and that’s perfectly fair.”
~ Louis C. K.

BOMB: Do you give a lot of direction?

ASSAYAS: I give zero indications. Nothing. To me, it’s all physical. It is all about getting the right actors. They understand the part. They’re not idiots. They’re going to sit down, and they’re going to work. They don’t need my explanations. The problem is that actors listen to directors. They respect them. So, when you say something, it becomes gospel. In a certain way, this limits their imagination. I’d rather say nothing. Then, when we shoot, I fix whatever I don’t like. I channel it as softly as I can in a direction where, maybe, there’s something to gain. But, usually, if you are working with the right people, their instinct will be correct. They will bring something of their own to the character, and to the situation. Ultimately, there will be some kind of human truth to what they are doing.
~ Olivier Assayas on directing

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