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MCN Curated Headlines Archive for March, 2012

NY Times

“You can say no. You can not be the object of ridicule.”
Peter Dinklage On Making The Right Choices

indie wire

“If we can’t agree that folks who quietly flouted Prohibition in private (or who smoke weed at home today, for that matter) weren’t (aren’t) evil-enabling scumbags, then there’s just no common ground here.”
D’Angelo Doubles Down Against Those Who Say He Shouldn’t Download Movies Illegally

NY Times

“This Disney Theatrical Productions adaptation of the 1992 Disney movie musical is made up largely of numbers that feel like blazing banner headlines. And if none of them quite match the immortal panache of the New York Post classic ‘Headless Body in Topless Bar,’ you have to give their creators points for consistency.”
“Newsies”: The Pan

wsj

“If your kid comes out of the bedroom and says he just shut down the government, he should have an outfit for that.”
Some Quality Time With John Waters

nymag

“Seems every competitor and enemy piling on with lies and libels. So bad, easy to hit back hard, which preparing.”
Rupert Murdoch Takes Case To Twitter

MCN Curated Headlines

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“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

“I was having issues with my script for It’s All About Love, so I called Ingmar Bergman and we ended up talking about everything but the script. He said, “Well, Festen is a masterpiece, so what are you going to do now?” At that point, I had not decided if I was going to make It’s All About Love, so I answered, “Hmmm, I don’t know. Maybe this, maybe that.” There was just a long pause, and then he said, “You’re fucked.” I said, “Well, how can you know?” “Well, Thomas, you always have to decide your next movie before the movie you’re doing presently opens.” And I said, “Why is that?” “Well, two things can happen. One thing is that you fail, and then you’ll feel scared and humiliated. It’ll get into your head. Second, and even worse, you have success, and then you’ll want more of it, or you’ll want to maintain it. But if you decide on your next film while you’re in the middle of editing, it becomes a very nonchalant choice. And then it’s shorter from the heart to the hand.”
~ Thomas Vinterberg

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