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

Richard A. Roth, 76, Produced Summer of ’42, Sherlock Holmes’ Smarter Brother, Our Time, Outland

Survivors Of 24-Hour Wellington, NZ Harry Potter Marathon Saluted

“She took to Annie in a way I could not have predicted. She became obsessed with the songs, she knows the dance routine from ‘It’s A Hard Knock Life,’ carrying buckets and rags around, flopping on the floor, gesticulating wildly. She insists, sometimes, that we refer to her as Annie. She renamed our dog Penny; occasionally, I answer to ‘Miss Hannigan.’ I didn’t know until recently that the movie itself is often considered by critics to be ‘not good.’ To me, it is perfect. The songs are brilliant, the choreography lovely, the casting is genius. I admit that I see all of this not with the eyes of a critic but through the thick glasses of nostalgia, and yet, I know that this movie has real artistry to it.”

“The studios are being challenged from every which way. We’re on the precipice of big seismic changes, and whenever that happens, there are upheavals in management.”

States May Counter Senate Plans To Eliminate Internet Privacy For Profit

Robert Evans On The London Stage Adaptation Of “The Kid Stays In The Picture”

Reese Witherspoon And Laura Dern Get Close

I don’t want to strike. But if we’re going to, health care, diversity, and preventing the exploitation of young writers are great reasons. — C. Robert Cargill (@Massawyrm) March 26, 2017

“The Hollywood Exec And The Hand Transplant That Changed His Life”

Aaron Sorkin Contributes Manfully To Image Of Being Above It All

Quote Unquotesee all »

“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas