MCN Curated Headlines Archive for August, 2012

“Social distance can cause a 55-year-old climate change sceptic with a job and a mortgage to behave like a spastic donkey with strange malicious behavior.”
What Do The Internet’s Extreme Trolls Get From Their Private Sport?

indie wire

“You don’t see Eamonn at Magnolia, you don’t see us—the two pioneers in the changing of the windows—coming out and reporting our numbers on a weekly basis. Magnolia and IFC Films invented the wheel five or six years ago.”
IFC’s Sehring On The VOD-Theatrical Business Model, As Well As A Recut Of On The Road

“He loved actors. He loved us! The reason his death hurts so much isn’t because we loved him. It’s because he loved us. And now he’s gone. And who’s going to love us like that now? Can you tell me? In this cold, unforgiving business, who is going to love actors as much as Tony Scott did?”
Kevin Corrigan Remembers Tony Scott

hollywoodreporter.com

“Sign it! Sign it, or the dog will die!”
Joyce McKinney’s Alarming Tabloid Lawsuit Vs. Errol Morris 

“Current laws on all forms of pornography and obscenity need to be vigorously enforced.”
GOP Platform Sets Sights On Porn

NY Times

“His surfing was competent, but it wasn’t his surfing that made him distinctive. It was his personality.”
Tubesteak Tracy, 77, Surfer Inspired Gidget‘s Big Kahuna

“After doing a TV show for eight years and a cartoon for more than a decade, you are, financially speaking, in a very lucky position where you don’t have to work for the sake of working.”
Mila Kunis And James Franco Have Interview Mag Cover Story Chat

MCN Curated Headlines

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“I’ve been pleasantly surprised by how many recappers, while clearly over their heads, are baseline sympathetic to finding themselves routinely unmoored, even if that means repeating over and over that this is closer to “avant-garde art” than  normal TV to meet the word count. My feed was busy connecting the dots to Peter Tscherkassky (gas station), Tony Conrad (the giant staring at feedback of what we’ve just seen), Pat O’Neill (bombs away) et al., and this is all apposite — visual and conceptual thinking along possibly inadvertent parallel lines. If recappers can’t find those exact reference points to latch onto, that speaks less to willful ignorance than to how unfortunately severed experimental film is from nearly all mainstream discussions of film because it’s generally hard to see outside of privileged contexts (fests, academia, the secret knowledge of a self-preserving circle working with a very finite set of resources and publicity access to the larger world); resources/capital/access/etc. So I won’t assign demerits for willful incuriosity, even if some recappers are reduced, in some unpleasantly condescending/bluffing cases, to dismissing this as a “student film” — because presumably experimentation is something the seasoned artist gets out of their system in maturity, following the George Lucas Model of graduating from Bruce Conner visuals to Lawrence Kasdan’s screenwriting.”
~ Vadim Rizov Goes For It, A Bit

“On the first ‘Twin Peaks,’ doing TV was like going from a mansion to a hut. But the arthouses are gone now, so cable television is a godsend — they’re the new art houses. You’ve got tons of freedom to do the work you want to do on TV, but there is a restriction in terms of picture and sound. The range of television is restricted. It’s hard for the power and the glory to come through. In other words, you can have things in a theater much louder and also much quieter. With TV, the quieter things have to be louder and the louder things have to be quieter, so you have less dynamics. The picture quality — it’s fine if you have a giant television with a good speaker system, but a lot of people will watch this on their laptops or whatever, so the picture and the sound are going to suffer big time. Optimally, people should be watching TV in a dark room with no disturbances and with as big and good a picture as possible and with as great sound as possible.”
~ David Lynch