MCN Curated Headlines Archive for November, 2012

NY Times

“As most professionals point out, virtually no producer will charge to read material. To do so, they say, is a predatory practice that exploits writers.”
Times Again Glories In Its “Edginess” By Esteeming “Scriptshadow” Script Spoiler “Carson Reeves”; Credits Him With The Greenlight Of Social Network

NY Times

“Everyone will say this about beauty: you don’t really know anything else. If you’re ugly, you’re ugly; if you’re beautiful, you’re beautiful. You don’t have a comparison.”
Charlotte Rampling Has “Rules Of Engagement”

Imagine if Oscar voters were able to parse the jewels from the schlock.”
A Cry Rises Up To Recognize Nicole Kidman In The Paperboy

“There were two things he never told about Ken Regan. That’s his age and his cell phone number. Being true to his wishes, I can’t tell.”
A Fine Photographer Passes Agelessly
With – His Portfolio Of Film, Sports And Music Shots

“I’ve had people assume I dislike Chris Brown because I’m taking up for Rihanna, I’m not.”
Jenny Johnson On Shooing An Abusive Chris Brown From Twitter

guardian

“More journalists have died in the line of duty this year than at any other point since records began. For those choosing this dangerous profession, Syria is the killing field: more have died on assignment there than in any other country.”
Information Revolutions

LA Times

Don Rhymer, 51, Wrote Big Momma’s House, The Santa Clause 2, Agent Cody Banks 2: Destination London, Surf’s Up
“We had been married 29 years, 6 months, and 7 days, and I’m left with a gaping hole in my heart. He was the strongest, most generous and most honest person I’ve ever known. Oh yeah, and he was funny too.”
His Wife Remembers Him On His Cancer Blog

hollywoodreporter.com

“It’s unfortunate that he has nothing better to do with his time than churn out graphic and homophobic dribble about imaginary superheroes.”
Concern Group Fields “Guardians Of The Galaxy” Project Director James Gunn’s Blog For 2011 Offense
And – A Comics Person’s Reflection On The Mess
Now – “People who are familiar with me know that I’m an outspoken proponent for the rights of the gay and lesbian community, women and anyone who feels disenfranchised, and it kills me that some other outsider like myself, despite his or her gender or sexuality, might feel hurt or attacked by something I said.”
Gunn Fires Back

NY Times

“Sundance, known for championing dark and inscrutable films, has unveiled an unusually accessible—and sellable—competition lineup.”
Barnes Deciphers Sundance13 For Himself

MCN Curated Headlines

Quote Unquotesee all »

“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch