MCN Curated Headlines Archive for May, 2014

NY Times

“Squirming on the sofa next to him, Mr. Weber flashed one of his eager grins and, after a perfect beat, delivered his punch line.”
Barnes Offers A Dippy Appreciation Of Fault In Our Stars Screenwriting Team  Neustadter And Weber

“Sack film critics and get ordinary punters in. People experienced, who know life.”
Ken Loach Brings The Boot

NY Times

“Over the past 15 years, I have sold millions of dollars’ worth of books on Amazon, which means I have made millions of dollars for Amazon. I would have thought I was one of their best assets.”
Malcolm Gladwell Expresses Surprise He’s A Bargaining Chip In The Amazon Ban Of Hachette Books
SoMaybe Amazon Needs The Money?
And
– “Perhaps the best solution would be an online marketplace controlled by the publishers—with the 30% commission being split 50-50 with the authors in addition to the author’s royalty.”
“How Book Publishers Can Beat Amazon”

“It is perhaps not sufficiently emphasized that Godard spent two years in his twenties as a publicist for Fox in Paris.”
Colin McCabe‘s Histoire du Godard At Cannes, Part Un

thestar.com

“I vastly prefer an aisle seat, because it allows me some measure of legroom and also allows me to take notes without bothering the person next to me.”
Howell Notes That You Can’t Pick Your Family, But You Ought To Be Able To Pick Your Seat

“She’s powerless at this point. She doesn’t have the work ethic or clout to be able to do what she did years earlier.”
Why No One Wants To See The Silenced Nikki Finke Resurface, By Kate Aurthur

MCN Curated Headlines

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“A shot is a story. A shot on its own should be a piece of a story. Which is why I talk a lot about watching films, even the films we’re working on, with the sound off. Just to analyze how the film works, because a film should work for an audience without any sound. The biggest problem I see is that someone may have a superficial understanding of what a shot is propositionally, but they don’t have an understanding of how all of these shots are part of a family that needs to connect, and so you’ll get something that’s like a sentence arranged poorly with six nouns in a row. That surprises me, because I think that’s something that can be learned. Some things can’t be, but that can. It’s a grammar. In a classroom I could walk somebody through the difference between a sequence in which the filmmaker has a deep understanding of how images connect, and someone who doesn’t. It’s not really an intellectual process. Some people are just born with it and are just sort of savants at that deep mathematical understanding of shot construction.  I’m better than I used to be, but there are some people I’m just never going to catch. Spielberg. His staging ability. I’m never going to catch him. But when you’re trying to figure out how to get better—I’m not competitive in the sense of looking around at other filmmakers and comparing myself to them. What I do have to think about in trying to navigate myself through a career is: what can I get better at, and what do I have that I can enhance that somebody else doesn’t have?”
~ Steven Soderbergh

“It’s not going to be huge. He and I had been corresponding for a while. When I finally met him, he said, ‘We should collaborate.’ When John Ashbery says that to you, you don’t say when, you just say yes. It has not been easy to conjure this out of nothing. Sean Price Williams and I spent time with him, and it will appear on FilmStruck before the year is out…. I have figured out how to streamline things. I still have dreams of making movies with bigger budgets, and they might be considered to have more of a voice in pop culture. I don’t want to let go of that. I also realize that you grow up a lot of your life with wishful thinking and waiting. I have figured out ways to avoid doing that. I am working on a bigger movie about Nikola Tesla, set in the past, so it is not an easy film to make. I am also working on an adaptation of Don DeLillo’s ‘White Noise.’ That seems more likely to catch fire.”
Michael Almereyda Steps It Up