MCN Curated Headlines Archive for July, 2014

LA Times

“I’m a vehement opponent of adventure. Any idiot can go to Antarctica. And any idiot can climb Mount Everest. Even grannies have done it. There are thousands lining up. There is no adventure left.”
Mark Olsen Listens In On Werner Herzog As His 1970-1999 Blu-Ray Box Set Hits The Street
And – “When you look at the box set, it looks like a brick. Like a piece of rock; I can stand on this piece of rock.”

NY Times

“What a pleasure it is to watch a film showing life as it is, not warped into a fantasy of superhuman power. You can feast on such realism in Richard Linklater’s seven-course masterpiece, Boyhood, or sample it in Joe Swanberg’s modest but savory amuse-bouche, Happy Christmas. Both films are portraits of white middle-class American families, the first set in Texas and stretching over 12 years, the second during a single Christmas holiday in Chicago.”
Holden Emits A Quiet Rave

“The paradox is that Farocki is probably more important as a writer than as a filmmaker, that his films are more written about than seen, and that instead of being a failing, this actually underlines his significance to the cinema today and his considerable role in the contemporary political avant-garde.”
Harun Farocki, 70, Made Over 90 Films
And – Jonnie Rosenbaum On The Late Harun Farocki’s Films

“What was it like, I asked this very funny man, a man whose work, whose life, has shaped New York sensibilities for more than four decades, to have had your cataracts fixed recently.”
Roger Friedman Lobs Some Softballs At Woody Allen

wsj

“It’s a financial commitment, no doubt about it. But I don’t think we could look some of our filmmakers in the eyes if we didn’t do it.”
Coalition Of Studios May Keep Kodak Film Stock Alive

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