MCN Curated Headlines Archive for July, 2014

daily beast

“I was kind of shocked by the rise of what I call the feel-good Holocaust genre, in which Holocaust movies have to be in someway an affirmation of the human spirit. That there’s a kind of unwillingness to face the fact that the Holocaust was a pretty absolute negation of the human spirit. To try to find some happy ending, in a way, falsifies, flees from the reality.”
Ron Rosenbaum On Godwin’s Law And “Explaining Hitler”


“Throughout the western world new systems have risen up whose job is to constantly record and monitor the present – and then compare that to the recorded past. The aim is to discover patterns, coincidences and correlations, and from that find ways of stopping change. Keeping things the same.”
The Brilliant Adam Curtis On The Surveilling Of Time And The Human Mind

“I have owned 35 projectors at home. In the early days of the film society, we’d get a print of something a week early and show it in our living room every night. Like, I did a series on Robert Bresson, who’s one of my favorite directors, and when the 16mm prints came in, I’d watch them over and over.”
Richard Linklater Talks Repertory Programming With Northwest Chicago Film Society Crew
And – Part Two

“While western democracy is represented by a Cheney-esque goon heading up the CIA and running rings around an ineffectual president, the response of the Chinese government to alien invasion is one of efficient, disciplined resolve.”
Tom Shone On How China Is Transforming Hw’d Blockbusters

“My hot dog had been the Britney Spears and the Keira Knightley. And then it was me, and I signed the hot dog menu and I went, ‘Yay!’ and I did the whole —-ing thing, and I thought, ‘OK, I’m there for life.’ And now it’s the —-ing Malin Åkerman. Who is very hot, but —-, man!”
“Anna Kendrick Had Her Heart Broken By A Hot Dog”

MCN Curated Headlines

liza antelo on: Farewell Andrea Gronvall, Critic, Journslist, ‘Siskel & Ebert’ Producer, Longtime MCN Contributor

Troy on: Jan-Michael Vincent Was 73

eht% on: Kubrick by Weegee

Thawn Chwithy on: Topix Forums Deep-Nixed

Some Random Troll on: Topix Forums Deep-Nixed

Trenton Moore on: Philadelphia Film Critics Circle Nod Roma as Best Film, Cinematography and Foreign Film

Celia Ann Harrison on: Topix Forums Deep-Nixed

Celia Ann Harrison on: Topix Forums Deep-Nixed

Karen Christy on: Topix Forums Deep-Nixed

The Pope on: "ABC’s decision to cancel 'Roseanne' feels like a gutsy move. It looks like a stand against racism, a line drawn in the sand to delineate what is reasonable and what is not. It even looks like a data point in the 'How do we separate the art from the artist?' debate, and it offers a heartening answer: We don’t have to, because, in this case, ABC will not finance that artist. It’s somehow even more heartening because it comes from a massive corporate conglomerate that might lose money by making this decision. It feels remarkably just. It feels decent. I’m thrilled that Roseanne has been canceled. It was the right thing to do. But it doesn’t feel correct to hold up ABC as a new bastion of decency, either. 'Roseanne' felt like the Titanic, a ship that seemed too big to turn around — but in the aftermath of Barr’s tweet, it also seemed like a ship that was doomed. ABC’s decision to cancel Roseanne is a good thing, but it also seems like a decision to shut down something that was about to implode anyhow. With a little more context, it looks like a network taking a strong stance against racism… in a way that also rids them of a show that was about to fall apart anyhow."

“The movies have savored extinction, eradication and annihilation for years, accelerating after 9/11, with unspecified menace everywhere, set to ash the skies with snowflakes of death. Genre pictures love nothing more than a brooding calamity. The end of civilization, or even the planet itself, has been a sizzling, seething, sorrowful constant across features and series even before our latest apocalypses, major and minor, began to pile up like dead marine animals on our Pacific shores.”

“Phoenix clearly hadn’t rehearsed smart responses beforehand, but was switched on enough to realise that his response was going to matter – and not finding a good one, he fled. Now that a few weeks have passed and my chronically clenched buttocks have almost returned to their former pliancy, I have to admire the blunt, pact-smashing honesty of it. Not that I can see it happening again during the Joker’s awards-season campaign: the Phoenix who presented the film at Venice and Toronto was charming, tactful and generally on his best behaviour. If he can keep it up until February, he’ll deserve an Oscar for that alone.”


Bye Trib Broadcasting

Brooks Barnes

Farran on Films Lost To Remake Rights

“He was gruff and jocular and he made jokes about ‘looking hot in that skirt,’ but it wasn’t threatening and it wasn’t demeaning,” Zellweger says. “I knew that he was, in this really awkward, uncomfortable way, trying to give me a compliment. It never went further than that. It’s a very big conversation because he was my professional collaborator, and around really important things in my life. And he was kind to me. He was so generous with me. And it felt authentic to me. It didn’t feel like this was — what’s the word, when you’re conditionally kind because you want something? ‘Transactional.’ It didn’t feel like that. It’s an important conversation, and it makes me very sad — personally sad. I’m sad for his family. I’m sad for the women that were hurt. I’m sad for him. And I wish him healing so that he can somehow try to make reparations for the damage that he has done.”

Harvey, He Ruint

New York Film Festival Director and Selection Committee Chair of Seven Years Kent Jones will Step Down Following This year’s 57th Edition

John Waters In The Criterion Closet

Quote Unquotesee all »

“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima