MCN Curated Headlines Archive for September, 2014

hollywoodreporter.com

“We will not participate in an experiment where you can see the same product on screens varying from three stories tall to three inches wide on a smart phone.”
Regal And Cinemark Reject Weinstein Co’s Crouching Tiger, Hidden Dragon Sequel’s Simultaneous IMAX-Netflix Release

“When I have a specific reason to ask everyone to set aside their devices, it’s as if someone has let fresh air into the room. The conversation brightens, and more recently, there is a sense of relief from many of the students.”
NYU New Media Prof Clay Shirky Bans Use Of Laptops, Tables And Phones In Classroom

“The greatest sustained display of directorial virtuosity in the history of American TV.”
Matt Zoller Seitz Swoons for “The Knick”

LA Times

“Filmmakers are pushing not just our cultural buttons but the edges of their own abilities.”
Mark Olsen Sees the “New Dangerous” at the Movies and He Likes It

NY Times

The Big Chill opened both the Toronto and New York Film Festivals; as a member of the New York festival selection committee that year, I can attest to how anxious the festival was to have it, even over my own metaphoric dead body.”
J. Hoberman on Criterion’s Big Chill Release; A Preference For That Era’s Ghostbusters Is Indicated

deadline

“I make a certain type of movie and I like my creative and financial freedom. We also want to live a life of rock stars.”
Nic Refn On His Doubts And Bravado Behind The Scenes

“There’s an incredibly narcissistic function of ‘I feel I deserve this kind of person at my side and as long as you’re willing to do the work to appear like that, yeah, let’s do it.’ And five years down the line it’s like, ‘Why are we so resentful of each other just ‘cos we can’t keep it up?’ When people are documenting everything in their life and uploading it, there’s a tendency to edit. There’s not a lot of people going: ‘Got up today, was lonely, masturbated.’”
Oh, David. You Know We Love You.

MCN Curated Headlines

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."

Sergio on: "Even though the Marvel series are TV shows, Netflix has become entranced by this notion of the '13-hour movie' when developing a season. This format mashup does a disservice to both mediums. Television's strength lies in episodic structure, which allows writers to explore different tones, characters, story structure and conflict. Movies allow a filmmaker to hone in on one or two central themes, attack it from multiple angles and get out. Netflix’s model takes the most incompatible parts of each and slaps them together, creating a lumbering mutant medium. The '13-hour movie' model means we don’t get the brevity of a film or the variation of television; it means we get the singular focus of movies stretched out to television length. It’s exhausting and it does these heroes no favors."

Quote Unquotesee all »

“I remember very much the iconography and the images and the statues in church were very emotional for me. Just the power of that, and even still — just seeing prayer card, what that image can evoke. I have a lot of friends that are involved in the esoteric, and I know some girls in New York that are also into the supernatural. I don’t feel that I have that gift. But I am leaning towards mysticism… Maybe men are more practical, maybe they don’t give into that as much… And then also, they don’t convene in the same way that women do. But I don’t know, I am not a man, I don’t want to speak for men. For me, I tend to gravitate towards people who are open to those kinds of things. And the idea for my film, White Echo, I guess stemmed from that — I find that the girls in New York are more credible. What is it about the way that they communicate their ideas with the supernatural that I find more credible? And that is where it began. All the characters are also based on friends of mine. I worked with Refinery29 on that film, and found that they really invest in you which is so rare in this industry.”
Chloë Sevigny

“The word I have fallen in love with lately is ‘Hellenic.’ Greek in its mythology. So while everyone is skewing towards the YouTube generation, here we are making two-and-a-half-hour movies and trying to buck the system. It’s become clear to me that we are never going to be a perfect fit with Hollywood; we will always be the renegade Texans running around trying to stir the pot. Really it’s not provocation for the sake of being provocative, but trying to make something that people fall in love with and has staying power. I think people are going to remember Dragged Across Concrete and these other movies decades from now. I do not believe that they will remember some of the stuff that big Hollywood has put out in the last couple of years. You’ve got to look at the independent space to find the movies that have been really special recently. Even though I don’t share the same world-view as some of my colleagues, I certainly respect the hell out of their movies which are way more fascinating than the stuff coming out of the studio system.”
~ Dallas Sonnier