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

Elan Mastai On “The First Time I Got Paid To Write”

“A lot of kids think cartooning is something that pours out of your hand and onto the page. But it’s a lot of work to look like that. People have approached me for a documentary. And I say, ‘You’re going to watch me at a desk, staring, then cursing every few hours. It really is a goofy job.”

William Grimes On Independent Producer Robin O’Hara, Who Was 62

Why Drive-Ins Were More Than Just Movie Theaters

“We’ve got this mixed rights situation and what fixes that is money,” Reed Hastings continued. “Because we’d like to be able to get global rights so everybody gets the same great experience. And our originals, are like that, where everybody gets access. But it’s going to take a lot more money than we have now.”

Blacklisted Screenwriter Jean Rouverol Was 100; Was W.C. Fields’ Daughter In It’s A Gift

“For young black horror filmmakers, if you have a script, reach out and I’ll try to help it get made. Monkeypaw Productions is my production company and we’re really trying to promote untapped voices in genre. I think the reason we don’t see more films about the African American experience is because we haven’t nurtured black talent, we haven’t encouraged young black filmmakers to dream big. When you have that, that’s when you have this systemic problem where artists aren’t getting their platforms, aren’t given their platforms. Some stories it’s impossible for a white person to tell.”

Writers Guild Seeks May 1 Strike Authorization

Brit Director Michael Tuchner, 84, Films Include Villain, “Summer Of My German Soldier”

“My Life As Bob Silvers’ Assistant”

Quote Unquotesee all »

“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas