MCN Curated Headlines Archive for October, 2014

NY Times

“Regardless of the visionary question, however, it’s pretty much impossible to think of a film that grossed more than a billion dollars and is better than The Dark Knight—or, to think of it in the way that Nolan prefers, a better film that was seen, so many times over, by so many people.”
NYT Sunday Magazine Cover-Stories Chris Nolan At Almost 7,000 Words

“If you’ve ever played in any kind of improvisational group, you know that the key to making it work is listening to your fellow players, not trying to vanquish them.”
J. R. Jones Backlashes Whiplash

NY Times

“It ain’t a lot of fun to make failed movies, and to be successful you have to be in the attention-getting business. Actually, attention-getting is the dominant thing that has taken over the media business over all.”
Brooks Barnes Checks Peter Chernin’s Progress As Well-Financed But Successful Independent Producer

“By allowing it to exist as a default, we are throwing away our freedom of artistic expression as filmmakers because someone else is deciding that our work will be seen completely differently in the end.”
Cinematographer Reed Morano On The Fight Against TV’s “Smooth Motion” Setting

“With the restored health of the publishing industry and having some sense of where this sort of Isis-like distribution channel, Amazon, is going to be buried and in which plot of sand they will be stuck, publishers will be able to raise the author’s digital royalty to 40% or 50%. Writers will begin to make enough money to live.”
No Love Lost Between Literary Agent Andrew “The Jackal” Wylie And Amazon

“The use of 3D with this explosion of images is what makes this film by an 83-year-old seem so much younger and freer than most films by directors in their twenties.”
Filmmaker David Barker Goes For Godard’s Gaga

“Really, comic-book movies have destroyed the foreign sales market. But the people want it; it’s an efficient market. That’s why I wish something like The Matrix would come out now–that was an extraordinary film. We need something like that to remind people that they can have a big movie that’s also smart and exciting.
Hw’d & Fine Talks Hope For Fine Movies With Tony Gilroy

MCN Curated Headlines

A Peek At Concept Art For Close Encounters’ Mothership

Edgar Wright Reflects On Baby Driver Breaking The $100 Million Barrier

Toronto Adds A Boatload, Including Work By Agnès Varda, Hong Sang-soo, Paul Schrader, Michael Haneke, Robert Guédiguian, Andrey Zvyagintsev, Aki Kaurismäki, Alanis Obomsawin, Paolo and Vittorio Taviani, Hirokazu Kore-eda, Lucrecia Martel, Bille August, John Curran, Ildikó Enyedi, François Girard, Shirin Neshat, Jon Avnet, Robert Schwentke, Sean Baker, Louis C.K., Fatih Akin, Yorgos Lanthimos, Andrew Haigh, John Woo, Peter Landesman, Aaron Sorkin, Pen-ek Ratanaruang, Lynn Shelton, Michaël R. Roskam, Naomi Kawase, Michel Hazanavicius, Brie Larson, Mike van Diem

Fall Film Festivals Brace For Virtual Reality Pageants

“You never stop working. This in fact gives us an opportunity to go into editorial and look at what we’ve shot and reassess the movie, which is a luxury you don’t normally have because you’re on a train that just doesn’t stop. It’s similar to situations on other movies where, for whatever reason, you go on hiatus and you’re able to look at the movie in a way you normally couldn’t and reevaluate. The lesson I learned on Valkyrie, which had its share of difficulties in production, and we always used to say ‘disaster is an opportunity to excel’.”

Five Steps To A “Better” Horror Sequel

May The Brand Extensions Be Ever In Your Favor

Abby Bender On Early-2000s Surfer Girl Style In Blue Crush

Writers Guild President Howard Rodman Remarks On Writing And Responsibility; Calls For Trump Resignation

Writers Guild Of America West Makes A Statement

Quote Unquotesee all »

A Spirited Exchange

“In some ways Christopher Nolan has become our Stanley Kubrick,” reads the first sentence of David Bordwell’s latest blog post–none of which I want or intend to read after that desperate opening sentence. If he’d written “my” or “some people’s” instead of “our”, I might have read further. Instead, I can only surmise that in some ways David Bordwell may have become our Lars von Trier.”
~ Jonathan Rosenbaum On Facebook

“Jonathan has written a despicable thing in comparing me to Trump. He’s free to read or not read what I write, and even to judge arguments without reading them. It’s not what you’d expect from a sensible critic, but it’s what Jonathan has chosen to do, for reasons of a private nature he has confided to me in an email What I request from him is an apology for comparing my ideas to Trump’s.”
~ David Bordwell Replies

“Yes, I do apologize, sincerely, for such a ridiculous and quite unwarranted comparison. The private nature of my grievance with David probably fueled my post, but it didn’t dictate it, even though I’m willing to concede that I overreacted. Part of what spurred me to post something in the first place is actually related to a positive development in David’s work–an improvement in his prose style ever since he wrote (and wrote very well) about such elegant prose stylists as James Agee and Manny Farber. But this also brought a journalistic edge to his prose, including a dramatic flair for journalistic ‘hooks’ and attention-grabbers, that is part of what I was responding to. Although I realize now that David justifies his opening sentence with what follows, and far less egregiously than I implied he might have, I was responding to the drum roll of that opening sentence as a provocation, which it certainly was and is.”
~ Jonathan Rosenbaum Replies

“In my own mind, I’ve always been a writer and the fact that I act is, well… it’s been very enjoyable and I love doing it. It has been good for me, but in my own mind I’m just a writer with a bizarre activity—acting—that I undertake.”
~ Wallace Shawn