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

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."

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“Dude, I don’t like the way you talk, bro. How can you tell me that it’s going to be hard? Do you see a lot of people like you writing stories? Give me a break, bro. That’s your strength, that you’re not like us. Go out there and tell your stories. Don’t go out there and try to be like Quentin or me or anybody else. We need you. Tell me what makes you angry, why you’re arrogant, or fearful, whatever it is. Don’t hide anything. Be honest. What is that thing that bothers you and makes you distinct? Everyone’s looking for you. A Mexican point-of-view to tell a story right now? I’m telling you, everybody wants that right now. I desperately need you to tell your story in your way. You are essential.”
~ M. Night Shyamalan

“My films are always brought to life from an idea, a coincidence, or a dreamlike magic. An ephemeral moment that settles in my mind and starts to bloom. The plot slowly appears before my eyes, and there’s nothing left but to write it. I actually do use a mood board. And location scouting is essential to the realization of the film. I’m inspired by architecture — the beauty of certain neighborhoods, the mystery in odd buildings, or streets that suggest psychoanalytic theories. I only choose my actors after I write the script.”
~ Dario Argento