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

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch