MCN Curated Headlines Archive for November, 2014

“We never used the word puppetry, we never used the word robot. “
Bill Irwin Talks Some More About Miming The Kit-Kat Robot In Interstellar

“Entering as a blank slate allowed the craziness that comes with 15 relentless hours of Nolan world-layering and time-shifting to wash over me unimpeded, but it also meant I’d have about six minutes between screenings to consider how I felt about the movie, like a normal person.”
Robert Mays Consumes The All-You-Can-Eat Interstellar Pass

NY Times

“Mr. Rogen, who helped direct The Interview and has a writing credit on its script, has seized the country’s displeasure as a publicity tool.”
Michael Cieply Redefines Co-Writer-Co-Director-Co-Producer Seth Rogen’s Latest Comedy

NY Times

“Netflix is the one that everybody speaks about, but there are lots and lots and lots and lots of others. New streaming services are launching every week.”
NYT Only Appears To Search For Flaws In Netflix’s Perceived Armor, Including $90 Spend For Weinstein’s “Marco Polo” Ten-Parter

“There is no creative expression of artistic value that has ever been produced by ex-drunkards and ex-drug addicts. All the artists I have respected the most have also wallowed in all sorts of mind-expanding drugs.”
In First Interview Since Hitler Remarks, Lars Von Trier Claims He’s Quit Drugs And Alcohol; Sez “Shitty Films” Are In The Offing

“When he intoned: ‘There has been an awakening,’ I began to weep like Malakili the Rancor Keeper. It was a fast 88 seconds.”
Jordan Hoffman Circles Regal’s Union Square 14 And The Tease For SW:TFA

“To have a star just arbitrarily toss out draft after draft and force his staff to write around the clock for seven months is unfair and highly disrespectful.”
TV Writer Ken Levine On The Cosby Work Ethic

variety

“I miss a friend. I’d go to him even when he was doing his recovery, and I’d say, ‘-— the chemo, have a vodka martini,’ and he and I would go out.”
Scott Foundas Has A Brief Audience To Cover-Story Ridley Scott About Exodus, Nonstop Work, Why Movies Have To Have Stars For Finance, And Tony Scott

variety

“We’re not making The Godfather, we’re not making Chinatown. These films are not enough to get people out of their homes. That absence is now being taken care of by longform TV drama.”
Paul Schrader Packs His Informed Pessimism To Argentina

NY Times

“No matter how disruptive or innovative your business is, there are still ethical values that are fundamental that businesses have to pay attention to. All business relies on some sense of ethics because that’s what differentiates it from plain old crime.”
Nick Bilton On “The Slippery Slope Of Silicon Valley”

MCN Curated Headlines

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“I don’t really believe in guilty pleasures. I like to subscribe to Susan Sontag’s thought of no highs and lows. I think dismissing popular culture and popular films can be really dangerous because they may seem innocuous, but some are works of art and even when they’re not they can say so much about the culture that they’re reflecting. This also gets into the idea of canon. What is good and isn’t good? Lately, I’ve been thinking a lot about that. Specifically, who writes these canons? Mainly, straight white guys — which basically rigs the system. So, if you have a knowledge of female filmmakers, queer filmmakers, African or Asian filmmakers, some people won’t give them the same culture capital. They’ll say, “Oh, that’s nice niche knowledge.” No, it’s not. You’re just seeing it through the prism of something white and male. Like Shonda Rhimes’ ‘Scandal.’ I love that show, but is it a guilty pleasure because it’s a soap on TV? No. I think it has incredible writing, incredible thought and characters, so we should take it seriously. That’s a long-winded answer to say, “Yes, I love Titanic.” I was 10 years old when it came out and my mom took me to see it three times. I was so obsessed with it. A big thanks to my mom who’ll never get those nine hours of her life back.”
~ Toronto Int’l Programmer and Critic Kiva Reardon

“A lot of us felt blindsided,” Van Vliet told me. In the seventies, Van Vliet was drafted out of film school by Industrial Light & Magic, where he worked on The Empire Strikes Back and Raiders of the Lost Ark. Now 62 and semi-retired, he said, “Once you get into your fifties, you’re pretty disposable.” Van Vliet was in the middle of reviewing DVD screeners before casting his Oscar votes, a process he estimated would take a hundred and twenty hours. “The Academy is essentially asking us to give them three weeks of labor, and then they’re going to take our results, put them into a ceremony, and sell it,” he said, referring to the seventy-five million dollars that the organization earns from the television broadcast. “Then they’re turning around and kicking us in the teeth.”
~ “Shakeup At The Oscars”