MCN Curated Headlines Archive for December, 2014

NY Times

“My least favorite genre of film writing may be the ‘What Film X gets wrong about Historical Topic Y’ chin-scratcher, which generally shows little understanding of either movies or history. But such articles do serve a purpose during awards campaigns, smudging the narratives producers and publicists carefully lay down.”
Manohla Dargis And A. O. Scott Situate The Awards Season

“There are all these other people who just say they’re critics and you read their writing and they can’t write, or they can write and their writing reveals that they’re quite stupid and ignorant. Some voices have emerged that are actually quite good who never would have emerged before, so that’s the upside.”
David Cronenberg: Concerned About The Future Of The Professional Critic

LA Times

“It’s not that money is the root of all evil—it’s that it’s the root of everything.”
J. C. Chandor On His Roots Before A Most Violent Year

“Yeah, it’s the business cycle. It’s kind of like, yeah, that’s the mass murder cycle.”
“James Schamus Wants To Tell You How The Economy Really Works”

NY Times

“I was one of the horses of the Louis B. Mayer stable, and I thought the films I was given after my Academy Awards were not worthy. I couldn’t stand it anymore. Like a fire, it went to Louis B. Mayer, and I was called to him. He said, ‘We made you, and we are going to kill you.’ And I said: ‘Mr. Mayer, you did not make me. God made me. I am now in my 20s. You are an old man,’ which of course was an insult. ‘By the time I am 40 you will be dead.’”
Double Academy Award-Winner Luise Rainer Was 104

“One of Nolan’s greatest strengths has always been his control of tone, and, not unlike Inception, Interstellar is a blockbuster bathed in sadness and desolation. His works are distinguished by the single-mindedness with which he pursues concepts; the films become cinematic fugues built around a single motif.”
Bilge Ebiri Gets To The Heart Of Interstellar
Earlier – “On Interstellar‘s sincerity, and the misunderstood implications of how a movie lets you see that we’re all traveling through time”
Aaron Stewart-Ahn’s Expansive, Imaginative Defense

“We never even asked, because we knew those rights are already gone, they’re with Spielberg.”
Why There’s No Familiar MLK Oratory Is In Selma: The Speeches Are Tightly Held Under Copyright And Licensed To DreamWorks

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."

Quote Unquotesee all »

“With any character, the way I think about it is, you have the role on the page, you have the vision of the director and you have your life experience… I thought it was one of the foundations of the role for John Wick. I love his grief. For the character and in life, it’s about the love of the person you’re grieving for, and any time you can keep company with that fire, it is warm. I absolutely relate to that, and I don’t think you ever work through it. Grief and loss, those are things that don’t ever go away. They stay with you.”
~ Keanu Reeves

“I was checking through stuff the other day for technical reasons. I came across The Duellists on Netflix and I was absolutely stunned to see that it was exquisitely graded. So, while I rarely look up my old stuff, I stopped to give it ten minutes. Bugger me, I was there for two hours. I was really fucking pleased with what it was and how the engine still worked within the equation and that engine was the insanity and stupidity of war. War between two men, in that case, who fight on thought they both eventually can’t remember the reason why. It was great, yeah. The great thing about these platforms now is that, one way or another, they’ll seek out and then put out the best possible form and the long form. Frequently, films get cut down because of that curse in which the studio felt or feels that they have to preview. And there’s nothing worse than a preview to diminish the original intent.Oh, yeah, how about every fucking time? And I’ve stewed about films later even more because when you tell the same joke 20 times the joke’s no longer funny. When you tell a bad joke once or twice? It’s fine. But come on, now. Here’s the key on the way I feel when I approach the movie: I try to keep myself as withdrawn from the project as possible once I’ve filmed it. And – this is all key on this – then getting a really excellent editor so I never have to sit in on editing. What happens if you sit in is you become stale and every passage or joke, metaphorically speaking, gets more and more tired. You start cutting it all back because of fatigue. So what you have to do is keep your distance and therefore, in a funny kind of way, you, as the director, should be the preview and that’s it.”
~ Sir Ridley Scott