MCN Curated Headlines Archive for January, 2015

variety

“VOD day and date, you basically are signalling that this movie is not as good as the other movies. It’s a valid way to go if you don’t think you can sustain a theatrical run.”
Sony Pictures Classics’ Barker And Bernard On Female Films From Sundance And A Disdain For Foreshortened Windows

hollywoodreporter.com

“Annapurna is helping out to keep the doors open.”
Megan Ellison Saves Santa Monica’s Vidiots

“The biggest problem isn’t genuinely independent cinema, where lower budgets mean more opportunities for women in front of and behind the camera. The problem is the six major studios that dominate the box office, the entertainment chatter and the popular imagination.”
Richard Brody On “How Critics Have Failed Female Filmmakers”

NY Times

“The nominated shorts offer a vision of what the Academy Awards should and could be but very rarely are: eclectic, cosmopolitan, scrappy and surprising.”
Writes A. O. Scott

“Waiting for bliss is a fool’s game at Sundance, whose screeners and programmers sift through thousands of titles for a selection that’s too big to see in one movie-gorging gulp. Other festivals are bigger and certainly easier to navigate than this one, with its myriad locales and black ice. But Sundance has become the pre-eminent North American showcase through its steadily growing infrastructure, brand-building and legacy-burnishing and, of course, the quality of its choices. All the world, it seems, wants to make movies and wants to go to Sundance.”
Reports Manohla Dargis

“There’s a youthful energy. I love being here.”
Lindsay Bahr On A Park City Week With James Franco

indie wire

Sam Adams Sez Journos Not The Worst People At Sundance
“As journalists, we are being subsidized to watch movies, talk to cool people and then process what we’ve learned into articles the world can read. So lighten up, journalists. We’re here to cover the cool kids, not pretend to be them.”
But – Jordan Crucchiola Declares They Are

“They are unnerved not only that Selma threatens to become ‘official’ history, but that it represents a sea change in who has custody of that history.
Mark Harris Thinks Selma Through Thoroughly

LA Times

“The important thing is locating the cuisine or the restaurant or the chef within the context of the culture. You have to know about food, and you have to have the tools to evaluate it, but I don’t think it’s any more consumer criticism than when an art critic reviews an art show.”
Looking For “A Thereness Beneath The Thereness” In Sundance Sale City Of Gold

MCN Curated Headlines

liza antelo on: Farewell Andrea Gronvall, Critic, Journslist, ‘Siskel & Ebert’ Producer, Longtime MCN Contributor

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."

Mike Leigh on Kerfuffle

Ant Man Wasp

Loach Marvel

Kill Nerd Culture

“Later, as Adam Driver was collecting himself at the barracks, he thought about the two things that he really wanted to do in life, and he vowed to do them. One was to smoke cigarettes. The other was to be an actor.”

Serpico

Francis Age

“When Martin Scorsese says that the Marvel pictures are not cinema, he’s right because we expect to learn something from cinema, we expect to gain something, some enlightenment, some knowledge, some inspiration,” Francis Coppola said. “I don’t know that anyone gets anything out of seeing the same movie over and over again. Martin was kind when he said it’s not cinema. He didn’t say it’s despicable, which I just say it is.”

Streaming Ellwood

“I have to tell you, for me, the film is 35mm celluloid. I made all my shit on 35mm celluloid. My problem is—it’s not technical, again. I don’t care about the scratches because maybe you got an old print. The problem is, the digital picture has to be a new language. But we do not use it as a new language. People are using it to look like a fake film camera. Why do they not think about a new visual language? If you see these fucking digital possibilities, you can create a new language that is only for digital technology. It’s really stupid if you believe that a digital picture will have the same quality as 35mm. Never! But you have a totally different possibilities in a different way, but you can use it. Why don’t you? It’s not my job because I do not touch cameras any more. But there are a lot of possibilities out there.”

Quote Unquotesee all »

“I always thought that once I had lived in Chicago for a while, it would be interesting to do a portrait of the city – but to do it at a significant time. Figuring out when would be the ideal time to do that was the trick. So when this election came around, coupled with the Laquan McDonald trial, it seemed like the ideal time to do the story. Having lived in Chicagoland for thirty-five-plus years and done a number of films here, I’ve always been struck by the vibrancy of the city and its toughness. Its tenderness too. I’ve always been interested in the people at the center of all the stories. This is a different film in that regard, because we’re not following a couple of individuals over the course of the project in the way that a lot of the films I’ve done have, but I still feel like people’s voices and aspirations and hopes are at the center of this series.

It wasn’t easy. We started back in July 2018, it was actually on the Fourth of July – that was our first shoot. It’s like most documentaries in that the further you go along the more involved and obsessed you get, and you just start shooting more and more and more. We threw ourselves into this crazy year in Chicago. We got up every day and tried to figure out if we should be out shooting or not, and what it is we should shoot. We were trying to balance following this massive political story of the mayor’s race and these significant moments like the Laquan McDonald trial with taking the pulse of people in the city that we encounter along the way and getting a sense of their lives and what it means to live here. By election day, Zak Piper, our producer, had something like six cameras out in the field. You could double-check that, it might have been seven. We had this organized team effort to hit all the candidates as they were voting, if they hadn’t already voted. We hit tons of polling places, were at the Board of Elections and then were at the parties for the candidates that we had been able to follow closely. Then of course, we were trying to make sure we were at the parties of the candidates who made it to the runoff. So, yeah, it was kind of a monster.”
~ Steve James On City So Real

“I really want to see The Irishman. I’ve heard it’s big brother Martin Scorsese’s masterpiece. But I really can’t find the time. The promotion schedule is so tight, there’s no opportunity to see a three and a half-hour movie. But I really want to see it. In 2017, right before Okja’s New York premiere, I had the chance to go to Scorsese’s office, which is in the DGA building. There’s a lovely screening room there, too, with film prints that he’s collected. I talked to him for about an hour. There’s no movie he hasn’t seen, even Korean films. We talked about what he’s seen and his past work. It was a glorious day. I’ve loved his work since I was in college. Who doesn’t? Anyone involved with movies must feel the same way.”
~ Bong Joon-ho