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

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