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

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."

tidalmediainc on: Black Panther: $387 Million Worldwide

Frances Aubrey on: David Klion On “Unlearning Woody Allen”

Ray Pride on: 2017 FYC (For Your Consideration) Screenplays Now Up To 36 Titles

YancySkancy on: 2017 FYC (For Your Consideration) Screenplays Now Up To 36 Titles

Debbie on: 2017 FYC (For Your Consideration) Screenplays Now Up To 36 Titles

Warren on: "Whatever it is that people are reacting to in these superhero films, it’s not what they say they’re reacting to. They clearly don’t care about consistent characterization, original storytelling, or anything else they say they do, because if they did they’d be a lot more picky. What they really like is what we all like: confidence. Movies boil down to someone – or a group of someones – telling us a story. And telling a story well takes confidence. If a storyteller has a great story packed with interesting characters and exciting developments but they stumble over the order of things and mumble during the important bits, the experience is going to suck. Likewise, if the story is poor but they tell it well it’ll be a good time even if afterwards we realize it didn’t make any sense."

Amazing GBG on: "Whatever it is that people are reacting to in these superhero films, it’s not what they say they’re reacting to. They clearly don’t care about consistent characterization, original storytelling, or anything else they say they do, because if they did they’d be a lot more picky. What they really like is what we all like: confidence. Movies boil down to someone – or a group of someones – telling us a story. And telling a story well takes confidence. If a storyteller has a great story packed with interesting characters and exciting developments but they stumble over the order of things and mumble during the important bits, the experience is going to suck. Likewise, if the story is poor but they tell it well it’ll be a good time even if afterwards we realize it didn’t make any sense."

Ray Pride on: "Whatever it is that people are reacting to in these superhero films, it’s not what they say they’re reacting to. They clearly don’t care about consistent characterization, original storytelling, or anything else they say they do, because if they did they’d be a lot more picky. What they really like is what we all like: confidence. Movies boil down to someone – or a group of someones – telling us a story. And telling a story well takes confidence. If a storyteller has a great story packed with interesting characters and exciting developments but they stumble over the order of things and mumble during the important bits, the experience is going to suck. Likewise, if the story is poor but they tell it well it’ll be a good time even if afterwards we realize it didn’t make any sense."

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“Why put it in a box? This is the number one problem I have—by the way it’s a fair question, I’m not saying that—with this kind of festival situation is that there’s always this temptation to classify the movie immediately and if you look at it—and I’ve tried to warn my fellow jurors of this—directors and movie critics are the worst people to judge movies! Directors are always thinking, “I could do that.” Critics are always saying, “This part of the movie is like the 1947 version and this part…” And it’s like, “Fuck! Just watch the movie and try and absorb it and not compare it to some other fucking movie and put it in a box!” So I think the answer’s both and maybe neither, I don’t know. That’s for you to see and criticize me for or not.”
~ James Gray

“I have long defined filmmaking and directing in particular as just a sort of long-term act of letting go,” she said. “It’s honestly just gratifying that people are sort of reapproaching or reassessing the film. I like to just remind everyone that the movie is still the same — it’s the same movie, it’s the movie we always made, and it was the movie we always wanted to make. And maybe it just came several years too early.”
~ Karyn Kusama