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

Writer-Director Brian McGuire Remembers Times With Harry Dean Stanton On Four Movies

“Sometimes I’ve been asked to break the movies up but they wouldn’t work. They have very carefully thought-out dramatic structures. If, for instance, I made Ex Libris into three movies it wouldn’t work. It would be a different movie because each time I’d have to start all over again and establish the characters, the place, the interrelationship with the themes would be impossible to explore. In addition, sometimes the films are long, but they’re long not out of any perverseness on my part but because the subjects are complicated. I have a greater obligation to the people who gave me permission to make the film and the people in the film, than I do to the needs of a theater or television chain. I’m grateful to public television because they always show my films as I made them without any interference for primetime.”

Jennifer Swann On “The Rise And Fall Of Cinefamily”

Dennis Cozzalio On A Dim And Distasteful AMC Theater Saturday Night

Netflix: Helping Stand-Up, Or Hurting It?

Aronofsky Makes With The Metaphors

Angelica Jade Bastién On Mother! And Michelle

“Aronofsky offers, in Mother!, a report from the realm of art, of male artists, and both reveals and admits that many of them draw their artistic and personal sustenance from the blood of young women—that their art and also their domestic comfort depends on their virtual vampirizing of adoring young women who are attracted to their talent, their fame, their experience, perhaps even their money, but whose love is nonetheless utterly sincere and whose devotion is nonetheless utterly unselfish and ultimately proves far more self-sacrificing than they had ever intended.”

Lachlan Murdoch Loses Court Bid For CBS Buy Of Australian’s Third-Largest Commercial Network

“Two years after the first best actress in a drama Emmy was awarded to a black woman shouldn’t be the year you pat yourself on the back. Especially not when Lena Waithe on Sunday was the first black woman to win an Emmy for best writing in a comedy. Or a night when Donald Glover was the first black male to win for comedy directing. Or a night where Riz Ahmed was the first male actor of Asian descent to win an acting Emmy. When we’re still in a business of firsts, you can keep your congratulations and you can keep your jokes about diversity, too. Sunday’s host, Stephen Colbert, followed in the footsteps of many white awards-show hosts who love making jokes about diversity to a room where there’s less black people in it than Williamsburg.”

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“TIFF doesn’t make attendance numbers for its Lightbox screenings publicly available, so it’s difficult to gauge exactly how many filmgoers the Lightbox is attracting (or how much money it’s bringing in). But the King Street West venue hasn’t become a significant draw for film enthusiasts. The Lightbox’s attendance has plunged – 49,000 fewer visitors last year, a drop of 27 per cent, according to figures recently reported in the Toronto Star. Its gallery space – designed to showcase the visions of cinema’s most iconic filmmakers – saw most of its exhibitions staff quietly axed this past fall. And its marketing barely escapes the Lightbox’s walls. Unless you are a TIFF member or one of the city’s most avid filmgoers, you could walk by the Lightbox and remain blissfully unaware of a single thing that goes on inside. TIFF “still has a world-class brand,” said Barry Avrich, a filmmaker and former board member, “but it’s going to take some fresh vision from retail, consumer programming and marketing experts, given how the lines have become intensely blurred when it comes to how people watch film. They will have to experiment with programming to find the right blend of function and relevance.”
~ Globe & Mail Epic On State of Toronto Int’l (paywalled)

“I’m 87 years old… I only eat so I can smoke and stay alive… The only fear I have is how long consciousness is gonna hang on after my body goes. I just hope there’s nothing. Like there was before I was born. I’m not really into religion, they’re all macrocosms of the ego. When man began to think he was a separate person with a separate soul, it created a violent situation.

“The void, the concept of nothingness, is terrifying to most people on the planet. And I get anxiety attacks myself. I know the fear of that void. You have to learn to die before you die. You give up, surrender to the void, to nothingness.

“Anybody else you’ve interviewed bring these things up? Hang on, I gotta take this call… Hey, brother. That’s great, man. Yeah, I’m being interviewed… We’re talking about nothing. I’ve got him well-steeped in nothing right now. He’s stopped asking questions.”
~ Harry Dean Stanton