MCN Curated Headlines Archive for February, 2015

“A sophisticated show for a sophisticated, beautiful beer. So we put the two together and sent it to them. If we don’t think it works and somebody’s brown-bagging a Stella on a bus and it’s not the right place for our brand, then we’ll let them know that we’d prefer not to be in that scene.”
Netflix Doesn’t Have Ads, But Product Placement’s In The Mix, Especially With “House Of Cards,” Season 3

“Long before being nerdy was cool, there was Leonard Nimoy… I loved Spock.”
A Statement By The President On The Passing Of Leonard Nimoy

The Atlantic consistently runs some of the worst film writing to be found on the Internet, which is to say in the universe… If you believe that a work’s entire significance can be found in the footprint that it leaves in public discourse, then looking at the thing itself will necessarily be an afterthought. ”
Nick Pinkerton Has 2,800 Words Worth Of The “Subterranean Hot Take Blues”

“I’m the model of the non-model, the person who can’t be categorized. But they categorize me as non-categorizable, which is the same thing in the end.”
J. Hoberman On Godard As Speaker, Thinker And Filmmaker

“So, let’s say you make District 9 and it does well. So, now, a normal director is like, ‘Shit, I’ve got this pressure because this last film did well and I hope this one lives up to it.’ I don’t have that. It definitely doesn’t bother me. The thing that bothers me is if I feel like I fucked it up.”
Honesty Not Alien To Chappie Director Neill Blomkamp

Django is a black film. More than that, it is an exemplary black film. We would even go so far as to say that it is one of the most important black films of the century… which is where some of you will interrupt us to point out that Quentin Tarantino, the film’s director and screenwriter, is white, making it impossible for Django to be a black film.”
“Thirteen Ways Of Looking At A Black Film”

NY Times

“He and I talked about how I was the intellectual and he was the humanist. I would see the big picture and he would connect with people. Even in the darkest, most gruesome situations, Bruce projected a warmth and humor that really put people at ease.
Bruce Weber‘s Obit For Documentarian Bruce Sinofsky

MCN Curated Headlines

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch