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

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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“With any character, the way I think about it is, you have the role on the page, you have the vision of the director and you have your life experience… I thought it was one of the foundations of the role for John Wick. I love his grief. For the character and in life, it’s about the love of the person you’re grieving for, and any time you can keep company with that fire, it is warm. I absolutely relate to that, and I don’t think you ever work through it. Grief and loss, those are things that don’t ever go away. They stay with you.”
~ Keanu Reeves

“I was checking through stuff the other day for technical reasons. I came across The Duellists on Netflix and I was absolutely stunned to see that it was exquisitely graded. So, while I rarely look up my old stuff, I stopped to give it ten minutes. Bugger me, I was there for two hours. I was really fucking pleased with what it was and how the engine still worked within the equation and that engine was the insanity and stupidity of war. War between two men, in that case, who fight on thought they both eventually can’t remember the reason why. It was great, yeah. The great thing about these platforms now is that, one way or another, they’ll seek out and then put out the best possible form and the long form. Frequently, films get cut down because of that curse in which the studio felt or feels that they have to preview. And there’s nothing worse than a preview to diminish the original intent.Oh, yeah, how about every fucking time? And I’ve stewed about films later even more because when you tell the same joke 20 times the joke’s no longer funny. When you tell a bad joke once or twice? It’s fine. But come on, now. Here’s the key on the way I feel when I approach the movie: I try to keep myself as withdrawn from the project as possible once I’ve filmed it. And – this is all key on this – then getting a really excellent editor so I never have to sit in on editing. What happens if you sit in is you become stale and every passage or joke, metaphorically speaking, gets more and more tired. You start cutting it all back because of fatigue. So what you have to do is keep your distance and therefore, in a funny kind of way, you, as the director, should be the preview and that’s it.”
~ Sir Ridley Scott