MCN Curated Headlines Archive for May, 2015

NY Times

“Way, way back when I made Do the Right Thing, there were people who said this film would cause riots all across America, that black people were going to run amok. They wrote a whole bunch of things. But those people ended up being on the wrong side of history. And the same is going to happen in Chicago.”
Julie Bosman Offers Background As Spike Lee Starts His Chicago Gun Violence Movie

“Our mission’s to do great journalism and tell people about the world,”
Buzzfeed Publishes “The Hardest Game Of ‘—-, Marry, Kill’ For Anybody Who Is Attracted To Hot Ladies”

“She would just go stand for nine hours at a time at an Apple store. She would just write and write and write. It was no bullshit, so conversational and unpretentious. ‘Look, I want to adapt these into a movie,’ and she said, ‘That sounds awesome,’ and I was like, ‘I want you to play the lead,’ and she was like, ‘Okay, sure.’ She lives so presently. Two hours before she met me, that didn’t exist, and then two hours later, I didn’t exist. She exists in hours.”
How The Safdies Discovered Their Heaven Knows What Star When She Was A Homeless Junkie

NY Times

“She is now barred from practicing journalism about the entertainment industry online for about a decade. Ms. Finke declined to discuss the settlement for fear of violating it. She declined to be photographed for this article, supplying the portrait instead.”
Ravi Somaiya Seances For 1,100 Words With Nikki Finke Over Her New Fictional Enterprise

“I honestly don’t know why people aren’t more into Cameron Crowe, or at least wanting him to succeed. Maybe it’s some sort of grown-up version of instinctively disliking things that your parents either like or are likely to like.”
Alex Ross Perry On Cameron Crowe And Aloha

“I want to enter someone else’s life and learn something. A lot of gay men have boyfriends that look like them. Mine are never age-appropriate. Most of my men friends that are successful in the arts do not have age-appropriate boyfriends.When you’re 68, 40s are young. Things work or they don’t.”
Thelma Adams And John Waters Have A Small Sit-down

MCN Curated Headlines

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."

tidalmediainc on: Black Panther: $387 Million Worldwide

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

Quote Unquotesee all »

The Atlantic: You saw that the Academy Awards recently held up your 2001 acceptance speech as the Platonic ideal of an Oscar speech. Did you have a reaction?

Soderbergh: Shock and dismay. When that popped up and people started texting me about it, I said, “Oh, it’s too bad I’m not there to tell the story of how that took place.” Well. I was not sober at the time. And I had nothing prepared because I knew I wasn’t going to win [Best Director for Traffic]. I figured Ridley, Ang or Daldry would win. So I was hitting the bar pretty hard, having a great night, feeling super-relaxed because I don’t have to get up there. So the combination of a 0.4 blood alcohol level and lack of preparation resulted in me, in my state of drunkenness crossed with adrenaline surge. I was coherent enough to know that [if I tried to thank everyone], that way lies destruction. So I went the other way. There were some people who appreciated that, and there were some people who really wanted to hear their names said, and I had to apologize to them.
~ Steven Soderbergh

 

“I have made few films in a way. I never made action films. I never made science fiction films. I never made, really, very complicated settings, because I had modest ambitions. I knew they would never trust me to have the budget to do something different, so my mind is more focused on things I know. So they were always mental adventures I wanted to approach and share. Working for cinema with no – not only no money, but also no ambition for money. I was happy and proud [to receive the honorary Oscar] because of that, that [the Academy] could understand what kind of work I have done over 60 years. I stayed faithful to the ideal of sharing emotion, impressions, and mostly because I have so much empathy for other people that I approach people who are not really spoken about. I have 65 years of work in my bag, and when I put the bag down, what comes out? It’s really the desire of finding links and relationships with different kinds of people. I never made a film about the bourgeoisie, about rich people. about nobility. My choices have been to show people that are, in a way, more common and see that each of them has something special and interesting, rare and beautiful. It’s my natural way of looking at people. I didn’t fight my instincts. And maybe that has been appreciated in the famous circle of Hollywood.“

Agnes Varda