MCN Curated Headlines Archive for September, 2015

“A24 has established itself as the film industry’s most forward-thinking company by releasing the kind of midsized, stylish, quality films that seemed on the verge of going extinct, transforming them into a collective theatrical experience, and aiming them squarely at a demographic that would rather watch movies on their phones.”
David Ehrlich Offers Warm Tongue Bath Of Praise For A24 Distribbery

I’m a huge BBC fan but how often do I hear an estuary accent on Radio 4? It’s fighting for its life and needs to engage with millions of people just like the Goggleboxers. There should be a new dish in the BBC canteen–humble pie.”
Another Former BBC Exec Disses Broadcaster Toward, Gasp, Own Agenda

BBC

“I’m going to make a quite narrow definition of culture. And I’m going to call culture the creative arts. But I’m going to make a very broad definition of what art is. And my definition is quite simply art is everything that you don’t have to do.”
Full Transcript Of Brian Eno‘s BBC John Peel Lecture On Culture, Pop And Not pdf download

“I’m not a control freak necessarily, but there’s direction to my direction when I’m making a movie. In this case I wasn’t in control. I was accepting that feeling and I was excited about the idea of not having control.”
Eric Hynes And Dustin Guy Defa On His New Shepard Fairey Doc, God Is An Artist

“Vancouver is a service city, Transaction Town, and if you’ve got something to say, you ought to keep your head down unless it’s got dollars and cents at its center. I urge VIFF not to measure its homegrown talent on these terms.”
Filmmaker Will Ross On The Vancouver Int’l Film Fest From A Local Perspective

hollywoodreporter.com

“The worst part was seeing the American press as a willing accomplice, an eager accomplice to terrorism. I don’t know how these reporters who printed the stuff can look at themselves in the morning… [A]bsolutely aided and abetted terrorism.”
Aaron Sorkin On Sony Hack

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