MCN Curated Headlines Archive for November, 2015

“Each of them had a kind of point. Anchorman was clearly, like, what the f— happened to the television media, what a joke it’s become.Talladega Nights was about this weird stubborn pride that was showing up in America, kind of the corporate takeover of southern pride. Stepbrothers was about how consumerism turns grown-ups into little kids.”
Jessica Pressler‘s Six-Part Vulture “Cover Story” On The Miracle That Is The Big Short

timeout.com

Tauntaun Soup Dumplings, Jar Jar Bisque, Obi-Wan Pierogi
Chicago’s Table, Donkey, Stick Resto Mounts A Star Wars I-VI Dinner

“Claiming that sex-strikes can stop rape  is premised on the idea that rapists are somehow concerned with the thoughts and opinions of their potential victims. There is very little evidence support this contention.”
Ta-Nehisi-Coates Disputes Spike Lee Comments About Chi-raq And Campus Rape

“He was a subversive populist, a celebrity avant-gardist. He was also, frequently, a political artist, one who came of age during the heyday of the Popular Front and never ceased to roil the culture industry.”
Alex Ross On A Century Of Orson Welles

“Rahm Emanuel is giving a billionaire filmmaker priceless parkland for $10.”
John King On The $400 Million Private Museum of George Lucas’ Miscellaneous Art On Chicago’s Lakefront

LA Times

“It also complained about the use of a slang word for testicles, ordering the term be changed to ‘cats.'”
India Move Toward Harsher Censorship Takes Toll On SPECTRE: Language, Kissing At Issue

“As long as they let me. It’s the only thing I really enjoy.”
Peter Hartlaub On The Living Legacy Of Satirist Mort Sahl, Still Performing At 88

“We made sure that in every scene the characters had an eye light, just like a live-action film would. A specific light that was set to reflect and give that twinkle in the eye. Trying to get them to move in sync with one another and allow for the animators to see what they were doing was definitely a challenge.”
A Strong Backgrounder On The Origins And Production Of Anomalisa spoilers

“Most of the people in the world of distribution are straight white men and they’re distributing messages that make them the heroes, that make people empathize with them, and allow them to ‘otherise’ women, people of color and queer people. But we were raised to be objects and trophies in their storylines.”
“Transparent” Director Jill Soloway Talks Gender

“I see her the same instant she sees me, and instantly, I love her. Instantly, I am terrified, because I know she knows I am terrified and that I love her. Though there are seven girls between us, I know, she knows, she will come to me and have me wait on her.”
The Passions Behind Patricia Highsmith’s “Carol” Novel

Salon

Carol is such a moving film and such a beautiful film, which demonstrates in a thousand ways why cinema (however moribund or irrelevant it may appear) is not television, that I am reluctant to privilege any particular element of its construction. It is one of the greatest American screen romances of any era, period–and perhaps that serves as the ultimate vindication of Haynes’ outspoken commitment to ‘queer cinema.'”
Andrew O’Hehir Definitely On Team Todd

MCN Curated Headlines

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”

Ray Pride on: 2017 FYC (For Your Consideration) Screenplays Now Up To 36 Titles

YancySkancy on: 2017 FYC (For Your Consideration) Screenplays Now Up To 36 Titles

Debbie on: 2017 FYC (For Your Consideration) Screenplays Now Up To 36 Titles

Warren on: "Whatever it is that people are reacting to in these superhero films, it’s not what they say they’re reacting to. They clearly don’t care about consistent characterization, original storytelling, or anything else they say they do, because if they did they’d be a lot more picky. What they really like is what we all like: confidence. Movies boil down to someone – or a group of someones – telling us a story. And telling a story well takes confidence. If a storyteller has a great story packed with interesting characters and exciting developments but they stumble over the order of things and mumble during the important bits, the experience is going to suck. Likewise, if the story is poor but they tell it well it’ll be a good time even if afterwards we realize it didn’t make any sense."

Amazing GBG on: "Whatever it is that people are reacting to in these superhero films, it’s not what they say they’re reacting to. They clearly don’t care about consistent characterization, original storytelling, or anything else they say they do, because if they did they’d be a lot more picky. What they really like is what we all like: confidence. Movies boil down to someone – or a group of someones – telling us a story. And telling a story well takes confidence. If a storyteller has a great story packed with interesting characters and exciting developments but they stumble over the order of things and mumble during the important bits, the experience is going to suck. Likewise, if the story is poor but they tell it well it’ll be a good time even if afterwards we realize it didn’t make any sense."

Ray Pride on: "Whatever it is that people are reacting to in these superhero films, it’s not what they say they’re reacting to. They clearly don’t care about consistent characterization, original storytelling, or anything else they say they do, because if they did they’d be a lot more picky. What they really like is what we all like: confidence. Movies boil down to someone – or a group of someones – telling us a story. And telling a story well takes confidence. If a storyteller has a great story packed with interesting characters and exciting developments but they stumble over the order of things and mumble during the important bits, the experience is going to suck. Likewise, if the story is poor but they tell it well it’ll be a good time even if afterwards we realize it didn’t make any sense."

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch