MCN Curated Headlines Archive for December, 2015

“We must now hurry. If the media criticizes our changes, we have to stop it. Public media are not involved in party political disputes, they should just accurately inform the public.”
Newly-Elected Polish Gov’t Cracks Down On Public Media

“I relate to her deeply. She manages a lot of bare-knuckled commerce that’s unforgiving and nasty. You will lose it in the blink of an eye. It will be taken from you. You gotta be able to roll off it and move on. I just dig that in her.”
David O. Russell Furthers Argument That Joy Is Veiled Indie Film Self-Portrait

variety

I misspoke and used a very inappropriate analogy and for that I apologize. I have been working with Disney for 40 years and chose them as the custodians of Star Wars because of my great respect for the company and Bob Iger’s leadership. Disney is doing an incredible job of taking care of and expanding the franchise. I rarely go out with statements to clarify my feelings but I feel it is important to make it clear that I am thrilled that Disney has the franchise and is moving it in such exciting directions in film, television and the parks. Most of all I’m blown away with the record breaking blockbuster success of the new movie and am very proud of JJ and Kathy.”
Disney Issues Statement From George Lucas Regarding “White Slavers”

variety

“For Oscar-humping banality and excruciating politesse, this film was hard to beat.”
Six Variety Critics Ding Their Least Favorite Of 2015

“When I focus too much on the awards talk, I find myself stifled, creatively. To be nominated for an Oscar would be the most wonderful thing in the world, but if you hinge your self-esteem on that, you’re really setting yourself up to feel bad about something you shouldn’t feel bad about it.”
Jason Segel Takes Awards Talk As An Opportunity To Talk About Awards Talk

“Gifts and pledges from the foundation have included $175 million to the USC film school and $25 million to the University of Chicago Laboratory schools to create an arts building. Skywalker Ranch, Mr. Lucas’s postproduction facility, declined to provide information about his personal philanthropic work.”
In Light Of George Lucas’ “Charlie Rose” Comments About Disney, What’s The Status Of His Charity Efforts And Those Of Other Star Wars Creators?

LA Times

“My job as an actor is not to elucidate the script—it is to be compellingly present. When I do a movie and I don’t know why I’m saying something is when I’m truly happy.”
What Happened Was, A Younger Charlie Kaufman Dropped A Line To Tom “Everyone Else” Noonan

NY Times

“Pacino’s is a shameless piece of acting, but it’s driven by so much confidence, so much sexiness, that all that’s really embarrassing is how you ever doubted that he could still teem with this much louche charisma.”
Wesley Morris Predicts Who Oscar Will Overlook

NY Daily News

“The weight of the evidence is actually he said-she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said, she said.”
NYDN On Cosby Arrest

“The bearing of witness lends Nemes’ distinctive aesthetic its greatest power.”
Richard Brody Puts Son Of Saul Up Against “The Ungraspable Horrors Of Auschwitz”

“Snow is cold! It’s the complete opposite of Jakku!”
Force Awakens Novel Fills In At Least 27 Plot Holes

variety

“I sold them to the white slavers that takes these things, and…” Lucas said before laughing and deciding it better not to finish. “They looked at the stories, and they said, ‘We want to make something for the fans.’ They decided they didn’t want to use those stories, they decided they were going to do their own thing… They weren’t that keen to have me involved anyway—but if I get in there, I’m just going to cause trouble, because they’re not going to do what I want them to do. And I don’t have the control to do that anymore, and all I would do is muck everything up.
George Lucas Strikes Back Again

LA Times

“‘We are trying to be the light in the darkness of Hollywood,’ says Chloe Sebest, 14, at a seminar hosted by Actors, Models & Talent for Christ.”
Redefining “Faith-Based”: Acting Seminars Seek Christian Cash

“The part that had my heart in my teeth was when Rey, the techie scavenger girl, picks up the lightsaber to fight the bad guy as an equal. And the music swells. The same old theme and a new kind of hero on a new kind of journey. The same old story made stunning in its sudden familiarity for every girl who ever dreamed of being more than a princess. Rey picks up her weapon, and everything changes.”
Laurie Penny On Why The Force Awakens Matters

“For A Better Tomorrow we were lucky because we got to work with the original camera negative. I wouldn’t say the condition was good—there were tears, and scratches, and dirt, and mold—but it’s about standard for a film that turns 30 next year.”
Hong Kong Movies, Even From As Recently As The ’90s, Are Disappearing

MCN Curated Headlines

joker scr888 on: Academy of Motion Picture Arts and Sciences Elects 2018–19 Board of Governors

genting casino vacancy malaysia on: Academy of Motion Picture Arts and Sciences Elects 2018–19 Board of Governors

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."

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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