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

liza antelo on: Farewell Andrea Gronvall, Critic, Journslist, ‘Siskel & Ebert’ Producer, Longtime MCN Contributor

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."

“On the creative side, even successful shows are likely to have shorter runs—as is increasingly the case on Netflix—because of rising production costs and the difficulty of keeping audiences’ attention given a plethora of viewing options. For consumers, that means more shows they love will run their course within three or four years instead of seven or eight. For the talent, it means moving on to new jobs more frequently.”

Lucrecia Martel

“The entire industry is speeding down this path that you’ve got to own the wires and the service and be producing everything for your own service into one giant integrated phalanx that you’ll march off to do… something? For the sake of this, Hollywood is supposed to be ready to throw everything else out the window.”

“Out of 17 films in competition there are six directed by women but we didn’t select the films looking for parity in numbers. I don’t think gender should be a criterium for selecting films. I think the key is to ensure the access of women to the film industry. Parity has to be supported from the start, making sure everybody has the same rights and opportunities to make the films they want to make. Festivals are at the end of this process and shouldn’t select the films by the gender of the person who has made. We don’t apply quotas but I’m happy that each year we are seeing more and more films directed by women.”

“The movies have savored extinction, eradication and annihilation for years, accelerating after 9/11, with unspecified menace everywhere, set to ash the skies with snowflakes of death. Genre pictures love nothing more than a brooding calamity. The end of civilization, or even the planet itself, has been a sizzling, seething, sorrowful constant across features and series even before our latest apocalypses, major and minor, began to pile up like dead marine animals on our Pacific shores.”

“Phoenix clearly hadn’t rehearsed smart responses beforehand, but was switched on enough to realise that his response was going to matter – and not finding a good one, he fled. Now that a few weeks have passed and my chronically clenched buttocks have almost returned to their former pliancy, I have to admire the blunt, pact-smashing honesty of it. Not that I can see it happening again during the Joker’s awards-season campaign: the Phoenix who presented the film at Venice and Toronto was charming, tactful and generally on his best behaviour. If he can keep it up until February, he’ll deserve an Oscar for that alone.”

Harrrrvey

Bye Trib Broadcasting

Brooks Barnes

Farran on Films Lost To Remake Rights

Quote Unquotesee all »

“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima