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

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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