MCN Curated Headlines Archive for January, 2016

Ensemble: Spotlight; Larson, DiCaprio; Supporting: Vikander, Elba; Stunts: Mad Max: Fury Road
The Complete 2016 SAG Film Awards List

NY Times

“No matter how much the industry and its media minions seem determined to turn Sundance into a snowy exurb of Hollywood, the festival continues to push against the mainstream tide through some of its selections.”
Manohla Dargis Reports From Sundance

NY Times

“If the academy is out of touch, what does that make me? A dinosaur. A stagecoach driver in the age of Uber. An old man yelling at a cloud.”
A. O. Scott Previews His Forthcoming “Better Living Through Criticism”

“Ira Sachs has become the quintessential auteur of today’s New York–the one of class inequality, and of relationships transformed by the changing city around them.”
Bilge Ebiri Salutes Sundance’s Little Men

“The internet I do use, mostly email, and it’s a fine instrument. Those who read gain the world, and those who are too much on the internet lose it.”
Werner Herzog In The Modern World

hollywoodreporter.com

“’You will have to fly Mo’Nique and her team out and you would have to pay for her team—for hair and makeup and wardrobe—because that’s a night where there’s a lot of picture-taking and it’s TV.’ And they said, ‘That’s not something that we do. We don’t fly anyone in and pay for anyone and put anyone up.’ And we said, ‘We understand. But that’s not something we do either. We don’t pay out money to come on your program.'”
Mo’Nique On To Oscar Or Not

“Notes may seem stupid. It is your job to look past their bad solution to the problem they are responding to–and come up with a better solution.”
Zoe Kazan’s “Useful Lessons I Have Learned From Having Screenwriters For Parents”

hollywoodreporter.com

“Baseball and football have taken proactive steps to solve the problem and have made significant progress. The Academy has now embarked on a path that will hopefully also produce positive results with enough effort and intent.”
Democratic Political Operative Donna Brazile Has An Oscar Campaign Written In Deadly Politic-ese

“We trans folk are likewise aggrieved when our complex struggles are reduced to mannered gesturing as shorthand for stereotypical gender behaviours, especially when played equally to the Academy as to the gallery.”
Australian Trans Woman Cerise Howard On The Danish Girl

variety

People Magazine Took On A “H’wd Blackout”—In 1996
“Although Hollywood’s executive corps is clearly too vanilla, why launch your assault at this time, when significant inroads are being made? Protests and picketing are passe. There is growing resentment in this country against anything that smells of affirmative action. No matter what anyone tells you, Hollywood hires on merit, and the opportunities are there.”
AndA 62-Year-Old Peter Bart Dismissed The Idea

“The show is distinctive in its sparseness, its fixed and almost obsessive concentration on Nichols’ face and voice. Beyond the substance of the film, its very form is May’s highest tribute to Nichols: she can’t stop looking at him and listening to him.”
Richard Brody‘s Bittersweet Appreciation Of Elaine May’s Mike Nichols American Masters Doc

“This is a guy who discovered, nurtured, befriended, defended more great writers than just about anyone.”
Esquire Ejects Editor-In-Chief After 19 Years

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."

Quote Unquotesee all »

“I always thought that once I had lived in Chicago for a while, it would be interesting to do a portrait of the city – but to do it at a significant time. Figuring out when would be the ideal time to do that was the trick. So when this election came around, coupled with the Laquan McDonald trial, it seemed like the ideal time to do the story. Having lived in Chicagoland for thirty-five-plus years and done a number of films here, I’ve always been struck by the vibrancy of the city and its toughness. Its tenderness too. I’ve always been interested in the people at the center of all the stories. This is a different film in that regard, because we’re not following a couple of individuals over the course of the project in the way that a lot of the films I’ve done have, but I still feel like people’s voices and aspirations and hopes are at the center of this series.

It wasn’t easy. We started back in July 2018, it was actually on the Fourth of July – that was our first shoot. It’s like most documentaries in that the further you go along the more involved and obsessed you get, and you just start shooting more and more and more. We threw ourselves into this crazy year in Chicago. We got up every day and tried to figure out if we should be out shooting or not, and what it is we should shoot. We were trying to balance following this massive political story of the mayor’s race and these significant moments like the Laquan McDonald trial with taking the pulse of people in the city that we encounter along the way and getting a sense of their lives and what it means to live here. By election day, Zak Piper, our producer, had something like six cameras out in the field. You could double-check that, it might have been seven. We had this organized team effort to hit all the candidates as they were voting, if they hadn’t already voted. We hit tons of polling places, were at the Board of Elections and then were at the parties for the candidates that we had been able to follow closely. Then of course, we were trying to make sure we were at the parties of the candidates who made it to the runoff. So, yeah, it was kind of a monster.”
~ Steve James On City So Real

“I really want to see The Irishman. I’ve heard it’s big brother Martin Scorsese’s masterpiece. But I really can’t find the time. The promotion schedule is so tight, there’s no opportunity to see a three and a half-hour movie. But I really want to see it. In 2017, right before Okja’s New York premiere, I had the chance to go to Scorsese’s office, which is in the DGA building. There’s a lovely screening room there, too, with film prints that he’s collected. I talked to him for about an hour. There’s no movie he hasn’t seen, even Korean films. We talked about what he’s seen and his past work. It was a glorious day. I’ve loved his work since I was in college. Who doesn’t? Anyone involved with movies must feel the same way.”
~ Bong Joon-ho