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

Quote Unquotesee all »

“One of my favorite things in watching any performance on film is when there isn’t a lot of cutting going on and when you get a chance to become really absorbed in the artist in hand. The same way we do, hopefully, at a concert, when we get a chance to really trip in to something that’s happening on stage. Whether the singer’s singing, or one of the other musicians is playing, we sort of stay there instead of cutting round with our eyes a lot.”
~ Jonathan Demme

“We’ve talked about this before in the past, my obsession with the Shakespearean histories having the ideal combination of the sweet and the sour. In ‘Henry IV, Part II’ which we’ve discussed before, in the end of that story it’s very complex and haunting because Prince Hal becomes Henry the King, and he has transcended his hoodlum days and at the ceremony is Falstaff, his good friend with whom he has really fucked around and been a loser with, and Falstaff comes up to him and says, ‘Now that you’re king we can really party,’ and the king famously says, ‘I know thee not, old man.’ It becomes Henry IV’s anointment and Falstaff’s catastrophe. That’s life. I have experienced very little unfettered triumph. There are moments, such as when my children are born, but even that comes with new fears and anxieties. In a sense the better you can communicate that life is both at once, the more powerful over time something becomes. One strives for something where the threads are there because it lasts in way that is very palpable. The idea of a tragedy is powerful in literature and theater, but in cinema it doesn’t work, certainly not commercially, and less so critically. Why is that? I think it has to do with how movies are so close to us.”
~ James Gray