MCN Curated Headlines Archive for February, 2016

“The Cliftex continues to make, and reinforce, memories for its town’s residents, many of whom show up to socialize under the marquee’s blue-and-green neon when the box office opens a half-hour before showtime. ‘You can see everybody in this town that you want to see in 30 minutes.'”
Clifton, Texas’ 150-Seat Cliftex Theater Turns 100

variety

“These nationalists don’t deal with the actual film. They use the film as a pretext to rouse patriotic sentiment and give vent to their neverending obsession with a supposed worldwide Jewish-German-leftwing-liberal-Russian conspiracy against Poland. It’s their outrageous xenophobic statements that do damage to our reputation abroad—not my film.”
Polish Public Television Prefaces Broadcast Of Ida With 12-Minute Attack 

NY Times

“We don’t care, and yet somehow we must because there’s a lot at stake. I mean, no Rivette in the necrology montage? What kind of world is this? Well, this world—one in which our host stood up for less racism, then cracked a joke about the academy’s accountants being cute Asian kids who make our iPhones. Comedy’s messy!”
Dargis, Morris & Scott Review Oscar Evening

Spoils Shared By Spotlight, Revenant, Fury Road

“Roger Ebert wasn’t bad. He was a true film lover at least, a failed filmmaker, which gave him a great deal of insight. His passion for film was contagious and he shared this with his fans. He loved films and his contribution to cinema as a result was positive. Now we have a pack of diseased vultures pecking at the bones of a dying carcass. Trying to peck to the rhythm of the consensus. I applaud any filmgoer who values their own opinion enough to not base it on what the pack-mentality say is good or bad.”
Alex Proyas Reads His Gods Of Egypt Reviews And Posts To Facebook

NY Times

“We know you couldn’t break your contracts this year, but we are putting you on notice: If you want to have another all-white Oscars, we will cut you off,” Mr. Sharpton said, as the jam-packed church erupted with cheers. “We cannot and will not have the face of American culture exclude us.”
Cieply & Barnes Align Oscar Broadcast Doubts

“Oscars are based on visibility and resonance. A movie studio’s marketing dollars give a film visibility. Resonance is partly up to timing, but mostly it’s up to us, the audience. It’s our empathy in the dark of movie theatre that just might change the nominees list next year.”
TIFF’s Cameron Bailey On Inclusiveness

MCN Curated Headlines

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."

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."

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“Dude, I don’t like the way you talk, bro. How can you tell me that it’s going to be hard? Do you see a lot of people like you writing stories? Give me a break, bro. That’s your strength, that you’re not like us. Go out there and tell your stories. Don’t go out there and try to be like Quentin or me or anybody else. We need you. Tell me what makes you angry, why you’re arrogant, or fearful, whatever it is. Don’t hide anything. Be honest. What is that thing that bothers you and makes you distinct? Everyone’s looking for you. A Mexican point-of-view to tell a story right now? I’m telling you, everybody wants that right now. I desperately need you to tell your story in your way. You are essential.”
~ M. Night Shyamalan

“My films are always brought to life from an idea, a coincidence, or a dreamlike magic. An ephemeral moment that settles in my mind and starts to bloom. The plot slowly appears before my eyes, and there’s nothing left but to write it. I actually do use a mood board. And location scouting is essential to the realization of the film. I’m inspired by architecture — the beauty of certain neighborhoods, the mystery in odd buildings, or streets that suggest psychoanalytic theories. I only choose my actors after I write the script.”
~ Dario Argento