MCN Curated Headlines Archive for April, 2016

“It’s up to critics and editors to acknowledge what was already clear in 1969—the realm of movies, their substance and their distribution, has changed drastically, and the practice of criticism needs to catch up with it.
Richard Brody Says Traditional Theatrical Release Patterns Hurt Independent Films But Critics Can Help

“Since her Oscar win, no white director has cast Lupita Nyong’o in a live-action role that lets her live in her own black skin. Idris, Lupita, Paula, and Zoe have faces that matter.”
Kyle Buchanan Wonders Why H’wd Hides The Faces Of Black Actors

“We are training, we are preparing, we are ready. It’s not frightening. What should be frightening is all the videos you see on the Internet, not the coverage of an exercise.”
City Of Cannes Simulated Terrorist Attack Exercise Video Circulates

the wrap

“The only ones qualified to price the content are the studios. Home viewing of a lower-budgeted movie like Brooklyn or The Room might cost $200-$250, while a blockbuster like Jurassic World or Star Wars might be $600-$700.”
Former Ticketmaster CEO Looks Askance At Screening Room Scheme

“It was clear, in those few weeks that we made something together, that Prince rarely, if ever, lost his vision. That wasn’t because he was a magical, otherworldly being; it was because he was rigorous, and generous, and he knew how to fight for what he wanted. It was a beautiful, constant fight. It was love.”
LIz Meriwether‘s Sweet Account Of Working With Prince On His “New Girl” Episode

“Beyoncé is frequently overlooked as one of the most radical pop musicians of the current century, probably because a) she’s a woman and b) she has an uncanny gift for wrapping up her most challenging ideas up in hugely catchy hooks and smuggling them straight into the mainstream under everyone’s noses.”
Miles Raymer On “Lemonade”

“It used to be that movies would convey very complex messages in very straightforward, speech-y ways. We could roll our eyes at those, and I don’t like those movies all that much, but I like the idea that that’s something we should fight for. I wanted to make a movie that had a point, and has a message. We didn’t know what that message was, but we had a vague inkling of it. I love that Network has speeches in it, where characters say what they feel. We’ve lost the ability to have movies just say, ‘You know what? I’m going to do this right now.'”
Filmmaker Robert Greene On The Modern Indie

“Criterion Channel will give us a chance to champion and show more films by filmmakers working today, not just the few we have rights to publish on disc.”
Peter Becker Introduction To Filmstruck Streaming Says Hulu Loses Criterion In November

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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“I remember very much the iconography and the images and the statues in church were very emotional for me. Just the power of that, and even still — just seeing prayer card, what that image can evoke. I have a lot of friends that are involved in the esoteric, and I know some girls in New York that are also into the supernatural. I don’t feel that I have that gift. But I am leaning towards mysticism… Maybe men are more practical, maybe they don’t give into that as much… And then also, they don’t convene in the same way that women do. But I don’t know, I am not a man, I don’t want to speak for men. For me, I tend to gravitate towards people who are open to those kinds of things. And the idea for my film, White Echo, I guess stemmed from that — I find that the girls in New York are more credible. What is it about the way that they communicate their ideas with the supernatural that I find more credible? And that is where it began. All the characters are also based on friends of mine. I worked with Refinery29 on that film, and found that they really invest in you which is so rare in this industry.”
Chloë Sevigny

“The word I have fallen in love with lately is ‘Hellenic.’ Greek in its mythology. So while everyone is skewing towards the YouTube generation, here we are making two-and-a-half-hour movies and trying to buck the system. It’s become clear to me that we are never going to be a perfect fit with Hollywood; we will always be the renegade Texans running around trying to stir the pot. Really it’s not provocation for the sake of being provocative, but trying to make something that people fall in love with and has staying power. I think people are going to remember Dragged Across Concrete and these other movies decades from now. I do not believe that they will remember some of the stuff that big Hollywood has put out in the last couple of years. You’ve got to look at the independent space to find the movies that have been really special recently. Even though I don’t share the same world-view as some of my colleagues, I certainly respect the hell out of their movies which are way more fascinating than the stuff coming out of the studio system.”
~ Dallas Sonnier