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

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon