MCN Curated Headlines Archive for October, 2016

hollywoodreporter.com

“I’m going to push. Not only for better tools, workflow, high dynamic range and high frame rates — the things we are working toward. I’m still very bullish on 3D, but we need brighter projection, and ultimately I think it can happen — with no glasses. We’ll get there.”
James Cameron Promises Tech To Go With The Many Avatar Sequels

“We were partly plotting our escape from Akron in the future and we were investigating whatever stuff we could get our hands on that was a little outside. We were Midwestern and suddenly that was, wow, this is our stuff: This is working-class, wild-ass primal music. Yeah, that had a big effect.”
Jim Jarmusch On The Seed Of Gimme Danger

NY Times

“The black penis is imagined more than it’s seen, which isn’t surprising. This newly relaxed standard for showing penises feels like a triumph of juvenile phallocentrism — it’s dudes peeking over a urinal divider and, as often as not, giggling at what they see. Not all of that peeking is harmless; some of those dudes are scared of what they’ve seen.”
Wesley Morris Rocks Out With His Pop Out, Essaying The “Last Taboo: Black Male Sexuality”

“Astaire is clearly not an experimental dancer like Twyla Tharp or Pina Bausch, but he is surreal in the sense of surpassing the real. He is transcendent. When he dances a question proposes itself: what if a body moved like this through the world? But it is only a rhetorical, fantastical question, for no bodies move like Astaire, no, we only move like him in our dreams.”
Zadie Smith‘s Dance Lessons For Writers

“The Mary Sue thing in itself is sexist because it’s the name of a woman.”
Daisy Ridley Takes Up The Case Of Rey Against The Armies Of The Internet

“Even though it comes near the beginning of Jenkins’ career, Moonlight feels like the fulfillment of an inner world that has been under pressure within him for a very long time.”
Richard Brody Feels A Thrill

“Berlusconi’s nothing compared to Trump, because the action of Berlusconi affects Italy only and the action of Trump would affect the whole world. And I don’t believe that people can be so blinded to vote for him. I refuse to believe that. I would not be able to work in the street or look at people anymore if that happened! F—ed-up souls.”
Francesco Rosi Talks Politics But Says Fire At Sea Is Not Political

“Chicago locations are used as backdrops to movies and television series, but how many movies get the gritty, rub-it-between-your-fingers texture of the streets and sidewalks and alleyways?”
Ten Films That Capture The Sensations Of A City, By Ray Pride

MCN Curated Headlines

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“I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
~ Lauren Milici On “The Final Girl”

“‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
~ Greil Marcus On Michael Jackson