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

liza antelo on: Farewell Andrea Gronvall, Critic, Journslist, ‘Siskel & Ebert’ Producer, Longtime MCN Contributor

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."

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“I always thought that once I had lived in Chicago for a while, it would be interesting to do a portrait of the city – but to do it at a significant time. Figuring out when would be the ideal time to do that was the trick. So when this election came around, coupled with the Laquan McDonald trial, it seemed like the ideal time to do the story. Having lived in Chicagoland for thirty-five-plus years and done a number of films here, I’ve always been struck by the vibrancy of the city and its toughness. Its tenderness too. I’ve always been interested in the people at the center of all the stories. This is a different film in that regard, because we’re not following a couple of individuals over the course of the project in the way that a lot of the films I’ve done have, but I still feel like people’s voices and aspirations and hopes are at the center of this series.

It wasn’t easy. We started back in July 2018, it was actually on the Fourth of July – that was our first shoot. It’s like most documentaries in that the further you go along the more involved and obsessed you get, and you just start shooting more and more and more. We threw ourselves into this crazy year in Chicago. We got up every day and tried to figure out if we should be out shooting or not, and what it is we should shoot. We were trying to balance following this massive political story of the mayor’s race and these significant moments like the Laquan McDonald trial with taking the pulse of people in the city that we encounter along the way and getting a sense of their lives and what it means to live here. By election day, Zak Piper, our producer, had something like six cameras out in the field. You could double-check that, it might have been seven. We had this organized team effort to hit all the candidates as they were voting, if they hadn’t already voted. We hit tons of polling places, were at the Board of Elections and then were at the parties for the candidates that we had been able to follow closely. Then of course, we were trying to make sure we were at the parties of the candidates who made it to the runoff. So, yeah, it was kind of a monster.”
~ Steve James On City So Real

“I really want to see The Irishman. I’ve heard it’s big brother Martin Scorsese’s masterpiece. But I really can’t find the time. The promotion schedule is so tight, there’s no opportunity to see a three and a half-hour movie. But I really want to see it. In 2017, right before Okja’s New York premiere, I had the chance to go to Scorsese’s office, which is in the DGA building. There’s a lovely screening room there, too, with film prints that he’s collected. I talked to him for about an hour. There’s no movie he hasn’t seen, even Korean films. We talked about what he’s seen and his past work. It was a glorious day. I’ve loved his work since I was in college. Who doesn’t? Anyone involved with movies must feel the same way.”
~ Bong Joon-ho