MCN Curated Headlines Archive for February, 2017

hollywoodreporter.com

“Unlikely as it is, I find myself rising to defend Warren Beatty.”
Kim Masters Considers Beatty’s Perplex From Journalistic Experience

For independent cinema there’s no limits except the law. So if you explore certain taboos then it’s a question of legality and morality, depending on where your moral compass leads you. I am trying to make films about provocative subjects but get larger budgets for them, but that’s when you start to realize how deeply conservative cinema is.”
Canadian Filmmaker Bruce LaBruce On His Latest Provocation

“As I said last night, once you go away from the Earth and look back at the Earth, you see no borders, no lines separating countries. It is one, whole, beautiful unit.”
Why Asghar Farhadi Sent Two Iranian Scientists To Accept Oscar
And – Jafar Panahi On Farhadi’s Win

“The problem is that unfamiliarity is the punchline. Not Kimmel’s unfamiliarity due to ignorance, mind you, but rather the perceived abnormality or exoticism of the names in question, a perspective that is comes from a limited, geo-centric worldview wherein any name that doesn’t fit America’s Amy/Patrick/Jimmy canon is worthy of derision.”
On Jimmy Kimmel’s Casual Racism At Oscar

“Adherents of the Ahmadiyya faith—Ahmadis—cannot practice it without facing legal prosecution or the wrath of a vigilante mob.”
Pakistanis Astir; Mahershala Ali’s Faith Not Considered Muslim

“We have spent last night and today investigating the circumstances, and will determine what actions are appropriate going forward. We are unwaveringly committed to upholding the integrity of the Oscars and the Academy of Motion Picture Arts and Sciences.”
The Academy Statement About PwC Best Picture Failure

NY Daily News

NYDN-PwC

Ouch.

“Straight talk is a strong way for both managers and employees to handle a crisis. Radical transparency strengthens teams and confers authority on the managers who use it.”
“Four Great Success Lessons From The Spectacular Oscars Disaster”

LA Times

“He in sleek tux, she resplendent in white gown, they took the stage. The night was nearly done, a touch of class for the final prize. No one saw or anticipated the iceberg.”
Jeffrey Fleishman‘s Bristling Backstage Oscar Tick-Tock

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LA Times

“Truly, if surrealist Luis Buñuel had had a writing credit on the program he could not have done it any better.”
Kenneth Turan On Oscar Night

“A congratulatory tweet was posted. We later removed the post to avoid any misperception that the USG endorsed the comments made in the acceptance speech.”
State Department Tweets, Then Goes Back On Congratulations To Asghar Farhadi

“Watching videos of the biggest gaffe in Oscar history this morning, it seems to me that Warren Beatty not only realized he was handed the wrong envelope, but that he was delighted at being handed a once-in-a-lifetime opportunity. And decided to have a little fun with the people who snubbed him, as well as promoting his ironically named Rules Don’t Apply on a global scale.”
Lou Lumenick Thinks Beatty Was Masterfully “Playing Puzzlement”

Guy Hamilton, Pierre Etaix, Don Ireland, Herschell Gordon Lewis, Gloria DeHaven, Robert Vaughn, Michele Morgan, Anne Jackson, Steven Hill, Marvin Kaplan, William Schallert, Burt Kwouk, Doris Roberts, Alec McCowen, Fyvush Finkel, Jon Polito, Garry Shandling, Miguel Ferrer, Alexis Arquette, Florence Henderson, Teresa Saldana… and many more
A Rollcall Of Those Passed Over By Oscar “In Memoriam”

wsj

Screen Shot 2017-02-27 at 2.10.55 AM

“On his Twitter bio, Mr. Cullinan describes himself as ‘Counting Oscar ballots and keeping secrets.'”
PricewaterhouseCooper Managing Partner Was Backstage Tweeting Photos Of Emma Stone Before He Handed The Wrong Envelope To Warren Beatty

“We sincerely apologize to Moonlight, La La Land, Warren Beatty, Faye Dunaway and Oscar viewers for the error that was made during the award announcement for Best Picture. The presenters had mistakenly been given the wrong category envelope and when discovered, was immediately corrected. We are currently investigating how this could have happened, and deeply regret that this occurred. We appreciate the grace with which the nominees, the Academy, ABC and Jimmy Kimmel handled the situation,” Says PwC

moonlight
Rules Don’t Apply (Complete Oscar Winners List)

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."

Quote Unquotesee all »

“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima