MCN Curated Headlines Archive for March, 2017

“We experimented a lot with facial features where we might try an Asian eye with an African arm. It was really difficult to get all that stuff working in harmony in a concise character that doesn’t just look like some hodgepodge that’s been thrown together.”
WETA Workshoppers On Making Ghost In The Shell‘s Robotic Psycho Geisha Girls And More

“Oh, man. Thank you for this question. As a football supporter, I feel Mexican. But my true self is completely Latin American. Mexico is my cocina, my kitchen. It is where I hang, where I talk to my mother. But Latin America is my home. If you travel through Latin America, you see we are one. We all share the same history, the same spirit. It is the real melting pot. Go back far enough and I don’t even know where I come from.”
Gael García Bernal

LA Times

“I see movies all the time where I question why the hell they even made them, because the animus is so clearly nonfilmic. I don’t mean that you need to have thundering herds or raging gunfights as opposed to ideas, but I think certain things are more filmic than others. Genre filmmaking does supply a kind of structure that allows the filmmaker and the audience some common ground to then say, ‘Let’s see what we’re going to do on our little journey here.'”
Walter Hill On Genre

“The only platform I’m interested in talking about is theatrical exhibition.”
“Netflix, my ass.”
“I hope people see it in the theatre, where it was meant to be seen.”
Christopher Nolan, Tom Rothman And Sofia Coppola At CinemaCon

hollywoodreporter.com

“I think we proved to you that we really believe in the theatrical experience by fully supporting the theatrical window for our releases.”
Amazon Studios On Supporting Theatrical Window

“These days, there’s also a continuing crisis in masculinity that’s tied up with deindustrialization and the rise of feminism and cultural equality.”
T2 Trainspotting‘s Irvine Welsh In The Modern World

NY Times

“I got sick and tired of seeing ballets about relationships, or mythological forests 10 centuries ago. Of the ballets I saw, very few of them were about the contemporary world. So I thought why not take an extreme subject — like psychotics in a prison for the criminally insane — and see if something resembling a classical ballet could be made out of their behavior, their movements, their tics, convulsions and obsessions.”
At Eighty-Seven, Frederick Wiseman Turns To The Ballet

“It’s a true collaboration with us. He taught me everything. I knew nothing about editing. But it’s a true collaboration now, and I can’t begin to tell you how much of a joy it is to be in the room with him. Because we talk about everything, not just the movie. And he’s so rich, he’s such an extraordinary genius, and to watch the suffering he goes through while making a movie is something quite special to share.”
Thelma Schoonmaker On A Life In Martin Scorsese Movies

hollywoodreporter.com

“I can’t presume to say what everybody is getting from the film. It definitely, for lack of a better word, is a more fun way to engage in a discussion about race.”
Jordan Peele On What Get Out Can Teach H’wd

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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“With any character, the way I think about it is, you have the role on the page, you have the vision of the director and you have your life experience… I thought it was one of the foundations of the role for John Wick. I love his grief. For the character and in life, it’s about the love of the person you’re grieving for, and any time you can keep company with that fire, it is warm. I absolutely relate to that, and I don’t think you ever work through it. Grief and loss, those are things that don’t ever go away. They stay with you.”
~ Keanu Reeves

“I was checking through stuff the other day for technical reasons. I came across The Duellists on Netflix and I was absolutely stunned to see that it was exquisitely graded. So, while I rarely look up my old stuff, I stopped to give it ten minutes. Bugger me, I was there for two hours. I was really fucking pleased with what it was and how the engine still worked within the equation and that engine was the insanity and stupidity of war. War between two men, in that case, who fight on thought they both eventually can’t remember the reason why. It was great, yeah. The great thing about these platforms now is that, one way or another, they’ll seek out and then put out the best possible form and the long form. Frequently, films get cut down because of that curse in which the studio felt or feels that they have to preview. And there’s nothing worse than a preview to diminish the original intent.Oh, yeah, how about every fucking time? And I’ve stewed about films later even more because when you tell the same joke 20 times the joke’s no longer funny. When you tell a bad joke once or twice? It’s fine. But come on, now. Here’s the key on the way I feel when I approach the movie: I try to keep myself as withdrawn from the project as possible once I’ve filmed it. And – this is all key on this – then getting a really excellent editor so I never have to sit in on editing. What happens if you sit in is you become stale and every passage or joke, metaphorically speaking, gets more and more tired. You start cutting it all back because of fatigue. So what you have to do is keep your distance and therefore, in a funny kind of way, you, as the director, should be the preview and that’s it.”
~ Sir Ridley Scott