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

Why Did Physical Media Sales Drop More Than 86% in Thirteen Years?

Gianopulos Confirmed to Top Paramount After ViacomCBS Merger

Citing Warehouse Capacity, Amazon Slashes Book Orders From Publishers In Holiday Season

Sandy Powell on the Hundreds Of Costume Changes In The Irishman

“If there does end up being a long-term issue for Disney Plus, it’s not that people will be shocked to discover the depth and breadth of weird movies that Walt Disney Pictures made in the 1960s and 1970s. It’s that audiences may stream something like Dumbo and be shocked at what they’ve forgotten from beloved classics or familiar characters. There’s been no mention of the dozens of Mickey Mouse shorts from the first half of the twentieth century, including Mickey’s Mellerdrammer, in which Mickey and friends perform a version of  “Uncle Tom’s Cabin,” complete with blackface. Disney Plus is offering hundreds of titles that have long been unavailable or ignored. But while they’re opening the vault, there doesn’t seem to be a strategy to contextualize what people will find inside it.”

Cats

“These businesses will coexist. It’s not like one is going to go away and everything goes into the other.” Berwick said the cable industry had “comfort” on its side — familiar programs like “The Real Housewives” and channels with distinct identities. Not everyone likes the streaming experience, which turns the semi-passive act of channel surfing into more of an active hunt. They “want to see the familiar and not to have to make a decision,” she said. Yet look at how fast streaming services have expanded. Netflix, which started serving up movies and shows online 12 years ago, has grown into a giant, with 158 million subscribers worldwide. Amazon Prime Video is available to 100 million Amazon Prime members. Hulu has 28.5 million. Analysts expect Disney Plus to have at least eight million customers by the time it is seven weeks old and 76 million at the end of five years.No lesser a force than Rupert Murdoch decided on a tactical retreat. Rather than slug it out with Disney and the tech companies muscling onto his turf, he hung a For Sale sign on most of his entertainment assets, including non-news cable channels like FX and the 20th Century Fox television and movie studio. Disney outgunned Comcast by paying $71.3 billion for the properties, with Mr. Iger contending that the purchase would supercharge Disney’s streaming plans.”

Tom Hall on Valuing Art

A Studio Tour With Comics Artist Bill Sienkiewicz

Wilder on Lubitsch Touch

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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