MCN Curated Headlines Archive for April, 2017

“With the death of Demme, American cinema loses one of its greatest humanists. His work didn’t simply glow with a generosity of spirit. You got the sense that he understood people — that he understood us. He was a kind of secret-sharer, a creator of cinematic worlds where anything was possible and anything could be said.”
Bilge Ebiri‘s Swell Reminiscence Of Jonathan Demme

“To get younger audiences interested in the actual news, you have to play that up. Half of what I do — well, on social media specifically — is fucking with people.”
Words From The Internet “Troll” With The White House Press Credentials

“When they were both in Los Angeles for the Emmys, Moss found a note scribbled on a napkin and slipped under her hotel door: “I have it saved. It says, ‘Room No. 1209. TOTL 2? Love, Jane.’”
Jada Yuan Visits With Elisabeth Moss

indie wire

“They are low-key, organic, humble, small, not flashy, honest, and earnest. They are nice people who really love films. They don’t have the arrogance.”
Anne Thompson Sees A24 Chasing The Oldies

“Imagine being able to say, “Al and Bob” for the rest of your life. Not many people can do that. I have seen Bob, giggling like a school girl in a van in the middle of the night, because we have to be quiet cause they are filming outside… I have been hugged by Al Pacino in the middle of downtown LA like he was my older brother. I have shot live rounds from high powered assault weapons over Bob’s head while rehearsing lines from our film. I got to kiss Ashley Judd. I sometimes lived at Michael Mann’s house. I am in one of the greatest cops and robbers films in film history, has to be in the top 20. I am on the poster for goodness sake.”
Val Kilmer Does An AMA

NY Times

“Every imaginary future ever written is about the time it was written in. People talk about science fiction’s predictive possibilities, but that’s a byproduct. It’s all really about now.”
William Gibson Reimagines The World After The 2016 Election

“You can have a deep affection for your characters, you can feel that they have a future. Tomorrow has the possibility of being as good or even better than today. In their lives there is always the possibility as well as the reality of things getting better. There are, however, many other options for what might happen and how it might be perceived. This, then, is not ‘optimistic,’ which has to do with naively underestimating the terrible situations and dire circumstances that people confront every day. You can believe and hope without exactly being optimistic.”
Louis Black On His Friend Jonathan Demme

paint-dryingCharlie Lyne Continues His Absurdist Battle Against British Film Censorship

NY Times

“A personable man with the curiosity gene and the what-comes-next instinct of someone who likes to both hear and tell stories, Mr. Demme had a good one of his own, a Mr. Deeds kind of tale in which he wandered into good fortune and took advantage of it.”
Bruce Weber’s Lilting Obit For Jonathan Demme

“We are exploring theatrical distribution of these two films in France, for a limited theatrical run, day-and-date with the films’ release on Netflix.”
Netflix May Do Truncated Theatrical Releases Of Cannes Competition Titles

“None of that changes the fact that I am scared shitless. I am not a 24-year-old kid coming out of film school and sharing an apartment with a gaggle of friends. I have a family that needs health insurance and a mortgage that needs to be paid. I am a grown-ass man who lives in the real world.”
Marc Bernardin On Voting WGA Strike Authorization

“Jonathan’s skill was to see the show almost as a theatrical ensemble piece, in which the characters and their quirks would be introduced to the audience, and you’d get to know the band as people, each with their distinct personalities. They became your friends, in a sense.”
David Byrne On His Friend Jonathan Demme

Mark: I just wish you’d stop sniping.
Joanna: I haven’t said a word.
Mark: Just because you use a silencer doesn’t mean you’re not a sniper.
Mark Harris Looks Back To Two For The Road For “Cinema ’67 Revisited”

MCN Curated Headlines

Quote Unquotesee all »

Who are the critics speaking to?
Nobody seems able to answer the question of how you can make theatre criticism more appealing, more clickworthy. One answer is to be a goddamn flamethrower every week, be a bombthrower, to write scorched-earth reviews. Just be completely hedonistic and ego-driven in your criticism, become a master stylist, and treat everything in front of you onstage as fodder for your most delicious and vicious language. That’s one road. And people may enjoy your writing. The thing that’s sacrificed is any sense of a larger responsibility, and any aesthetic consistency. I don’t think anyone is following that model right now—just being a complete jerk.

Well, Rex Reed is still writing.
Ah. Well, you can also be a standard bearer, and insist that work doesn’t measure up to your high standards. But I think the art makes the standards. I’m not going to sit there and say, “This is the way you do Shakespeare.” I believe that every play establishes its own standards, and our job is to just evaluate it. But everybody’s looking for the formula for how to talk about culture so that people who don’t have any time to read want to read about it. Is there something beyond thumbs-up, thumbs-down criticism? I would hope there’s a way to talk about a theatre event in real time—meaning while it’s still going on—in a way that’s engaging, funny, witty, and evaluates the elements of the thing. But it’s like if you had a friend who was like, “Gee, are you working out? You look great. But that’s a terrible haircut.” Nobody wants that person around.
~ Time Out’s 17-Year Theatre Critic, David Cote, Upon His Exit

“Now I am awake to the world. I was asleep before. When they slaughtered Congress, we didn’t wake up. When they blamed terrorists and suspended the Constitution, we didn’t wake up either. They said it would be temporary. Nothing changes instantaneously. In a gradually heating bathtub you’d be boiled to death before you knew it.”
“The Handmaid’s Tale,” Bruce Miller