MCN Curated Headlines Archive for April, 2017

NY Times

“Owning Sky outright would give the Murdochs an important new cash generator to feed the rapacious appetite for growth and conquest that has made their family business the most influential media conglomerate in the world — one that helped hasten Britain’s ‘Brexit’ from the European Union and helped deliver Donald J. Trump to the White House.”
Murdoch British TV Deal Hinges On The Three Words “Fit And Proper”

“When you see a big thing in the sky, run for it, because they are a lot smarter than we are, and if you are stupid enough to challenge them, you will be taken out in three seconds.”
Sir Ridley Says It Will Be Unwise To Challenge Incoming Aliens

hollywoodreporter.com

“The first Godfather cost $6.5 million, the second Godfather cost $11-12 million, which if you convert that, it would take a major studio. But it would never get through the process of getting a greenlight. Nothing will get a greenlight today unless it’s a movie where they can have a whole series and a Marvel comics type of thing.”
Coppola & Co. At Radio City Music Hall

“There is no denying that much of the new Canadian film Below Her Mouth qualifies as unmitigated smut.”
Lede Of The Weekend

“Demme was also blessed by a larger liberalism: the imaginative outreach, hard to discern in the rampant studio movies of today, which assumes that everybody is worth stopping for—that there will always be folks who repay the camera’s attention. What he radiated, before or behind the lens, was an unstinting curiosity, and a faith that the most reliable map of character was the human face.”
Anthony Lane On Jonathan Demme

“It was 1969, I was only three, and as Dad stood at the back of the crowd, watching the bidding, he seemed to escape his body and floated up to the ceiling from where he watched for a while longer before slipping back into his body again. Only then did he realize one of the bidders was him. He’d bought the property without knowing that was his intention when he walked in. He describes it a surreal moment in his life when he didn’t know he was moving to Ireland at all.”
Charley Boorman Has Tales To Tell

“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

hollywoodreporter.com

“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

MCN Curated Headlines

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."

tidalmediainc on: Black Panther: $387 Million Worldwide

Frances Aubrey on: David Klion On “Unlearning Woody Allen”

Ray Pride on: 2017 FYC (For Your Consideration) Screenplays Now Up To 36 Titles

YancySkancy on: 2017 FYC (For Your Consideration) Screenplays Now Up To 36 Titles

Debbie on: 2017 FYC (For Your Consideration) Screenplays Now Up To 36 Titles

Warren on: "Whatever it is that people are reacting to in these superhero films, it’s not what they say they’re reacting to. They clearly don’t care about consistent characterization, original storytelling, or anything else they say they do, because if they did they’d be a lot more picky. What they really like is what we all like: confidence. Movies boil down to someone – or a group of someones – telling us a story. And telling a story well takes confidence. If a storyteller has a great story packed with interesting characters and exciting developments but they stumble over the order of things and mumble during the important bits, the experience is going to suck. Likewise, if the story is poor but they tell it well it’ll be a good time even if afterwards we realize it didn’t make any sense."

Amazing GBG on: "Whatever it is that people are reacting to in these superhero films, it’s not what they say they’re reacting to. They clearly don’t care about consistent characterization, original storytelling, or anything else they say they do, because if they did they’d be a lot more picky. What they really like is what we all like: confidence. Movies boil down to someone – or a group of someones – telling us a story. And telling a story well takes confidence. If a storyteller has a great story packed with interesting characters and exciting developments but they stumble over the order of things and mumble during the important bits, the experience is going to suck. Likewise, if the story is poor but they tell it well it’ll be a good time even if afterwards we realize it didn’t make any sense."

Ray Pride on: "Whatever it is that people are reacting to in these superhero films, it’s not what they say they’re reacting to. They clearly don’t care about consistent characterization, original storytelling, or anything else they say they do, because if they did they’d be a lot more picky. What they really like is what we all like: confidence. Movies boil down to someone – or a group of someones – telling us a story. And telling a story well takes confidence. If a storyteller has a great story packed with interesting characters and exciting developments but they stumble over the order of things and mumble during the important bits, the experience is going to suck. Likewise, if the story is poor but they tell it well it’ll be a good time even if afterwards we realize it didn’t make any sense."

Quote Unquotesee all »

“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch