MCN Curated Headlines Archive for May, 2017

“Our hit ratio is way too high. So, we’ve canceled very few shows. I’m always pushing the content team: We have to take more risk, you have to try more crazy things. Because we should have a higher cancel rate overall.”
Netflix Hastings Says The Streamer Will Start Axing Shows Because They’re Too Successful; Intends To Increase Spending Above Present $6 Billion

indie wire

“The shocking truth is that the Observer has been going down the drain financially for quite some time. The end of what was the remains of a once-vital and responsible New York paper came when [Jared Kushner] threw what was left of a great weekly paper under the bus and lost all interest in bringing it back to life again by focusing his interests on running the White House and digging a tunnel to Russia.”
NYObserver Fires 78-Year-Old Film Critic Rex Reed As It Slims To Staff Of A Dozen
AndGlenn Kenny Remembers Reed’s Riot Acting In Myra Breckenridge

“#WonderWoman: Warner Bros. is gambling $150M with a filmmaker whose only prior big-screen credit was an $8M indie”
The Reporter Tweets What It Really Thinks About Women Directing Studio Pictures

“The documentary process is the reverse of fiction filmmaking. Every time there was a problem on set or anything went wrong, it was perfect for the documentary and made it more interesting, more vital, more alive. The fiction film experience is the flipside, and it wasn’t fun when things go wrong. I learned to really appreciate what my husband, my daughter, my son — people who work behind the scenes — had gone through, and I gained a lot of appreciation for them.”
Eleanor Coppola Tells Marshall Shaffer About Her Fiction Debut At 81

“I was paid a visit at my dorm room at @nyuwinstein and questioned by the CIA because they found the color xerox of my passport in The General’s desk drawer at his residence and wanted to know about my relationship with him.”
Brett Ratner Remembers Manuel Noriega

“In Ramsay’s cinema, emotion is memory, and it feeds the present and the future.”
Bilge Ebiri On You Were Never Really Here

LA Times

Superman had been a favorite movie of mine, even when I was at Cooper Union. People were painting a portrait of the career that I could have as an indie New York filmmaker. The only thing that stood in my way from staying in New York — because I loved New York and I wanted to stay — was something more that I wanted to do that was inspired by Superman. One day I would love to sing a song to the world, to bring something into the world that is beautiful in that sort of way.”
Meredith Woerner Meets Patty Jenkins

“I Love Women Who Hate Men and Hate Men Who Hate Women”
Might Be John Waters For All We Know

NY Times

“After 54 Years, We Fell in Love. After Five Months, I Got Leukemia. I Thought It Was A Romantic Comedy. I Was Wrong About The Comedy.”
Delia Ephron On A Gift Her Sister, Nora Ephron, Left Her

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."

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“Why put it in a box? This is the number one problem I have—by the way it’s a fair question, I’m not saying that—with this kind of festival situation is that there’s always this temptation to classify the movie immediately and if you look at it—and I’ve tried to warn my fellow jurors of this—directors and movie critics are the worst people to judge movies! Directors are always thinking, “I could do that.” Critics are always saying, “This part of the movie is like the 1947 version and this part…” And it’s like, “Fuck! Just watch the movie and try and absorb it and not compare it to some other fucking movie and put it in a box!” So I think the answer’s both and maybe neither, I don’t know. That’s for you to see and criticize me for or not.”
~ James Gray

“I have long defined filmmaking and directing in particular as just a sort of long-term act of letting go,” she said. “It’s honestly just gratifying that people are sort of reapproaching or reassessing the film. I like to just remind everyone that the movie is still the same — it’s the same movie, it’s the movie we always made, and it was the movie we always wanted to make. And maybe it just came several years too early.”
~ Karyn Kusama