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

liza antelo on: Farewell Andrea Gronvall, Critic, Journslist, ‘Siskel & Ebert’ Producer, Longtime MCN Contributor

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."

Mike Leigh on Kerfuffle

Ant Man Wasp

Loach Marvel

Kill Nerd Culture

“Later, as Adam Driver was collecting himself at the barracks, he thought about the two things that he really wanted to do in life, and he vowed to do them. One was to smoke cigarettes. The other was to be an actor.”

Serpico

Francis Age

“When Martin Scorsese says that the Marvel pictures are not cinema, he’s right because we expect to learn something from cinema, we expect to gain something, some enlightenment, some knowledge, some inspiration,” Francis Coppola said. “I don’t know that anyone gets anything out of seeing the same movie over and over again. Martin was kind when he said it’s not cinema. He didn’t say it’s despicable, which I just say it is.”

Streaming Ellwood

“I have to tell you, for me, the film is 35mm celluloid. I made all my shit on 35mm celluloid. My problem is—it’s not technical, again. I don’t care about the scratches because maybe you got an old print. The problem is, the digital picture has to be a new language. But we do not use it as a new language. People are using it to look like a fake film camera. Why do they not think about a new visual language? If you see these fucking digital possibilities, you can create a new language that is only for digital technology. It’s really stupid if you believe that a digital picture will have the same quality as 35mm. Never! But you have a totally different possibilities in a different way, but you can use it. Why don’t you? It’s not my job because I do not touch cameras any more. But there are a lot of possibilities out there.”

Quote Unquotesee all »

“I always thought that once I had lived in Chicago for a while, it would be interesting to do a portrait of the city – but to do it at a significant time. Figuring out when would be the ideal time to do that was the trick. So when this election came around, coupled with the Laquan McDonald trial, it seemed like the ideal time to do the story. Having lived in Chicagoland for thirty-five-plus years and done a number of films here, I’ve always been struck by the vibrancy of the city and its toughness. Its tenderness too. I’ve always been interested in the people at the center of all the stories. This is a different film in that regard, because we’re not following a couple of individuals over the course of the project in the way that a lot of the films I’ve done have, but I still feel like people’s voices and aspirations and hopes are at the center of this series.

It wasn’t easy. We started back in July 2018, it was actually on the Fourth of July – that was our first shoot. It’s like most documentaries in that the further you go along the more involved and obsessed you get, and you just start shooting more and more and more. We threw ourselves into this crazy year in Chicago. We got up every day and tried to figure out if we should be out shooting or not, and what it is we should shoot. We were trying to balance following this massive political story of the mayor’s race and these significant moments like the Laquan McDonald trial with taking the pulse of people in the city that we encounter along the way and getting a sense of their lives and what it means to live here. By election day, Zak Piper, our producer, had something like six cameras out in the field. You could double-check that, it might have been seven. We had this organized team effort to hit all the candidates as they were voting, if they hadn’t already voted. We hit tons of polling places, were at the Board of Elections and then were at the parties for the candidates that we had been able to follow closely. Then of course, we were trying to make sure we were at the parties of the candidates who made it to the runoff. So, yeah, it was kind of a monster.”
~ Steve James On City So Real

“I really want to see The Irishman. I’ve heard it’s big brother Martin Scorsese’s masterpiece. But I really can’t find the time. The promotion schedule is so tight, there’s no opportunity to see a three and a half-hour movie. But I really want to see it. In 2017, right before Okja’s New York premiere, I had the chance to go to Scorsese’s office, which is in the DGA building. There’s a lovely screening room there, too, with film prints that he’s collected. I talked to him for about an hour. There’s no movie he hasn’t seen, even Korean films. We talked about what he’s seen and his past work. It was a glorious day. I’ve loved his work since I was in college. Who doesn’t? Anyone involved with movies must feel the same way.”
~ Bong Joon-ho