MCN Curated Headlines Archive for May, 2017

NY Times

Good Time doesn’t peddle a message or redemption, but instead tethers you to an oblivious narcissist who pushes the story into an ever-deepening downward spiral. As errors turn into catastrophes, Connie grows increasingly feral, becoming a character who is a biliously funny reproach to the American triumphalism that suffuses superhero flicks and indies alike and insists that success isn’t just inevitable but also a birthright.”
Manohla Dargis With Robert Pattinson

“May understands there is a judging prick inside many of us, particularly when we’re rolling through a series of terrible dates. You don’t exactly feel sorry for Henry, you just recognize those moments of distaste. And cringe. For everyone involved.”
Kim Morgan On Elaine May’s A New Leaf

“Working mothers are not very welcome at the Cannes Film Festival, it seems. This year at least two mothers attending the fest have spoken out about the major barriers they’ve encountered.”
Nanna Frank Rasmussen Says Cannes Doesn’t Do Enough To Accommodate Mothers

Almodóvar Jury Awards Palme d’Or To Östlund’s The Square; Grand Prix, BPM; Director, Sofia Coppola, The Beguiled; Actor, Joaquin Phoenix,You Were Never Really Here; Actress, Diane Kruger In In the Fade; Screenplay (Tie) The Killing Of A Sacred DeerYou Were Never Really Here; Jury Prize: Zvyagintsev’s LovelessNicole Kidman, With Four Fest Features, Gets A Special 70th Anniversary Award

NY Times

“Sitting in the Roman Polanski Suite at the Cannes Carlton Hotel, Kirsten Dunst did her best to smile.”
Manohla Dargis On An Actress Who Calls Her Own Shots

“Ismail was my life’s partner. From the beginning right on down to his final day. I lived openly with him for forty-five years, in New York and wherever else we were. That says what it says.”
James Ivory At 89

NY Times

“His America is a troubled land, staggering from wretched excess and aching losses, a country where dreams have often slipped into out-and-out delusions, and people hunger for deliverance, if only in the person of a half-baked messiah. Reason is in short supply here, and grifters and con men peddling conspiracy thinking and fake news abound; families are often fragmented or nonexistent; and primal, Darwinian urges have replaced the rule of law.”
Michiko Kakutani On Denis Johnson

“I come from a middle-class family and I grew up at a time when the golden age of cinema was over in Mexico. Cinema was my survival instinct, I needed it. I wouldn’t recommend the path I took to anyone!”
Watch Or Listen To Alfonso Cuaron’s Cannes Masterclass 85 minutes

variety

“This was both fortunate and unfortunate. Fortunate because it made Leviathan a public event, so even the name of the movie has become a kind of a meme, a synonym for certain political and social troubles. It polarized the audience in a brutal way, made everyone discuss the movie, and divided not just the viewing audience but society itself. There were people who defended the movie and people who considered it to be Russophobic.”
Loveless Released In Russia Directly After Cannes Debut Over Previous Pic’s Piracy In Form Of Ten Million Downloads

“Write naked. Write in exile. Write in blood.”
Breathtakingly Great American Novelist Denis Johnson Was 67; Work Includes Jesus’ Son, “Tree Of Smoke”

From “Jesus’ Son,” “Happy Hour” And “Emergency Room

Johnson’s “Homeless And High

“Once in a while, I lie there as the television runs, and I read something wild and ancient from one of several collections of folktales I own. Apples that summon sea maidens, eggs that fulfill any wish, and pears that make people grow long noses that fall off again. Then sometimes I get up and don my robe and go out into our quiet neighborhood looking for a magic thread, a magic sword, a magic horse.”
From Denis Johnson‘s 2014 “The Largesse Of The Sea Maiden”

MCN Curated Headlines

Wilder on Lubitsch Touch

“It is time to let this franchise finally go to the great beyond,” says Eric Handler of MKM Partners.

Parasite’s Genres

The Variety Sunday Column Tut-Tuts JoJo Rabbit

“I think that’s not true. I think it’s unfortunate. I think myself and everyone who works on these movies loves cinema, loves movies, loves going to the movies, loves to watch a communal experience in a movie theater full of people. We did Civil War. We had our two most popular characters get into a very serious theological and physical altercation, Everybody has a different definition of cinema. Everybody has a different definition of art. Everybody has a different definition of risk. Some people don’t think it’s cinema. Everybody is entitled to their opinion. Everyone is entitled to repeat that opinion. Everyone is entitled to write op-eds about that opinion, and I look forward to what will happen next. But in the meantime, we’re going to keep making movies.”

Bob Weide

Irvine Welsh on IRISHMAN

Fourth Annual Critics’ Choice Documentary Awards Drop Five on Apollo 11

Pre-Trial, Harvey Weinstein Returns To Exclusive Club Nightlife In NYC

“Little Women seamlessly continues the preoccupations of Gerwig’s previous work, which includes directing Lady Bird and co-writing Frances Ha and Mistress America: the terrible intimacies of sisters; the complexities of mothers and daughters; and the existential lives of women in states of becoming, their realities hopelessly exceeded by their own desires. These protagonists are caught up in an ineffable sense of want—to be someone else, to be somewhere else—that slowly, through and with the other women in their lives, sharpens into a bittersweet understanding of who they are and where they belong. The modest settings and contemporary, urban characters of the earlier films are reimagined within the grander, weightier frameworks of history and literature. The becoming of the characters in Little Women is also the becoming of an era, a canon, and a kind of womanhood.”

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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