MCN Curated Headlines Archive for July, 2017

“Shepard’s plays mix impulse, a blasted Americana speaking through archetypes like cowboys and noir detectives, a love of the broken places in people, and a willingness to explore and dramatize the unconscious.”
Isaac Butler‘s Sam Shepard Swoon From Childhood Forward

variety

“PBS itself will not go away, but a number of our stations will.”
PBS Chief Expects To Lose Affiliates, Especially Rural Ones, Under Trump Cuts

“The temptation towards resolution, towards wrapping up the package, seems to me a terrible trap. Why not be more honest with the moment? The most authentic endings are the ones which are already revolving towards another beginning. That’s genius. Somebody told me once that fugue means to flee, so that Bach’s melody lines are like he’s running away.”
Sam Shepard, “The Art of Theater No. 12″

“But once we began sharing stories about Orson Welles, she relaxed, reached for one of her slender, extra-long cigarettes that stood in a bowl on her coffee table, and reminisced about the films she had made and the men she had known and loved.”La Notte
Peter Cowie
On Jeanne Moreau

moreau

“I just dropped out of nowhere. It was absolute luck that I happened to be there when the whole Off-Off Broadway movement was starting.”
From 2010, John Lahr On “Sam Shepard And The Struggles Of American Manhood”

wsj

“Our audience on Facebook loves this content. It’s what works in the news feed where people scroll quickly with the sound off.”
Publishers Editing Commercials Into “New” Videos To Shovel As “Content” Onto Facebook

NY Times

”Personality is everything that is false in a human being. It’s everything that’s been added on to him and contrived. It seems to me that the struggle all the time is between this sense of falseness and the other haunting sense of what’s true – an essential thing that we’re born with and tend to lose track of. This naturally sets up a great contradiction in everybody – between what they represent and what they know to be themselves.”
Michiko Kakutani‘s 1984 Interview With Sam Shepard

lift-to-the-scaffold-1958-003-jeanne-moreau“Malle’s Ascenseur pour l’échafaud is recognised as a precursor of the French New Wave, partly for its groundbreaking location shooting, but just as important is its moulding of the Moreau character as a new type of sensual heroine, a modern femme fatale without the clichéd trappings of the traditional vamp.”
Ginette Vincendeau On Jeanne Moreau

therightstuff

JEANNE MOREAU WAS 89

SAM SHEPARD WAS 73

NY Times

“MTV at its best — whether it’s news, whether it’s a show, whether it’s a docu-series — is about amplifying young people’s voices. We put young people on the screen, and we let the world hear their voices. We shouldn’t be writing 6,000-word articles on telling people how to feel.”
The Future Of Viacom’s New MTV

“The ban would also render other means of ensuring online anonymity illegal, including the anonymous use of mobile messaging apps. The legislation also would require messenger apps to send out compulsory text messages from government agencies on request.”
Putin And Unanimous Russian Parliament Join Apple And China In Banning Software For Censorship Surge

“Cultural memory has a shelf life of eight to 10 years and then people forget.”
Bill Morrison On The Bountiful, Beauteous Deep Dive Of Dawson City: Frozen Time

“Once she’s left her Amazon family behind, she barely bothers talking to another woman for the rest of the movie. Gadot has real presence and charm as an actress—one longs to see her in something worthier of her talent. But the imperative to eradicate any hint of bossiness or anger from her character weighs heavily on the film, threatening to turn it into one long, dispiriting exercise in allaying male fears about powerful women.”
Zoë Heller On Wonder Woman

daily beast

“Shut up till the movie or play ends, then talk about it afterward. It’s amazing. It’s this thing called conversation we do when we have views or opinions to share, and it is made all the more sweeter when we do it having experienced something. In peace. Every rustle, every whisper or word, every kick on the seat, slurp, burp, interruption, ping of a phone or barging person, is yet another sign of what a selfish, stupid society we have become.”
Local Man Revolted By His Fellow New Yorkers

NY Times

“As the editor of the Ireland edition I take full responsibility for this error of judgment. This newspaper abhors anti-Semitism and did not intend to cause offense to Jewish people.”
“Jews are not generally noted for their insistence on selling their talent for the lowest possible price, which is the most useful measure there is of inveterate, lost-with-all-hands stupidity.”
UK Sunday Times Fires Columnist For Antisemitic Barrage; Its Misogyny Gets Tacit Nod

“REALLY?! Girl. GUUUUUUUURL. Wake up and smell the Bad For You. She is what seems to be every man’s fantasy. The beautiful woman who will drop everything to follow him around with sex and comfort as he leads his life and follows his dreams.”
Get Yer Hottakes Here
The Mary Sue Sort Of Embraces Edgar Wright But Hates His Women, Of Which There May Be Too Few

“The debate over free music and royalties and streaming music can quickly get bogged down in entrenched, passionate arguments over ‘information wanting to be free’ – which I guess is true but is kind of an abstract metaphysical argument; who cares what information wants, I care about people – so it’s worth clarifying just exactly what the problem is here. Why are so many of these multi-billion-dollar market-cap companies unprofitable? Why is it so hard to be a musician in the new economy? Why are musicians always complaining so much?”
Ben Phelps On How Venture Capitalists Sway Modern Music

MCN Curated Headlines

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."

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”

Quote Unquotesee all »

The Atlantic: You saw that the Academy Awards recently held up your 2001 acceptance speech as the Platonic ideal of an Oscar speech. Did you have a reaction?

Soderbergh: Shock and dismay. When that popped up and people started texting me about it, I said, “Oh, it’s too bad I’m not there to tell the story of how that took place.” Well. I was not sober at the time. And I had nothing prepared because I knew I wasn’t going to win [Best Director for Traffic]. I figured Ridley, Ang or Daldry would win. So I was hitting the bar pretty hard, having a great night, feeling super-relaxed because I don’t have to get up there. So the combination of a 0.4 blood alcohol level and lack of preparation resulted in me, in my state of drunkenness crossed with adrenaline surge. I was coherent enough to know that [if I tried to thank everyone], that way lies destruction. So I went the other way. There were some people who appreciated that, and there were some people who really wanted to hear their names said, and I had to apologize to them.
~ Steven Soderbergh

 

“I have made few films in a way. I never made action films. I never made science fiction films. I never made, really, very complicated settings, because I had modest ambitions. I knew they would never trust me to have the budget to do something different, so my mind is more focused on things I know. So they were always mental adventures I wanted to approach and share. Working for cinema with no – not only no money, but also no ambition for money. I was happy and proud [to receive the honorary Oscar] because of that, that [the Academy] could understand what kind of work I have done over 60 years. I stayed faithful to the ideal of sharing emotion, impressions, and mostly because I have so much empathy for other people that I approach people who are not really spoken about. I have 65 years of work in my bag, and when I put the bag down, what comes out? It’s really the desire of finding links and relationships with different kinds of people. I never made a film about the bourgeoisie, about rich people. about nobility. My choices have been to show people that are, in a way, more common and see that each of them has something special and interesting, rare and beautiful. It’s my natural way of looking at people. I didn’t fight my instincts. And maybe that has been appreciated in the famous circle of Hollywood.“

Agnes Varda