MCN Curated Headlines Archive for August, 2017

hollywoodreporter.com

“When Metrocolor closed, we were collecting our material and I came across some of the original missing footage. That was really fortunate. We printed it in a different section and put it together to get the director’s cut. We scanned the disparate parts in 4K resolution and put it back together — the original negative and then the deleted scenes for the pieces we found. We had picture source material for the rest; it was kind of a checkerboard.”
Close Encounters Reissue Is “Final 1997 Director’s Cut”

“The studios blacklisted me for making Walker. Roger Ebert and his fellow creep critics working for the man, as usual. I won’t feel the least vindicated until Universal and MGM and Fox pay me all the money they owe me for Repo ManSid and Nancy and Walker.”
Alex Cox Talks Walker

NY Times

“It’s really turning into a wake. To throw out almost all of the union members goes against the grain of the Voice we love and cherish.”
Village Voice To Fire 13 Of 17 Union Employees After Final Print Edition Third Week Of September

“Her left-field masterpiece; a picture that’s antic, sensual and strange, with a top-note of menace and a malarial air. The heat is intense; the settlers go berserk. Nobody here is quite stable; nothing can be trusted.”
Xan Brooks: Zama Gaga!

“The concept of spirituality does involve a stepping away from the maelstrom of activity and the maelstrom of action and empathy. Action and empathy are the two primary tools of a filmmaker. That’s why they’re called moving pictures: picture have empathy and movement has movement. So what happens when you say, “I’m going to show you inaction and characters who have no personality so you can’t empathize with them?” Now you’re fighting against the medium and its strong points. Obviously, not many people try this because it’s not a terribly commercial enterprise.”
From March, Paul Schrader Revisits Transcendental Style And Side-Eyes “Slow Cinema”

“Schrader, one of the crucial creators of the modern cinema, seems to have made it in a state of anger, passion, pain, mourning, and desire, held together by the conflicted religious fury—blending exaltation and torment—that runs through all of his films. First Reformed has the feeling of a summation, of a teeming and roiling avowal of his longtime obsessions, from the distant pressure of family life as a child to the repellent politics currently unfolding. In his most recent films, Schrader has been showing what the later years of a career are meant for: freedom, the lack of inhibition.”
Richard Brody On Paul Schrader’s First Reformed

variety

“It’s a piece of 1970s grindhouse pseudo-psychology, applied to 21st-century violence. He’s like a graphic-novel version of Travis Bickle; he embraces ——— as a form of slumming. (And there’s a romance too!)”
Owen Gleiberman‘s Spoiler-Doused Notice Says Schrader’s Film Is Good, But Bad, But Good, But Bad

“Glass-domed Leisureland is merely America in microcosm, with all the same corruption and wealth-disparity, loneliness and strife. Neither does it exist in splendid isolation. If the outside world starts to burn, then Leisureland is all-but guaranteed to go down in flames too. What a spry, nuanced, winningly digressive movie this is.”
Grauniad Headlines Downsizing As A “Masterpiece”

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."

“On the creative side, even successful shows are likely to have shorter runs—as is increasingly the case on Netflix—because of rising production costs and the difficulty of keeping audiences’ attention given a plethora of viewing options. For consumers, that means more shows they love will run their course within three or four years instead of seven or eight. For the talent, it means moving on to new jobs more frequently.”

Lucrecia Martel

“The entire industry is speeding down this path that you’ve got to own the wires and the service and be producing everything for your own service into one giant integrated phalanx that you’ll march off to do… something? For the sake of this, Hollywood is supposed to be ready to throw everything else out the window.”

“Out of 17 films in competition there are six directed by women but we didn’t select the films looking for parity in numbers. I don’t think gender should be a criterium for selecting films. I think the key is to ensure the access of women to the film industry. Parity has to be supported from the start, making sure everybody has the same rights and opportunities to make the films they want to make. Festivals are at the end of this process and shouldn’t select the films by the gender of the person who has made. We don’t apply quotas but I’m happy that each year we are seeing more and more films directed by women.”

“The movies have savored extinction, eradication and annihilation for years, accelerating after 9/11, with unspecified menace everywhere, set to ash the skies with snowflakes of death. Genre pictures love nothing more than a brooding calamity. The end of civilization, or even the planet itself, has been a sizzling, seething, sorrowful constant across features and series even before our latest apocalypses, major and minor, began to pile up like dead marine animals on our Pacific shores.”

“Phoenix clearly hadn’t rehearsed smart responses beforehand, but was switched on enough to realise that his response was going to matter – and not finding a good one, he fled. Now that a few weeks have passed and my chronically clenched buttocks have almost returned to their former pliancy, I have to admire the blunt, pact-smashing honesty of it. Not that I can see it happening again during the Joker’s awards-season campaign: the Phoenix who presented the film at Venice and Toronto was charming, tactful and generally on his best behaviour. If he can keep it up until February, he’ll deserve an Oscar for that alone.”

Harrrrvey

Bye Trib Broadcasting

Brooks Barnes

Farran on Films Lost To Remake Rights

Quote Unquotesee all »

“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima