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

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."

Roy Batty 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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“With every table in the dining room occupied and me, the only waiter, neglecting the needs of a good fifty patrons, I approached Roth. Holding out Balls as a numbness set into the muscles of my face, I spoke. “Sir, I’ve heard you say that you don’t read fiction anymore, but I’ve just had my first novel published and I’d like to give you a copy.”

“His eyes lifting from his iPhone, he took the book from my hands. He congratulated me. Then, staring at the cover, he said, “Great title. I’m surprised I didn’t think of it myself.”

“These words worked on me like a hit of morphine. Like two hits. It felt as if I was no longer the occupant of my own body. The legs had gone weak, the ears warmed, the eyes watered, the heart rate increased rapidly. Barely able to keep myself upright, I told him, “Thank you.”

“Then Roth, who, the world would learn sixteen days later, was retiring from writing, said, in an even tone, with seeming sincerity, “Yeah, this is great. But I would quit while you’re ahead. Really, it’s an awful field. Just torture. Awful. You write and write, and you have to throw almost all of it away because it’s not any good. I would say just stop now. You don’t want to do this to yourself. That’s my advice to you.”

“I managed, “It’s too late, sir. There’s no turning back. I’m in.”

“Nodding slowly, he said to me, “Well then, good luck.”

“After which I went back to work.”
~ Julian Tepper

“Any form of physical or sexual assault is a very serious matter, potentially a legal matter. But I’m also wondering, what about having some kind of “extreme asshole” clause? I know lots of people who have been abused verbally and psychologically. That’s traumatizing, too. What do we do with that?  It takes a lot of energy to be an asshole. The people I admire most just aren’t interested in things that take away from their ability to make stuff. The people I really respect, and that I’ve met who fit this definition, have a sense of grace about them, because they know that there is no evolving and there is no wisdom without humility. You can’t get better if you behave in a way that shuts people off. You can’t! You don’t have all the ideas necessary to solve something. You don’t! I’m sure if you spoke to Harvey in his heyday and said to him what I just said to you, he would believe that he accomplished all that he had because of the way he behaved.”
~ Steven Soderbergh