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

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."

Ray Pride on: 19 For Your Consideration Screenplays Await

Tom Spath on: 19 For Your Consideration Screenplays Await

James Brigham (Bigg) Bunyon on: "The Not-So-Glossy Future of Magazines"

Ray Pride on: Telluride Fest Looks Back At 44

Jose Angel Cruz on: Telluride Fest Looks Back At 44

I am Groot on: Enjoy Your Groot Soundboard

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What about replacing Mr. Spacey with another actor? Mr. Plummer, perhaps.
“That would theoretically be fantastic,” Mr. Rothman said he responded. “But I have supervised 450 movies over the course of my career. And what you are saying is impossible. There is not enough time.”
~ Publicizing Sir Ridley’s Deadline Dash

“Would I like to see Wormwood in a theater on a big screen? You betcha. I’d be disingenuous to argue otherwise. But we’re all part of, like it or not, an industry, and what Netflix offers is an opportunity to do different kinds of films in different ways. Maybe part of what is being sacrificed is that they no longer go into theaters. If the choice is between not doing it at all and having it not go to theaters, it’s an easy choice to make.”
~ Errol Morris