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

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."

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."

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“I remember very much the iconography and the images and the statues in church were very emotional for me. Just the power of that, and even still — just seeing prayer card, what that image can evoke. I have a lot of friends that are involved in the esoteric, and I know some girls in New York that are also into the supernatural. I don’t feel that I have that gift. But I am leaning towards mysticism… Maybe men are more practical, maybe they don’t give into that as much… And then also, they don’t convene in the same way that women do. But I don’t know, I am not a man, I don’t want to speak for men. For me, I tend to gravitate towards people who are open to those kinds of things. And the idea for my film, White Echo, I guess stemmed from that — I find that the girls in New York are more credible. What is it about the way that they communicate their ideas with the supernatural that I find more credible? And that is where it began. All the characters are also based on friends of mine. I worked with Refinery29 on that film, and found that they really invest in you which is so rare in this industry.”
Chloë Sevigny

“The word I have fallen in love with lately is ‘Hellenic.’ Greek in its mythology. So while everyone is skewing towards the YouTube generation, here we are making two-and-a-half-hour movies and trying to buck the system. It’s become clear to me that we are never going to be a perfect fit with Hollywood; we will always be the renegade Texans running around trying to stir the pot. Really it’s not provocation for the sake of being provocative, but trying to make something that people fall in love with and has staying power. I think people are going to remember Dragged Across Concrete and these other movies decades from now. I do not believe that they will remember some of the stuff that big Hollywood has put out in the last couple of years. You’ve got to look at the independent space to find the movies that have been really special recently. Even though I don’t share the same world-view as some of my colleagues, I certainly respect the hell out of their movies which are way more fascinating than the stuff coming out of the studio system.”
~ Dallas Sonnier