MCN Curated Headlines Archive for October, 2017

“I feel like movies are presents, and credits and fonts are bows and wrapping paper. I like everything to feel like it was given a lot of time. I hate it when I watch movies and it seems like they just went and picked a font and, like, called it a day… I put into her the sheer confidence and the id I find in 8- or 9-year-old girls. They’re just brash, and they don’t know that they should feel anything but great about themselves.” 
Greta Gerwig Conversing In The Wilds Of Manhattan

“I wish I could convey to you just how thrilling this movie is. I wish I could quote all of the jokes and recount the best offbeat bits. I’m tempted to catalog the six different ways the ending can make you cry. I’ll settle for one: the bittersweet feeling of having watched someone grow in front of your eyes, into a different and in some ways improved version of herself. “
A. O. Scott Leads Team Lady Bird

“So I sent Tommy Lee the screenplay down in Texas, and two hours later, he calls me up and he says, ‘I don’t get it.’ I said, ‘Why don’t you reread the fucking thing and remember that the Academy Award-winning actor Tommy Lee Jones is playing the fucking role!’ And I hung the phone up. A few hours later, he calls back and says, ‘OK, I’ll do it.’ And then he got on a plane and flew into Burbank the next day, and we went to work. No management. No nonsense. The deal was obviously going to be worked out.”
Late Producer Peter Macgregor-Scott On The Making Of Batman & Robin

“Yeah, we’re working on the best approach to getting to know the clients and getting to know who’s behind the entities that are signing up for advertising.”
Facebook, Twitter, Google Offer A Lot Of  ¯\_(ツ)_/¯ To Congress

“We are aware of the media reports and are looking into the matter.”
CBS Looking Into “Entourage”-Era Allegations About Jeremy Piven


“Digital platforms are taking top projects off the table, new ventures including Endeavor Content are helping finance sales companies’ transformation into producers, and online dealmaking and fests such as Toronto are turning film buying into a 365-day-a-year business that could become far less dependent on markets or sales agents.”
Before AFM, Gregg Goldstein On Int’l Distribution In The Amazon Studios-Netflix Era And How AFM Attendees Are Getting Squeezed And Maybe Even Shafted

“They are two weeks into a production schedule that would extend well into 2018 even if they had not shut down Tuesday. Contracts totaling millions of dollars for everything from actors to catering are already signed. Who eats all that financial loss if production never resumes? Even the best insurance won’t cover all of it.”
“House of Cards” Production Suspended Indefinitely

“I might have kissed somebody on the cheek to say goodbye and then licked them. That’s my thing.”
Andy Dick Fired From Movie

“The picture is very long. It must have been cuttable and should have been. They can’t do better because they can’t play it more than three times a day because it’s just too long, which is of course self-indulgent at the very least, arrogant probably. It’s criminal.”
Blade Runner Co-Producer Michael Deeley

“Late in the process, I was sitting next to the producer, Andrew Kosove, and he made a comment which I thought was brilliant about the opening line of the film, K saying ‘I hope you don’t mind me taking the liberty. I tried not to drag in any dirt.’ Andrew said it’s a kind of mission statement for the production – revisiting a much-loved 35-year-old film and hoping not to contaminate it.”
Getting Blade Runner 2049 Down To 164 Minutes From Four Hours And Two Parts 

“Pinhead represents the Faustian bargain: the things we desire will come at a price.”
“How We Made Hellraiser

“PMS was the total filmmaker. He knew every aspect of production and postproduction. Peter knew everyone’s job and what they needed to execute their craft with finesse. He cared for the well-being of the stars and the craft service personnel with equal concern.”
Producer Peter Macgregor-Scott Was 69; Films Include The Fugitive, Best Little Whorehouse, The Jerk, Revenge Of The Nerds, Death To Smoochy

“Pretty much everyone within a 1,000-mile radius of the biz is well aware that Sex-for-Work is Standard Operating Procedure in Hollywood. As Quentin Tarantino recently explained, in its treatment of women, Hollywood has been “operating under an almost Jim Crow-like system.” Precisely. Within this system, men are subjects and young women are objects for gratification/consumption.”
Filmmaker Nina Menkes

“I think that many people in the theatre and in the creative industries have been aware of many stories of many people over a lot of years, and Kevin Spacey would be one of the people that people have had concerns about, yes.”
Victoria Featherstone, Artistic Director, Royal Court Theatre

“Figuring out how to work within your resources and still be true to the story, still be true to the vision, it’s a trick, and it’s something a producer and a director really have to do together at some level.”
Dana Stevens Profiles Indefatigable Producer Christine Vachon

“I am sorry that Kevin only saw fit to acknowledge his truth when he thought it would serve him, just as denial served him for so many years.”
Zachary Quinto


“Believe me, I would love the pain to stop today. This is about creating a cycle of awareness, this is about opening people’s eyes and minds that this is a problem that exists. The soonest that I can have protection, I don’t have to wait until the film is done… the most important thing now is that I have securit … this is no joke. I am fearing for my life.”
Corey Feldman Says He Will Release Names Of Hw’d Offenders In Crowd-Funded $10 Million Feature


“Media Rights Capital and Netflix are deeply troubled by last night’s news concerning Kevin Spacey. In response to last night’s revelations, executives from both of our companies arrived in Baltimore this afternoon to meet with our cast and crew to ensure that they continue to feel safe and supported.”
Netflix Won’t Produce More “House of Cards” After 2018 Binge

NY Times

“We’ll drag you through the mud by your hair.”New Harvey Weinstein Accusations Reach Back To 1970s

“Peak Michael Douglas’ is the pathology director David Fincher has made his career exploring and criticizing.”
Jessa Crispin on “David Fincher’s Antisocial Network”

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."

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