MCN Curated Headlines Archive for February, 2018


Kevin Smith Does A Good Twenty Minutes On Being Alive

The Int’l Documentary Association Looks Behind The Nominated Shorts: Edith + EddieHeaven Is a Traffic Jam on the 405Heroin(e)Knife SkillsTraffic Stop

“The lighthouse is surrounded by crystal trees that resemble the synapses of the brain. This lighthouse is desire, as with Virginia Woolf, and also the frontier that separates our own minds from others’. Here we see an embodied meditation on subjectivity and trauma. Lena finds the meteor that has punched through the lighthouse’s wall, and climbs down the wound it created, into the subconscious.”
Josephine Livingstone On Annihilation

variety

“Franklin has been accused of being verbally abusive to staffers and making inappropriate statements in the writers’ room, including making sexually charged comments about his personal relationships and sex life. Franklin has not been accused of directly sexually harassing or engaging in physical misconduct with any staffers.”
Netflix Fires “Fuller House” Showrunner Jeff Franklin; Warner Bros. TV Severs Deal Over Complaints

“There’s been a huge refusal in many quarters to criticize the CIA for fear of undermining the morale of the agency. I find that to be a kind of cheap excuse. It’s time the agency was held to account, because I don’t think anyone has done that.”
CIA Publicly Indicates Displeasure With “The Looming Tower”

variety

Guadagnino “is similar to me in that he often uses cinema rather than reality as the point of departure for his inspiration. There are many directors who use reality as their basis. Luca’s reality is in the films that precede him, the cinema that he loves. So since he loves my body of work, it’s possible that he has taken it as the basis of his reality. For him, reality is cinema.”
Bernardo Bertolucci

Argentine Director Hugo Santiago, 78, Films Include Invasión, With Adolfo Bioy Casares And Jorge Luis Borges; Robert Bresson’s Assistant Director 1959-66

Santiago On Bioy Casares And Borges 24’43” video

OSCAR VOTING HAS CLOSED.

 Francis Coppola’s Got A Notion About That There Future

“When I was in preproduction and then shooting it and then editing it, it really felt like ‘this is what I always wanted to do’. I got to draw on all the experience that I had and the work that I’d done in learning to make movies. All of that kicked in, which was tremendously satisfying and what I had hoped would happen! But the truth is you never know until you’re there.”
Greta Gerwig

“At Sundance, we had such a diverse crew of all-female department heads, and every executive producer is a white man. And they’re great fucking white men! They invested in this movie and gave me all this freedom. They’re perfectly awesome. But I was like, Wow, the money still lives in one place. And I think that’s true not just of my film, that’s true in all of Hollywood. The money’s still trickling out down to us from them, despite all the changes. Luckily there are some good ones. To speak to their generosity, I don’t think any of them were like, “We need to make our money back on this.” I think they were getting into it to support the art.”
Josephine Decker

hollywoodreporter.com

“Endless sexual miscommunication and bitter rancor lie ahead. But thanks to the miracle of technology, most of the great movies of Hw’d history are now easily accessible — a collective epic of complex emotion that once magnificently captured the magic and mystique of sex.”
Camille Paglia Weighs In On Movies And Modern Communication

“You must just acknowledge deep in your heart of hearts that people are supposed to fuck. It is our main purpose in life, and all those other activities — playing the trumpet, vacuuming carpets, reading mystery novels, eating chocolate mousse — are just ways of passing the time until you can fuck again. Well, maybe not eating chocolate mousse. If it is made with good Swiss chocolate and topped off with Devon cream, eating chocolate mousse is almost as good as fucking.”
Writer Cynthia Heimel Was 70

MCN Curated Headlines

joker scr888 on: Academy of Motion Picture Arts and Sciences Elects 2018–19 Board of Governors

genting casino vacancy malaysia on: Academy of Motion Picture Arts and Sciences Elects 2018–19 Board of Governors

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."

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."

Quote Unquotesee all »

“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch