MCN Curated Headlines Archive for March, 2018

“Continuing down this path guarantees you will lose respect, readership, and ultimately your jobs. I am a journalist. I want you to thrive, I want you to survive. But I cannot allow you to survive by standing on my back.”
“White Critics: Please Stop Using [That] Word,” Encourages Regina Victor

“This new ‘Roseanne’ is a dream machine for someone like Steve Bannon, who worked so hard to convince potential voters that supporting Donald Trump didn’t mean they were prejudiced. It reinforces Trump voters’ defense against cognitive dissonance and gives them an idealized version of themselves that allows them to dismiss any fear that they might be intolerant. In essence, the reboot of ‘Roseanne’ has already added to the faux-populism that is Trump’s political ideology, and has given viewers a platform to further their own misconceptions of themselves.”
Jared Yates Sexton

“Thugs, buffoons, secret policemen who were attacking me as an artist, as an educational professional, as a programmer, but mainly as an artist.”
Longtime Professor Saul Levine Claims He Was Pushed out of Massachusetts College of Art and Design By Administrators Who Accuse Him of “Harming Students”

indie wire

“Despite everything, I think that Europeans have lost a lot with the loss of Harvey Weinstein. You have to remember that there are French producers who we haven’t denounced — I won’t mention them; I won’t mention names, although I know three who are extremely respected — I don’t know why they weren’t denounced as well. They absolutely had their place. Long before the Me Too movement started, I was very upset when Jessica Chastain made statements against Last Tango in Paris. If you listen to her, that film should never have been made. To listen to her, Maria Schneider was raped. But Jessica Chastain wasn’t there, and it’s not true — I was on set. The scene was fiction.”
Asia Argento Addresses Catherine Breillat, With Text Transcribed From Now-Deleted Podcast

NY Times

“Where once she was edgy and provocative, she is now absurd and offensive. Her views are muddled and incoherent. She is more invested in banal and shallow provocation than engaging with sociopolitical issues in a thoughtful manner. No amount of mental gymnastics can make what Roseanne Barr has said and done in recent years palatable… This fictional family, and the show’s very real creator, are further normalizing Trump and his warped, harmful political ideologies. There are times when we can consume problematic pop culture, but this is not one of those times.”
Roxane Gay On Roseanne

“Maybe he’s a scumbag, but nobody went to the police and said ‘Weinstein raped me.’ No, they wanted to earn $10 million. What do you call a woman who sleeps with a man for $10 million? Maybe I’m being crude, but she’s called a prostitute.”
Putin Spokesman Dubs Harvey Weinstein Accusers “Prostitutes”

“There’s a part of me that’s going: ‘I haven’t touched it yet.’ I haven’t touched that exquisite thing, a really great performance. I don’t think I’ve done it, yet. What I’m looking for is that bit when it transcends acting. Where you feel like you’re literally looking through a window at someone else’s life.”
Paddy Considine

“The internet hates women. Everyone knows that by now, and nobody precisely approves, but we’ve reached a point of collective tolerance. It’s just the way of the world, and if you can’t handle it, honey, delete your account. Stop engaging online. Cut yourself off from friends, family, and professional contacts, shut down your business, blow up your social capital, stop learning, stop talking, just stop. Or else.”
Laurie Penny On Her Decade Past

“Whilst Arulpragasam says she’s completely over the whole incident, the film has clearly refreshed the frustrations she felt. “A middle finger, it’s like get a fucking grip. People were like, ‘oh you’re lucky you’re not in jail, give up all your profit, be this slave for the rest of your life’,” she stops herself before saying: “Oh god, I hope the NFL doesn’t sue me again for talking about it.” A voice comes from the nearby kitchen to suggest that this is a topic that shouldn’t be discussed. “Oh, I’m not supposed to talk about it, I’m going to eat crisps,” she says, diving into the bag.”
Maya Arulpragasam On MATANGI / MAYA / M.I.A

“I think this 40 year old man is hitting on me,” she wrote. Rice, then 14, continued in her diary, “But he’s never perverted. He is also very nice. He gives me a lot of drawing tips.”
“The 1990s were a time of mental and emotional fragility for Mr. Kricfalusi, especially after losing ‘Ren and Stimpy,’ his most prized creation. For a brief time, 25 years ago, he had a 16-year-old girlfriend. Over the years John struggled with what were eventually diagnosed mental illnesses.”
Creator Of “Ren & Stimpy” Has History Of Underage Sexual Abuse

“It’s hard to call it offensive, exactly, and yet, it’s not devoid of a kind of opportunism. It’s not a crime, but it’s certainly something to unpack… The film’s use of Japanese language felt bizarre to me, even as a nonfluent (seriously, the opposite of fluent) Japanese speaker. Human characters speak Japanese throughout the film, but it is almost never subtitled,”
“What It’s Like to Watch Isle of Dogs As a Japanese Speaker,” By Emily Yoshida

“I love producing. But producing in Europe is different than producing in Syria. I’ve been producing in Europe for the last four or five years and so much that surrounds it today is bureaucratic and technical. Producing in a place like Syria was a revolutionary act, energizing, full of motivation and dreams. I think in Europe, a place like IDFA offers this. IDFA is about public benefit, the audience and the industry, dream-filled filmmakers, and curious viewers. After all, why do we make documentary films within such a complex web of challenges, if not for the dream?”
A Conversation With IDFA’s New Artistic Director Orwa Nyrabia

“Her style and poise was a legacy from the fashion school days. She always knew exactly which Levis were correct. She could make a trench coat look edgy. She could make huge hoop earrings look like the crown jewels.”
Tracey Thorn On The Return Of Sade

“The fundamental imbalance here is that studios have to play by basic rules of economics, physics and acceptable cultural norms, while the tech giants can create havens for Nazi propaganda and teen-suicide boosterism; run ads around jokes about beating up Rhianna; blow tens of billions on unwatched misfires and call it all data collection. Not to mention compromise the American electoral system, put tens of millions out of work. And as punishment for that? Get handed zillions more from Wall Street. While Hw’d is subject to taxes, regulation and antitrust regulation, Silicon Valley is given a giant hall pass on all of that and told, hey – if you break anything, just leave a note so we can clean it up for you. That’s a tough fight to win.”
Richard Rushfield

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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“There are different signs that this is not stopping. I don’t think that anger and frustration and those feelings can go away. I hope they don’t. The attention and support for the victims needs to be continued, more than people worried about these abusers and what’s next for them, how are they going to move on — shut up. You know what? If any of these people come back, I would say, “I can’t wait to see who is actually going to support them.” That is going to be the glaring horror. Who is going to be, like, “This is a pressing issue, and we need to get them back?” If a janitor was so great at cleaning the building but also tended to masturbate in front of people, would the people at that building be like, “Yes, he masturbated, but I’ve never seen anyone clean so thoroughly, and I was just wondering when he’s going to get his job back, he’s so good at it.” No, it would be, “That’s not acceptable.” It’s fame and power that people are blinded by.”
~ Tig Notaro in the New York Times

“It’s never been easy. I’ve always been one of the scavenger dogs of film financing, picking up money here and there. I’ve been doing that all my life. This was one was relatively easy because certain costs have gone down so much. I made this film in 20 days whereas 30 years ago, it would have been made in 42.”
~ Paul Schrader