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

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."

“On the creative side, even successful shows are likely to have shorter runs—as is increasingly the case on Netflix—because of rising production costs and the difficulty of keeping audiences’ attention given a plethora of viewing options. For consumers, that means more shows they love will run their course within three or four years instead of seven or eight. For the talent, it means moving on to new jobs more frequently.”

Lucrecia Martel

“The entire industry is speeding down this path that you’ve got to own the wires and the service and be producing everything for your own service into one giant integrated phalanx that you’ll march off to do… something? For the sake of this, Hollywood is supposed to be ready to throw everything else out the window.”

“Out of 17 films in competition there are six directed by women but we didn’t select the films looking for parity in numbers. I don’t think gender should be a criterium for selecting films. I think the key is to ensure the access of women to the film industry. Parity has to be supported from the start, making sure everybody has the same rights and opportunities to make the films they want to make. Festivals are at the end of this process and shouldn’t select the films by the gender of the person who has made. We don’t apply quotas but I’m happy that each year we are seeing more and more films directed by women.”

“The movies have savored extinction, eradication and annihilation for years, accelerating after 9/11, with unspecified menace everywhere, set to ash the skies with snowflakes of death. Genre pictures love nothing more than a brooding calamity. The end of civilization, or even the planet itself, has been a sizzling, seething, sorrowful constant across features and series even before our latest apocalypses, major and minor, began to pile up like dead marine animals on our Pacific shores.”

“Phoenix clearly hadn’t rehearsed smart responses beforehand, but was switched on enough to realise that his response was going to matter – and not finding a good one, he fled. Now that a few weeks have passed and my chronically clenched buttocks have almost returned to their former pliancy, I have to admire the blunt, pact-smashing honesty of it. Not that I can see it happening again during the Joker’s awards-season campaign: the Phoenix who presented the film at Venice and Toronto was charming, tactful and generally on his best behaviour. If he can keep it up until February, he’ll deserve an Oscar for that alone.”

Harrrrvey

Bye Trib Broadcasting

Brooks Barnes

Farran on Films Lost To Remake Rights

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“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