MCN Curated Headlines Archive for April, 2018

“Because we care so deeply about the important work of journalism, we must all together work to elevate it. Is it appropriate that we invite a celebrity to launch a relentless, and often vulgar, attack on the very people we cover? As if we can go back the next day to don our cloak of impartiality and all is well? I know you agree our credibility is far too important to compromise over a 20-minute abdication of the high road and a few cheap laughs.”
Gannett-USA TODAY Publisher Comes Out Swinging Against Comedian Michelle Wolf, In Spirited Defense of Press Secretary Sarah Huckabee Sanders

“We did not act carelessly or in any way ‘force matters’ as Mr Juan Branco has said in the press. Our entire profession knows that ‘forcing matters’ has always been Mr Branco’s favourite method, and we should recall that he organised a press conference a few years ago where he denounced the Festival de Cannes because it had not kept a ‘promise to select’ one of his films. This was an accusation which didn’t go anywhere, because the Festival does not make promises to select films: it either selects them or it does not.”
Cannes Sets “Urgent Hearing” On Status Of Closing Night Film, The Quixote Of Gilliam

“I have no common place in contemporary film, not then, not now. I never got the Hollywood deal, I never went to film school, I never went to big Hollywood parties, I never had a PR person, which is probably why I used to call myself Captain Autonomous-Anonymous. I was never in favor with any group, be it audiences or critics or the financing system. They and I didn’t hear the same tune from the beginning. I barely had an agent half my career, and for me to go out begging for money at this age – some old guy no one’s ever heard of, and if they have, they don’t like his movies anyway! – I find it ridiculous.”
Alan Rudolph’s Got A New Alan Rudolph Movie

nymag

“The New York Establishment will ignore unscrupulous acts to serve its interests — just look how it treated Roy Cohn, onetime lawyer to the president.”
Frank Rich Cover-Stories America’s Great Satan

“It’s increasingly impossible to make a living in theatre.”
Brit Playwright Hannah Khalil

NY Times

“The Profound Normalcy of a Day at the Movies in Saudi Arabia: ‘It is truly a revolutionary time'”
Haifaa Al Mansour

hollywoodreporter.com

“Marvel spent 10 years methodically and carefully creating a universe of characters, worlds and stories that all led to this and, in doing so, created an event unlike anything the business has ever seen.”
Disney Distribution Chief 

“You’re not suggesting that I made this up, are you? I understand that there’s room for skepticism. I’m not a skeptic. I don’t make films or move through my life as a skeptic. I’m not interested in skepticism, that’s something you’re either born with or acquire as you live. You don’t know a damn thing, and neither do I. Nobody knows if there is an afterlife, a heaven or hell. What is our purpose here? Nobody knows that! We have no idea!”
William Friedkin

nymag

“One Has This Feeling of Having Contributed to Something That’s Gone Very Wrong.”
VR Pioneer Jaron Lanier on Silicon Valley Politics and What Went Wrong With the Internet

NY Times

“I‘ve seen what happens when we pretend that these guys can simply disappear once they’ve been pushed out. In my experience, they resurface elsewhere, often to prey on others.”
The Problem With “Passing the Trash”

thestar.com

“I don’t like its sterility. I like a film with a little more emotional balls, just as a movie, to get involved in. But as a work of art, I love it. It had an had an enormous, enormous impact on me, at a certain point.”
James Cameron Rejects 2001: A Space Odyssey

“When I first came up with the idea of utilitarian music, it was very, very unpopular. It meant Muzak. It was music reduced, stripped of its fundamental cultural importance. And that was my biggest hurdle. Artists were supposed to want people’s 100 per cent attention. But what was the least that I could do with music; how much could I leave out? What if I made music that was just like an atmosphere?”
Brian Eno

“The global adoption of one language form – in effect a standardization of mass audiovisual media – is a central issue of the media crisis. It means, for example, that a documentary film can basically have much the same form and narrative structure as a Netflix drama series.”
Peter Watkins Looks At “The Dark Side Of The Moon” At The Age Of Eighty-Two

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."

Mike Leigh on Kerfuffle

Ant Man Wasp

Loach Marvel

Kill Nerd Culture

“Later, as Adam Driver was collecting himself at the barracks, he thought about the two things that he really wanted to do in life, and he vowed to do them. One was to smoke cigarettes. The other was to be an actor.”

Serpico

Francis Age

“When Martin Scorsese says that the Marvel pictures are not cinema, he’s right because we expect to learn something from cinema, we expect to gain something, some enlightenment, some knowledge, some inspiration,” Francis Coppola said. “I don’t know that anyone gets anything out of seeing the same movie over and over again. Martin was kind when he said it’s not cinema. He didn’t say it’s despicable, which I just say it is.”

Streaming Ellwood

“I have to tell you, for me, the film is 35mm celluloid. I made all my shit on 35mm celluloid. My problem is—it’s not technical, again. I don’t care about the scratches because maybe you got an old print. The problem is, the digital picture has to be a new language. But we do not use it as a new language. People are using it to look like a fake film camera. Why do they not think about a new visual language? If you see these fucking digital possibilities, you can create a new language that is only for digital technology. It’s really stupid if you believe that a digital picture will have the same quality as 35mm. Never! But you have a totally different possibilities in a different way, but you can use it. Why don’t you? It’s not my job because I do not touch cameras any more. But there are a lot of possibilities out there.”

Quote Unquotesee all »

“I always thought that once I had lived in Chicago for a while, it would be interesting to do a portrait of the city – but to do it at a significant time. Figuring out when would be the ideal time to do that was the trick. So when this election came around, coupled with the Laquan McDonald trial, it seemed like the ideal time to do the story. Having lived in Chicagoland for thirty-five-plus years and done a number of films here, I’ve always been struck by the vibrancy of the city and its toughness. Its tenderness too. I’ve always been interested in the people at the center of all the stories. This is a different film in that regard, because we’re not following a couple of individuals over the course of the project in the way that a lot of the films I’ve done have, but I still feel like people’s voices and aspirations and hopes are at the center of this series.

It wasn’t easy. We started back in July 2018, it was actually on the Fourth of July – that was our first shoot. It’s like most documentaries in that the further you go along the more involved and obsessed you get, and you just start shooting more and more and more. We threw ourselves into this crazy year in Chicago. We got up every day and tried to figure out if we should be out shooting or not, and what it is we should shoot. We were trying to balance following this massive political story of the mayor’s race and these significant moments like the Laquan McDonald trial with taking the pulse of people in the city that we encounter along the way and getting a sense of their lives and what it means to live here. By election day, Zak Piper, our producer, had something like six cameras out in the field. You could double-check that, it might have been seven. We had this organized team effort to hit all the candidates as they were voting, if they hadn’t already voted. We hit tons of polling places, were at the Board of Elections and then were at the parties for the candidates that we had been able to follow closely. Then of course, we were trying to make sure we were at the parties of the candidates who made it to the runoff. So, yeah, it was kind of a monster.”
~ Steve James On City So Real

“I really want to see The Irishman. I’ve heard it’s big brother Martin Scorsese’s masterpiece. But I really can’t find the time. The promotion schedule is so tight, there’s no opportunity to see a three and a half-hour movie. But I really want to see it. In 2017, right before Okja’s New York premiere, I had the chance to go to Scorsese’s office, which is in the DGA building. There’s a lovely screening room there, too, with film prints that he’s collected. I talked to him for about an hour. There’s no movie he hasn’t seen, even Korean films. We talked about what he’s seen and his past work. It was a glorious day. I’ve loved his work since I was in college. Who doesn’t? Anyone involved with movies must feel the same way.”
~ Bong Joon-ho