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

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."

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."

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“Dude, I don’t like the way you talk, bro. How can you tell me that it’s going to be hard? Do you see a lot of people like you writing stories? Give me a break, bro. That’s your strength, that you’re not like us. Go out there and tell your stories. Don’t go out there and try to be like Quentin or me or anybody else. We need you. Tell me what makes you angry, why you’re arrogant, or fearful, whatever it is. Don’t hide anything. Be honest. What is that thing that bothers you and makes you distinct? Everyone’s looking for you. A Mexican point-of-view to tell a story right now? I’m telling you, everybody wants that right now. I desperately need you to tell your story in your way. You are essential.”
~ M. Night Shyamalan

“My films are always brought to life from an idea, a coincidence, or a dreamlike magic. An ephemeral moment that settles in my mind and starts to bloom. The plot slowly appears before my eyes, and there’s nothing left but to write it. I actually do use a mood board. And location scouting is essential to the realization of the film. I’m inspired by architecture — the beauty of certain neighborhoods, the mystery in odd buildings, or streets that suggest psychoanalytic theories. I only choose my actors after I write the script.”
~ Dario Argento