MCN Curated Headlines Archive for June, 2018

hollywoodreporter.com

“Your silence is your discrimination. So if you are succeeding in an environment where there is discrimination, you are actively being discriminatory. I knew women of color got paid less than Caucasian actresses. What I didn’t know is someone of Octavia’s level, who had an Oscar and two Oscar nominations, how much less she would be getting paid. When she told me what she was making, that’s what really made me go, ‘Hold up, that doesn’t compute in my brain.’
THR Cover-Stories “The Gospel of Jessica Chastain”

“I love Christ because he invented bondage.”
Betty Blue’s Béatrice Dalle

“Well, you know that married asshole that gets Kirstie Alley’s character pregnant and then won’t leave his wife? That’s me.”
Violet Ramis Stiel On “The Story of Harold Ramis and Amy Heckerling’s Secret Daughter” 

“We created images that sound designers could give a proper sound to, so viewers feel they are right there.”
Cinematographer Charlotte Bruus Christensen On Shooting A Quiet Place

hollywoodreporter.com

“There is just no audience base for these movies.”
Divining The Historic Flameout Of Solo In China

“A lot of my favorite films are Woody Allen films, but I wouldn’t work with him.”
The “Countless Stories” Of Jennifer Jason Leigh

“I feel when they find people who harass innocent women and men, it’s a good thing that they’re exposing them. But you know I, I should be the poster boy for the Me Too movement. Because I have worked in movies for 50 years. I’ve worked with hundreds of actresses and not a single one—big ones, famous ones, ones starting out—have ever ever suggested any kind of impropriety at all. I’ve always had a wonderful record with them.”
Woody Allen

NY Times

“It’s hypocritical. They have these really weird, arcane laws that prevent the industry from putting in serious production values.”
Hong Kong Prosecutes Prop Masters Of Hit Thriller For “Counterfeit” Money

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."

“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

“He was gruff and jocular and he made jokes about ‘looking hot in that skirt,’ but it wasn’t threatening and it wasn’t demeaning,” Zellweger says. “I knew that he was, in this really awkward, uncomfortable way, trying to give me a compliment. It never went further than that. It’s a very big conversation because he was my professional collaborator, and around really important things in my life. And he was kind to me. He was so generous with me. And it felt authentic to me. It didn’t feel like this was — what’s the word, when you’re conditionally kind because you want something? ‘Transactional.’ It didn’t feel like that. It’s an important conversation, and it makes me very sad — personally sad. I’m sad for his family. I’m sad for the women that were hurt. I’m sad for him. And I wish him healing so that he can somehow try to make reparations for the damage that he has done.”

Harvey, He Ruint

New York Film Festival Director and Selection Committee Chair of Seven Years Kent Jones will Step Down Following This year’s 57th Edition

John Waters In The Criterion Closet

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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