MCN Curated Headlines Archive for December, 2018

NY Times

“What I know from a life of watching and reviewing movies is that outrage is tedious, and exhausting. Sometimes it is just easier to go with the flow, though much depends on what’s happening onscreen and off. Sometimes, I don’t want to let a movie’s banal, casual sexism ruin my good time. I make expedient and strategic bargains with myself, glossing over some of the sexism and ignoring things that bother me (or trying to). I decide that the absence of female characters is acceptable or not too bad and maybe narratively justifiable. I want to keep grooving on the virtuosity of the directing, keep loving the (male) characters, the camerawork, gripping story and mysterious light.”
Manohla Dargis

“They have an uncomplicated mandate to entertain, and that that has led to charges of them being like a Walmart because they have so much of everything, and they don’t have a particular line or objective or goal in the way that FX does or HBO. But I don’t understand this talk of talent drains. Talent will go wherever talent is given a home and it’s not about the money. I think we can all agree that whether it’s a little podcast or a blockbuster television show, spending money isn’t the secret to success.”
“The Crown”‘s Peter Morgan

The Original “Flash Mob” Ending Of A Simple Favor

“It can just get really boring watching heterosexual people, whether you’re gay or not,” Weisz says. “It’s boring, particularly when the woman is the object of desire rather than the agent of desire. That’s what we’ve been spoon-fed — that the woman is the object of the male subjectivity, of his desire and passion. Oh, I’m bored of that. Really bored.”
Rachel Weisz

“To create narratives that do not acknowledge the inescapable fact that difference is what makes queer people and the artifacts, art and traditions they have what they are, is to either buy into a paradigm of straightness and a normativity in art and society that already has existed, or to force artists to create an entirely new paradigm of how to describe difference apart from trauma. I don’t know if that can be done.”
Kyle Turner

R.I.P., Jorge Grau

Director’s Commentary To The “Let Me Be Frank” Video

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