MCN Curated Headlines Archive for January, 2019

“We look for those films that have that Sundance ilk. A lot of times we’re looking for discoveries, and a good way to do this has been a lot of outreach. We’ve been doing that for years and we’re seeing the repercussions of that in this program. Especially when we go to places like Sundance Hong Kong and even London, you talk to more people outside the United States and you get that feeling they’re paying attention that Sundance is interested in the world.”
John Cooper

NEXT: The Gurus O’ Gold Weigh The Acting Categories And Best Picture

hollywoodreporter.com

“I’m not leaving to make films at another studio; instead, I look forward to spending much-needed time with my family and pursuing interests that have long been back-burnered.”
Unkrich Ankles Pixar After 25 Years

“I have developed a healthy obsession with dark cinema. It takes a lot for me to experience feelings and emotions because of what I’ve been through. I am always attracted to extremes. If we have an agenda, it’s that when people say ‘You can’t do that,’ we like to do it. You would think that a producer would come to Texas and the easy route would be talking-dog movies or conservative Christian movies. But here we are, pushing the boundaries, stirring the pot and poking the bear with just about everything we do.”
Dallas-Based Producer Cinestate, Also Owner Of Fangoria, Arrives

variety

“The company took its time to wade through the issues ‘responsibly’ and avoid legal ramifications.”
R. Kelly Dropped by Sony Music’s RCA Records, His Home For Entire Solo Career 

“I first met her as if inside one of her poems: in a field of tall September grass, under a big bowl of stars just before dawn.”
Remembering Essential Poet Mary Oliver, Who Was 83

NY Times

“We needed to prove to the industry that we’re real. A lot of actors make indie movies for prestige, not just money, to prove their chops. What better way to communicate our efficacy as a desirable home for these films than by landing an Oscar nomination for a low-budget movie about a crack addict?”
The NYT Obit For Mark Urman

“The former Marine and Vietnam veteran will be accorded full military honors, including a casket team, firing party, bugler and folding and presentation of the American flag.”
R. Lee Ermey Interred At Arlington

“Anything by Lee Child. What page turners, what prose, what landscapes, what motorways and motels, what mythic dimensions! He does all the things I could never do, and I read, awestruck, waiting impatiently for the next.”
Novelist Margaret Drabble

MCN Curated Headlines

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."

tidalmediainc on: Black Panther: $387 Million Worldwide

Frances Aubrey on: David Klion On “Unlearning Woody Allen”

Harvey Weinstein Back on Market for “Dream Team” of Lawyers

“McCraney has a way of understanding and respecting the stories of anyone he chooses: my story, the stories of the characters in his scripts and plays, the stories of the graduate students he spends his days teaching. He asks questions that draw you into relief against your background and show you not only your own beauty but also his. This, it seems, is one of the ways he has learned to navigate a treacherous world and stay intact, or as intact as a queer black man can be in America. The McCraney Literary Universe is a large one: He is 38 and has seen eight plays produced, written two screenplays, won a MacArthur genius grant and adapted Shakespeare for the Royal Shakespeare Company in London.”

“It is on repeated online viewing, my whole body plugged into the rhythm of the images in close proximity to the screen, enhanced by the use of headphones, where I can perhaps better savor the extreme precision of camera movement and production design in sequences such as the one in which Cleo turns off the lights of the family home one by one, as the whole household gets ready for the night.”

John Cooper

“The Australian government has given Netflix the green light to regulate film and television classification on its streaming platform in an unprecedented shift following a two-year trial.”

“I Am a Gay Man, and I Liked Bohemian Rhapsody”

“Surveillance capitalism unilaterally claims human experience as free raw material for translation into behavioral data. Although some of these data are applied to service improvement, the rest are declared as a proprietary behavioral surplus, fed into advanced manufacturing processes known as ‘machine intelligence,’ and fabricated into prediction products that anticipate what you will do now, soon, and later. Finally, these prediction products are traded in a new kind of marketplace that I call behavioral futures markets. Surveillance capitalists have grown immensely wealthy from these trading operations, for many companies are willing to lay bets on our future behavior.”

Vajna

Book

Feinberg

Quote Unquotesee all »

“When books become a thing, they can no longer be fine.

“Literary people get mad at Knausgård the same way they get mad at Jonathan Franzen, a writer who, if I’m being honest, might be fine. I’m rarely honest about Jonathan Franzen. He’s an extremely annoying manI have only read bits and pieces of his novels, and while I’ve stopped reading many novels even though they were pretty good or great, I have always stopped reading Jonathan Franzen’s novels because I thought they were aggressively boring and dumb and smug. But why do I think this? I didn’t read him when he was a new interesting writer who wrote a couple of weird books and then hit it big with ‘The Corrections,’ a moment in which I might have picked him up with curiosity and read with an open mind; I only noticed him once, after David Foster Wallace had died, he became the heir apparent for the Great American Novelist position, once he had had that thing with Oprah and started giving interviews in which he said all manner of dumb shit; I only noticed him well after I had been told he was An Important Writer.

“So I can’t and shouldn’t pretend that I am unmoved by the lazily-satisfied gentle arrogance he projects or when he is given license to project it by the has-the-whole-world-gone-crazy development of him being constantly crowned and re-crowned as Is He The Great American Writer. What I really object to is this, and if there’s anything to his writing beyond it, I can’t see it and can’t be bothered. Others read him and tell me he’s actually a good writer—people whose critical instincts I have learned to respect—so I feel sure that he’s probably a perfectly fine, that his books are fine, and that probably even his stupid goddamned bird essays are probably also fine.

“But it’s too late. He has become a thing; he can’t be fine.”
~ Aaron Bady

“You know how in postproduction you are supposed to color-correct the picture so everything is smooth and even? Jean-Luc wants the opposite. He wants the rupture. Color and then black and white, or different intensities of color. Or how in this film, sometimes you see the ratio of the frame change after the image begins. That happens when he records from his TV onto his old DVCAM analog machine, which is so old we can’t even find parts when it needs to be repaired. The TV takes time to recognize and adjust to the format on the DVD or the Blu-ray. Whether it’s 1:33 or 1:85. And one of the TVs he uses is slower than the other. He wants to keep all that. I could correct it, but he doesn’t want me to. See, here’s an image from War and Peace. He did the overlays of color—red, white, and blue—using an old analog video effects machine. That’s why you have the blur. When I tried to redo it in digital, I couldn’t. The edges were too sharp. And why the image jitters—I don’t know how he did that. Playing with the cable maybe. Handmade. He wants to see that. It’s a gift from his old machine.”
~ Fabrice Aragno