MCN Curated Headlines Archive for February, 2019

“I love the restaurant, the booths on the old side. It’s the real-deal Hollywood. The first time I went might’ve been in the ’70s. It’s true that I ate with Mark Frost in maybe 2012. That lunch at Musso’s started the 18 hours of ‘Twin Peaks: The Return.'”
A Century of Musso & Frank


“We’ve created a great and unique enterprise and I know that you will protect its legacy and do all to enhance its future in the years to come.”
HBO CEO Piepler Piped Out

Dem “Bones”

“He loves America. Bautista’s fortress-like house — gray, split-block, with actual flaming torches on the outer walls — is in the blue-collar neighborhood of Port Tampa, close enough to MacDill Air Force Base to hear the trumpets playing reveille each morning and The Star-Spangled Banner at night. One of his latest tattoos is an American flag blowing across his trapezius… ‘I was never a party guy. I was all about the candidate,’ but it felt ‘like I had to pick a side. It’s like war, and I’ve come out very Democrat, but I do have some very conservative views, too.'”
The Epic Dave Bautista-At-Home-In-Tampa Profile You Didn’t Know You Needed

“Oscars matter to talent. Netflix is showing talent that you aren’t lost if you debut on Netflix. You win an Oscar. They’ll use that street cred to attract more talent, so success begets success.”
Netflix Aligns Next Oscar Push

“Is that the central theme in your work – the fun of Eden, the joy before the fall? Can we talk through your films to see if that’s true?”
Mark Cousins on Stanley Donen


“If you want to see worthy winners, go to a racetrack… For bonus points, add a stream-of-consciousness yammer or an invocation to your chosen deity… The stage was an agora of diversity from first to last, and I would wager that more Spanish was uttered than on any previous Oscars night… The usual tossed salad, I would say, comprising the dumb, the deserving, the downright bewildering, and the meh… Billy Porter should be at least halfway through the complex business of strategically withdrawing from his frock. “
Anthony Lane Does Not Suffer Oscar

“Britain’s host of ‘The Apprentice’ has called for himself to be given his own special award in recognition of the reality show’s success, after revealing that his wife is upset that he has never been allowed to keep a Bafta statuette. Lord Sugar said it was ‘unbelievable’ that the show had won two Bafta TV awards but that the physical awards had been taken by behind-the-scenes staff who made the show, leaving him with nothing to display at home.”
Lord Sugar Salty


LA Times

“The movie was clearly a palatable brand of godawful…  I find [it[ both dishonest and dispiritingly retrograde, a shopworn ideal of racial reconciliation propped up by a story that unfolds almost entirely from a white protagonist’s incurious perspective… There is something about the anger and defensiveness provoked by this particular picture that makes reasonable disagreement unusually difficult.”
Justin Chang Bangs Book

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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“What Quibi trying to do is get to the next generation of film narrative. The first generation was movies, and they were principally two-hour stories that were designed to be watched in a single sitting in a movie theater [ED: After formats like the nickelodeon]. The next generation of film narrative was television, principally designed to be watched in one-hour chapters in front of a television set. I believe the third generation of film narrative will be a merging of those two ideas, which is to tell two-hour stories in chapters that are seven to ten minutes in length. We are actually doing long-form in bite-size.”
~ Jeffrey Katzenberg

“The important thing is: what makes the audience interested in it? Of course, I don’t take on any roles that don’t interest me, or where I can’t find anything for myself in it. But I don’t like talking about that. If you go into a restaurant and you have been served an exquisite meal, you don’t need to know how the chef felt, or when he chose the vegetables on the market. I always feel a little like I would pull the rug out from under myself if I were to I speak about the background of my work. My explanations would come into conflict with the reason a movie is made in the first place — for the experience of the audience — and that, I would not want.
~  Christoph Waltz