MCN Curated Headlines Archive for March, 2019

variety

“Day-to-day, our top priorities remain the same: to support the great content we’re creating and deliver a superb experience to our consumers, and to continue to build an inspiring, inclusive environment where employees can bring their best to work every day.”
A Lengthy Roster of Fox Executives Disney is Pink-Slipping

Fox 2000 Reportedly First Fox Division Snuffed By Disney

indie wire

“A dollar is a dollar wherever it comes from. But the bread and butter of our films is the theatrical release of new product. That’s going to stay as it is. It feeds the SVOD thing, this steady flow of new product/ We’re going to do what makes sense for us/ We know there’s some extra money in the cycle, but it’s nothing really profound. Listen, the whole world is heading toward a subscription model. It’s just the natural order of things.”
Eamonn Bowles Tells Anne Thompson About Plans For Magnolia Selects

variety

“The overseas market is not an option any more, it’s a necessity. While the number of releases and general production costs of Korean films constantly rises, the box office volume is at a standstill. Getting to a break-even point will become more difficult in future.”
Korean Film Distribs Downsize

NY Times

“Kevin has acknowledged that his mistakes are inconsistent with the company’s leadership expectations and could [affect] the company’s ability to [work] going forward.”
Tsujihara Out At AT&T-WarnerMedia-WarnerBros. After Consultation With Stankey

“Packaging is a lie. It is theft. It is fraud. In the hands of the right U.S. attorney, it might even be prima facie evidence of decades of racketeering. It’s that fucking ugly.”
David Simon

NY Times

“The store has more than 132,000 titles, many of them not available on the internet, or anywhere else. “We will fight to the death to keep this open.”
Scarecrow Video in Seattle Might Be the Last of Its Kind. Can It Survive?

“I wonder if I was too generous. But it’s hard to know. She very much feels she’s a victim. And that is a hard thing to reckon with. And that’s why I put in Phyllis at the end saying, “You are not a victim.” You know, the buck stops with you, Elizabeth Holmes.”
Alex Gibney

hollywoodreporter.com

“The state of the Hong Kong film industry is lousy! The local studios, they don’t want to invest in big-budget films. We used to shoot one single scene in a month; now a whole film is shot in 11 days! And we used to spend $250-300,000 shooting in one day; now no local film has that kind of budget. I’m not saying a big budget guarantees a good film, but we really don’t have that  scale anymore. What we need is a good, solid Hong Kong action film, the kind that made our mark in the world in the past. No one wants to invest in those films anymore.”
Sammo Hung

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."

“On the creative side, even successful shows are likely to have shorter runs—as is increasingly the case on Netflix—because of rising production costs and the difficulty of keeping audiences’ attention given a plethora of viewing options. For consumers, that means more shows they love will run their course within three or four years instead of seven or eight. For the talent, it means moving on to new jobs more frequently.”

Lucrecia Martel

“The entire industry is speeding down this path that you’ve got to own the wires and the service and be producing everything for your own service into one giant integrated phalanx that you’ll march off to do… something? For the sake of this, Hollywood is supposed to be ready to throw everything else out the window.”

“Out of 17 films in competition there are six directed by women but we didn’t select the films looking for parity in numbers. I don’t think gender should be a criterium for selecting films. I think the key is to ensure the access of women to the film industry. Parity has to be supported from the start, making sure everybody has the same rights and opportunities to make the films they want to make. Festivals are at the end of this process and shouldn’t select the films by the gender of the person who has made. We don’t apply quotas but I’m happy that each year we are seeing more and more films directed by women.”

“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

Quote Unquotesee all »

“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