MCN Curated Headlines Archive for September, 2019

variety

The Irishman was made as a work of cinema to be shared in the secular temple that the movie theater still is. Yes, even with all those trailers, with the $10 Cokes and the idiots on their cellphones. I think a great many people will want to experience it that way. I would argue that this year, there’s going to be a powerful gap—in fact, you could call it a chasm—between the way The Irishman would have played at theaters had it been released by a conventional studio and the way that it will play in theaters in the glorified, seam-busting version of a limited release under Netflix.”
Gleiberman Sunday-Columns A Pack of Words, Not Limited to “I,” On The Irishman,

TODD PHILLIPS: RAW

variety

“We don’t pretend to think we would suddenly have 30 million people watching our movie in a theater, it’s just a portion of what our strategy is… stunt theatrical… event-izing… We’re really pivoting to a goal of getting these movies to the global customers as quickly as possible.”
Amazon Studios Strategizes

“Oh, my god, of course. I mean, what the fuck – am I not gonna ask Don Johnson about Miami Vice?”
A Reader-Abusive Interview With Rian Johnson

MCN Curated Headlines

Physical Media Down Under: “The film canon, film history, is constantly being rewritten; what’s a classic film and what needs to be rewatched from 60 years ago is always being decided, and I think we lose track of that with streaming The conversation shouldn’t just be about the new, fresh, pretty, shiny thing.”

Having Eats With Lakeith Stanfield “(He’s made it to an agreeably cacophonous downtown sushi spot by this point, orders a bottle of warm sake – “I’m feeling sweet,” he tells the waiter, giving himself a little hug by way of illustration – and begins to work his way through a restorative meal of edamame, sashimi and hand-rolled sushi, all chased with Coke.)”

Overlooked Nonfiction Factors Strike The Banker From Apple Slate For Now

Developers Of New Triplex In London’s Selfridge’s Brag On Norwegian Recliners, Bags That Don’t Rustle And Food That Doesn’t Smell

“More films from streaming services are in the awards race this year than ever, prompting some handwringing among awards season voters — most notably AMPAS board governor Steven Spielberg — about whether SVOD films with limited theatrical runs are leading to the demise of theaters and deserving of the same consideration as traditional releases.”

Extreme Heavy Lifting Done On Behalf Of Tenet Teaser

And The Spirit Nominations…

China Release Of The Farewell Bumped Two Days Before Release; May Be To Take Advantage of Anticipated Awards Notice In U. S.

David Lynch Opens “Squeaky Flies In The Mud” In Manhattan

“The faces of the lovers—bereft or joyful, clouded or radiant—tell the whole story of COLD WAR. When the line between one country and another can shift overnight, where, exactly, is home? Wiktor and Zula find it and lose it, again and again, in each other’s eyes.”

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon