MCN Columnists

Voices

Only Nic Forgives: Gilchrist Talks Style And The Future With Refn

We sat down with Refn at the recent Los Angeles press day for Only God Forgives to get a snapshot of the budding auteur’s creative process. In addition to talking about his ongoing collaboration with fellow on-the-riser Ryan Gosling, he reveals the intuitive process by which he combines personal experiences, psychological themes and conventional stories to create something entirely unique—and often provocative—but always interesting.

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An interview with WHAT MAISIE KNEW’s Scott McGehee and David Siegel

In her first feature role, Onata Aprile gives a performance of such grace, confidence, and naturalism that she calls to mind other great child actors’ movie debuts, including those of Hayley Mills in J. Lee Thompson’s Tiger Bay and Tatum O’Neal in Peter Bogdanovich’s Paper Moon. You’d have to have a heart of obsidian not to fall for this little girl in a big, big way.

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The Gronvall Report: Down Under On Their Way Up With THE SAPPHIRES’ Blair And Mauboy

“When it came time to audition for Aussie Idol at first I didn’t want to do it. But I was really lucky that I had supportive parents and enough confidence to go ahead. I was 16 at the time. Idol has a process: you have to choose from the list of songs the show gives you to perform. I only made it to runner-up, but that opened doors to a record contract.”

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Quote Unquotesee all »

“Would I like to see Wormwood in a theater on a big screen? You betcha. I’d be disingenuous to argue otherwise. But we’re all part of, like it or not, an industry, and what Netflix offers is an opportunity to do different kinds of films in different ways. Maybe part of what is being sacrificed is that they no longer go into theaters. If the choice is between not doing it at all and having it not go to theaters, it’s an easy choice to make.”
~ Errol Morris

“As these stories continue to break, in the weeks since women have said they were harassed and abused by Harvey Weinstein, which was not the birth of a movement but an easy and highly visible shorthand for decades of organizing against sexual harassment that preceded this moment, I hope to gain back my time, my work. Lately, though, I have noticed a drift in the discourse from violated rights to violated feelings: the swelled number of reporters on the beat, the burden on each woman’s story to concern a man “important” enough to report on, the detailed accounting of hotel robes and incriminating texts along with a careful description of what was grabbed, who exposed what, and how many times. What I remember most, from “my story” is how small the sex talk felt, almost dull. I did not feel hurt. I had no pain to confess in public. As more stories come out, I like to think that we would also believe a woman who said, for example, that the sight of the penis of the man who promised her work did not wound her, and that the loss she felt was not some loss of herself but of her time, energy, power.”
~ “The Unsexy Truth About Harassment,” by Melissa Gira Grant