Xavier Dolan On Jean-Luc Godard

“He’s not one of my heroes. He doesn’t touch me or inspire me. There are so many people who inspire me, so many people who touch my heart. It doesn’t matter if he’s not a hero of mine. It doesn’t matter if I don’t tell the whole world how honoured I am to share a prize with a man who made somebody play with words over the years. He’s a hero in cinema historically, but he’s not a personal hero of mine. Jean-Luc Godard did this press release and he mentioned he would never go and see Mommy in theatres because he already knew what Mommy was about: another ‘TV movie’ and that nowadays everything is predictable. He’s this old grinchy man. He’s the grinch from Switzerland in the mountain. Deaf, blind, smoking, literally. Basically being provocative about everything.”
~ Xavier Dolan On Jean-Luc Godard

Harmin’ Armond Speaks Of America From His Perch At Nat’l Review Online

“It is significant that Flynn began as a writer for Entertainment Weekly, the Time Inc. periodical that did its best to create an audience of non-thinking fanatical consumers. Frequently annexing its journalist mission to the promotion of the Oscars and Emmys, EW mixed tastelessness with a tradition of degraded values—laying ground for today’s venal, trivia-obsessed media culture. This sensibility is everywhere apparent in Gillian Flynn’s male-female relations, which smack of pop-therapy literature, violent potboilers and sensationalist tabloid media. Flynn teaches a lesson to both Nick and Amy, as if they were prototypes for the great unwashed, through their scandalous courtship rituals tied up with ideas of middle-class avarice. Each lover’s greed and possessiveness exploits the other. This is consistent with EW’s formula, which is so cynical it always presents itself as “smart”—that’s advertising code for suckers, deceptive millennial self-flattery, thus typical Fincher material.”
~ Harmin’ Armond Speaks Of America From His Perch At Nat’l Review Online

Cinematographer John Lindley on Digital’s Impact on Archival Longevity

“In the end, whatever is done more cheaply will win. The digital world is appealing to producers on so many levels. This sounds more cynical than I mean it to, but what is lost? What do most people care? All in all, movies are a pretty disposable medium. There are films we all know and love that survive, but for every one of those, there’s a thousand that none of us has ever heard of or seen, and never will. I think that in the end, things that are worth preserving will get preserved, whether it’s films or books or pictures or paintings. Whatever the medium, when people decide something is worth keeping, they will find a way to keep it.”
~ Cinematographer John Lindley on Digital’s Impact on Archival Longevity

David Cronenberg, From Cannes, To Nigel M. Smith

“There comes a wonderful point when you just don’t give a fuck anymore what everyone thinks because you’ve had so many reactions that you can’t absorb anymore. You’ve read so many reviews you can’t absorb anymore. But the first ones you really want to know because it’s your first articulation of a response to the movie. I mean you sit with a couple of audiences. This was my first audience last night. I’ll sit with a couple more. But the first responses that tell you why they felt the way they did are always the first reviews. Now, you don’t know if it’s really a review or some Twitter—it’s all from journalists here, so at least there’s that. How legitimate the journalists are, how good the critics are these days, as you know, it’s kind of an iffy proposition. You get a sense of it. I’m still at the stage where I’m interested in what people have to say. And you do weed out the ones where the writing is really bad and they can’t spell and you usually just sort of dismiss those.”
~ David Cronenberg, From Cannes, To Nigel M. Smith

Quentin Tarantino to Amy Nicholson about the New Beverly

“Look, there’s some wild, funny weird and silly shit that happens in some of these movies, and it’s okay to laugh. But laugh because it’s funny—don’t laugh because you’re just trying to show how superior you are to the movie. You get no points for laughing at an old movie just because it’s old. You look like an idiot.”
~ Quentin Tarantino to Amy Nicholson about the New Beverly

Nic Refn to Jen Yamato

DEADLINE: How does a visualist feel about people watching your films on a phone or VOD?
REFN: It depends on what kind of movie you make. We had great success with Only God Forgives on multiple platforms in the U.S. Young people will decide how they see it, when they want to see it. Don’t try to fight it. Embrace it. That’s a wonderful opportunity. We’re at the most exciting time since the invention of the wheel, in terms of creativity because distribution and accessibility have changed everything. A camera is still a camera whether it’s digital or not; there’s still sound; an actor is an actor. Ninety-nine percent of what you do is going to be seen on a smart phone – I know this is the greatest thing ever made because it allows people to choose, watching what you do on this format or go into a theater and see it on a screen. That means more people than ever will see what I do, which is personally satisfying in terms of vanity. But you have to be able to adapt, to accept things in different order and length than we’re used to. We are in a very, very exciting time.
~ Nic Refn to Jen Yamato

Nic Refn To Jen Yamato

DEADLINE: You mention Tarantino, who with Christopher Nolan and a few other giants, saved film stock from extinction. To him, showing a digital film in a theater is the equivalent of watching TV in public. Make an argument for why digital is a good film making canvas.
REFN: Costwise, it’s a very effective way for young people to start making movies. You can make your movie on an iPhone. It’s wonderful seeing how my own children use technology to enhance creativity. For me it’s a wonderful canvas. Sure, I love grain in film. I love celluloid. But I also like creativity. I like crayons, I like pencils, I like paint. It’s all relative. Technology is more inclusive. A hundred years ago when film was invented, it was an elitist club. Very few people got to make it, very few people controlled it and very few people owned it. A hundred years later, storytelling through images is everyone’s domain. It’s ultimate capitalism. There are no rules, and no barriers and no Hays Code. Where does this go in another hundred years? I don’t know but I would love to see it.
~ Nic Refn To Jen Yamato

Andy Greenwald Lavishes Love On Jill Soloway’s Amazon Series, “Transparent”

“None of this would work without Jeffrey Tambor’s beautiful performance as Maura. There has always been a gentleness at the heart of his acting, even when hamming it up on ‘The Larry Sanders Show ’ or not touching on ‘Arrested Development.’ But here he’s simply transcendent, capturing the sweetness and terror of a woman presenting her true self for the first time. In an early episode, when visiting the apartment of a woman in her support group, Maura moves from room to room with the wonder of a child. She touches every dress, examines every piece of furniture. It’s a radical and deeply empathetic glimpse of the blurry line between self-creation and self-actualization. Maura has been alive for 70 years but is in many ways a newborn. She’s desperately fragile. She’s incredibly brave.”
~ Andy Greenwald Lavishes Love On Jill Soloway’s Amazon Series, “Transparent”

“First Do No Evil” Google CEO Eric Schmidt Snipes At Julian Assange, Because, Google

“Well, he’s, of course, writing from the, shall we say, luxury lodgings of the local embassy in London. The fact of the matter is Julian is very paranoid about things and it’s true that the NSA did things that they shouldn’t have done, but Google has done none of those things. Google never collaborated with NSA and in fact, we’ve fought very hard against what they did and since what the NSA did which we do not like, we have taken all of our data, all of our exchanges, and we fully encrypted them so no one can get them, especially the government.”
~ “First Do No Evil” Google CEO Eric Schmidt Snipes At Julian Assange, Because, Google

James Schamus

“While we ask for respect as artists, we really don’t know what we mean by art.” Screenwriters aren’t making art, they’re compiling “124 pages of begging for money and attention.”
~ James Schamus

James Schamus

“Hollywood is not American. Its revenues are only 30-40 percent American. Its primary purpose right now is to make movies that 20-year-old Chinese people want to see. That’s really the future.”
~ James Schamus

Alessandra Stanley On Alessandra Stanley

“In the review, I referenced a painful and insidious stereotype solely in order to praise Ms. Rhimes and her shows for traveling so far from it. If making that connection between the two offended people, I feel bad about that. But I think that a full reading allows for a different takeaway than the loudest critics took. The same applies to your question about “less than classically beautiful.” Viola Davis said it about herself in the NYT magazine, more bluntly.  I commended Ms. Rhimes for casting an actress who doesn’t conform to television’s narrow standards of beauty; I have said the same thing about Helen Mirren in “Prime Suspect.” I didn’t think Times readers would take the opening sentence literally because I so often write arch, provocative ledes that are then undercut or mitigated by the paragraphs that follow. (links below) Regrettably, this stereotype is still too incendiary to raise even in arguing that Ms. Rhimes had killed it once and for all.”
Alessandra Stanley On Alessandra Stanley

David Fincher On Fight Club

“Fight Club was a movie where half the financing fell out before we started shooting. Bill Mechanic to his credit said: ‘I’m making this movie.’ Laura Ziskin, may she rest in peace, was there every step of the way saying: ‘Go, keep going, it’s great, we love the dailies, it’s amazing.’ When we cut the movie together and showed them the final thing is the first time everyone realized they were going to get fired. It’s a great cocktail story about doing this movie that’s so dark and twisted and then they see it and go, oh my god, what’s the poster here? How do we get people to see this? The marketing department shit all over the movie and said: ‘Men don’t want to see Brad Pitt with his shirt off and women don’t want to see him bloody so you’re fucked.’ So they devised a campaign for the film to sell it to people watching the World Wrestling Federation. I wanted to sell it as a satire. Madness. People go to the movies to see things they haven’t seen before. Call me a radical.”
~ David Fincher On Fight Club

David Fincher on process

“Being on sets and watching how shit went down, I watched a lot of directors get rope-a-doped. I could see that they wanted to execute something and the experts hired to support them said ‘We won’t have time for that.’ So I watched people I admired get spun and I vowed never to let that happen. I want to know what every motherfucker in the room does. I never wanted to be the person victimised by other people’s laziness.”
~ David Fincher on process

David Lynch

“A lot of artists think they want anger. But a real, strong, bitter anger occupies the mind, leaving no room for creativity.”
~ David Lynch

David Fincher In The October Playboy

“Studios treat audiences like lemmings, like cattle in a stockyard. I don’t want to ask actors or anyone else on a movie to work so hard with me if the studios treat us as though we’re making Big Macs. The Girl With the Dragon Tattoo is not a Big Mac. Gone Girl is not a Big Mac.”
~ David Fincher In The October Playboy

Sam Shepard Sings America

“We’re on our way out. Anybody that doesn’t realize that is looking like it’s Christmas or something. We’re on our way out, as a culture. America doesn’t make anything anymore! The Chinese make it! Detroit’s a great example. All of those cities that used to be something. If you go to a truck stop in Sallisaw, Oklahoma, you’ll probably see the face of America. How desperate we are. Really desperate. Just raw.”
~ Sam Shepard Sings America

Quote Unquotesee all »

“The city to me is the only possible vehicle we have to measure human achievement. We’re an urban species now. If you look at Karachi or Mexico City or Hong Kong or London or New York or Yonkers or Baltimore or any of these other places, the pastoral is now a part of human history. We’re either going to figure out how to live together in these increasingly crowded, increasingly multi-cultural population centers or we’re not. We’re either going to get great at this or we’re going to fail as a species.”
~ David Simon

“I wondered how different it would be to write a novel and it’s totally different. It’s very internal. The weird thing about it is that I found that novel-writing was much more like directing than it is like screenwriting. You’re casting it, you’re lighting it, you’re doing the costumes, you’re doing the locations, you’re doing it all yourself as a director would. In screenwriting, you don’t do that stuff. You don’t describe the face of the actor or the character when you’re writing a screenplay because Tom Cruise is going to do it and he doesn’t look like that, whereas in the novel to describe what he is is what he is. The actual act of writing, just like shooting on a set, is a slow slog. It’s going to work every day.”
~ David Cronenberg On Screenplay vs. Novel