Sony’s Tom Rothman

“The extreme Dickensian nature of the business right now, in that it is the best of times and the worst of times. The business has become completely binary. When the audience is in, the upside is enormous. But when the audience is out, there’s no floor. And more and more are deciding out. People go less and less “to the movies.” More and more they go to a particular movie. We used to be counter-recessionary because we were the affordable leisure activity, but not today. And we’ve empowered Netflix, Amazon, Hulu, the OTT revolution. We have to deal with it. There’s no going back. Change is only going to accelerate.”
~ Sony’s Tom Rothman

Guy Lodge Feels Resurgence

“Emmerich has a natural showman’s command of his script’s most dumbly fantastical demands; he may know no restraint, but he also knows where no restraint is required of him.”
Guy Lodge Feels Resurgence

Karina Longworth

“Bad and mediocre movies have always been part of the overall economy of Hollywood. Studios used to make movies for a lot of reasons. Most of them were to make money, but there were also times when a studio would make a film to make a star happy, or to punish an unruly star that was under their control. I’m interested in the whole ecosystem. I often enjoy watching films that are or were perceived as “failures,” in order to figure out what didn’t work and why. This is totally different from the treadmill that movie critics are forced to be on, where you have to keep running as films of seemingly decreasing quality are thrown at you. But that’s not even the real problem. It’s not even that all or most of the movies are bad, it’s that in a given year I’m probably interested in twenty to thirty movies that are released, and as a critic I was expected to see five to ten movies a week, have opinions about all of them and write about three to four of them. I was starting to hate movies, so I had to get off that treadmill. If I ever went back to writing about new movies, I would only do it if I could pick what I saw and wrote about, and I don’t know anybody who makes a living doing it who gets to do that.”
~ Karina Longworth

Steven Spielberg

“Had that machine not worked, Colin would not have directed Jurassic World. Colin was a fan of all the Jurassic movies. And he spoke so much like a moviemaker, not like an essayist. I’ve heard a lot of people talking about movies in very analytical ways, and some of that is impressive and some of that is just analytical. But Colin spoke about the audience and what it felt like to be in the movie theater watching the Jurassic movies. And then he took the other approach of talking about structure and how he would tell the story. And he basically sold himself to me in the room.”
~ Steven Spielberg

ALAN MOORE: No, that’s never going to happen. One of the things I don’t like about modern cinema is that everything has to be realized upon multiple platforms. This gives us comic books that really want to be films, it gives us films that really want to be lunchboxes. Everything is trying to be eight things at once, to the detriment of what it was meant to be.

Being who you are, I imagine people will come knocking looking for a comic adaptation of all this. Is that something you’d consider?
: No, that’s never going to happen. One of the things I don’t like about modern cinema is that everything has to be realized upon multiple platforms. This gives us comic books that really want to be films, it gives us films that really want to be lunchboxes. Everything is trying to be eight things at once, to the detriment of what it was meant to be.

~ Matteo Garrone On Where To Work

“It’s like an Italian friend said when I talked to him about Hollywood. ‘Why leave 30 friends to go and work with 200 enemies?’”
~ Matteo Garrone On Where To Work

Rachel Athina Tsangari

Tsangari: With my next film, White Knuckles, it comes with a budget — it’s going to be a huge new world for me. As always when I enter into a new thing, don’t you wonder how it’s going to be and how much of yourself you are going to have to sacrifice? The ballet of all of this. I’m already imaging the choreography — not of the camera, but the choreography of actually bringing it to life. It is as fascinating as the shooting itself. I find the producing as exciting as the directing. The one informs the other. There is this producer-director hat that I constantly wear. I’ve been thinking about these early auteurs, like Howard Hawks and John Ford and Preston Sturges—all of these guys basically were hired by the studio, and I doubt they had final cut, and somehow they had films that now we can say they had their signatures.  There are different ways of being creative within the parameters and limitations of production. The only thing you cannot negotiate is stupidity.
Filmmaker: And unfortunately, there is an abundance of that in the world.
Tsangari: This is the only big risk: stupidity. Everything else is completely worked out in the end.
~ Chevalier‘s Rachel Athina Tsangari

Joe Dante on H’wd Today

“The middle-range movies that I was doing have largely either stopped being made, or they’ve moved to television, now that television is a go-to medium for directors who can’t get work in theatricals, because there are so few theatricals being made. But also with the new miniseries concept, you can tell a long story in detail without having to cram it all into 90 minutes. You don’t have to cut the characters and take out the secondary people. You can actually put them all on a big canvas. And it is a big canvas, because people have bigger screens now, so there’s no aesthetic difference between the way you shoot a movie and the way you shoot a TV show.

“Which is all for the good. But what’s happened in the interim is that theatrical movies being a spectacle business are now either giant blockbuster movies that run three hours—even superhero movies run three hours, they used to run like 58 minutes!—and the others, which are dysfunctional family independent movies or the slob comedy or the kiddie movie, and those are all low-budget. So the middle ground of movies that were about things, they’re just gone. Or else they’re on HBO. Like the Bryan Cranston LBJ movie, which years ago would’ve been made for theaters.

“You’ve got people like Paul Schrader and Walter Hill who can’t get their movies theatrically distributed because there’s no market for it. So they end up going to VOD, and VOD is a model from which no one makes any money, because most of the time, as soon as they get on the site, they’re pirated. So the whole model of the system right now is completely broken. And whether or not anybody’s going to try to fix, or if it even can be fixed, I don’t know. But it’s certainly not the same business that I got into in the ’70s.”
~ Joe Dante

Nicolas Winding Refn On Lars Von Trier

“Lars. He’s done a lot of drugs. Over the hill. The last time I saw Lars, he was telling my wife he wants to have sex with her. I told him to fuck off. So he found another slut.”
~ Nicolas Winding Refn On Lars Von Trier

Kristen Stewart

“You know, if you’re actually an artist who wants to tell a story, it’s a compulsion; it’s not something that you do because you want to entertain people or you want to make a bunch of money. Most people want to entertain people and make a bunch of money. It’s not a bad thing, but if it also doesn’t hold hands with just genuine desire, if no one was looking, then yeah, that sucks.”
~ Kristen Stewart

~ Ang Lee to Deadline

“You know, I’m not a technical person at all. Like, I cannot hardly use email. My smartphone? I only call out. Zero interest in technology. The opposite of technology, that is me. So why did that happen to me? I’m doing the most advanced computer stuff, now we have to trick the computer to do things it has never done before. But I don’t know how to use a computer beyond basic things. I think it’s curiosity and this relationship I found with my technical crew. I think at heart, artists aren’t happy just doing technical, which is mostly pretty boring. The first thing I learned about the big computer years ago, when I did Hulk, was how dumb it is. I realized that the way a computer thinks is the dumbest way and so it was not that interesting to me. I would say that is probably often true for even technical people, who have to endure a lot of boredom.”
~ Ang Lee to Deadline

~ Nic Refn to Deadline

You can get very wooed by Hollywood. I love Hollywood, don’t get me wrong. I love it, I love it, I love it. But it’s important to really understand the Hollywood is like a really, really expensive prostitute. She’s going to promise you everything—you can fuck her in any possible way because she’s there for you. She wants your vision. And it’s very seductive: “Come in here, play with me, do whatever you want. ” and then when you start fucking her, it can potentially be like, “Hang on, I know I said it but I didn’t mean it. No you can’t do that, you can’t do that, you can’t do that.” And in the end, you’re like, “Well, where do I come?” And depending on your ability to perform, they’re going to determine how you’re going to come, and then that’s a very terrifying journey. So I thought, well, I’ll just stay with my wife, knowing that we’ll have very, very satisfying sex, and then I can go do the films I want to make. But I love working in Hollywood.
~ Nic Refn to Deadline

~ Thoughts From Mark D. White, Author Of “A Philosopher Reads Marvel Comics’ ‘Civil War’: Exploring the Moral Judgment of Captain America, Iron Man, and Spider-Man”

“‘Civil War’ was actually the story that brought me into the Marvel Universe. I loved that it had this amazing ideological content right on the surface. You had one character fighting for security and another for liberty, and they’re making arguments that have existed in political philosophy for hundreds of years, but all in the context of a wonderful, action-packed superhero story that covered over a hundred issues of comics across the Marvel Comics line over that year.”
~ Thoughts From Mark D. White, Author Of “A Philosopher Reads Marvel Comics’ ‘Civil War’: Exploring the Moral Judgment of Captain America, Iron Man, and Spider-Man”

Alan Moore, 2014

“To my mind, this embracing of what were unambiguously children’s characters at their mid-20th century inception seems to indicate a retreat from the admittedly overwhelming complexities of modern existence. It looks to me very much like a significant section of the public, having given up on attempting to understand the reality they are actually living in, have instead reasoned that they might at least be able to comprehend the sprawling, meaningless, but at-least-still-finite ‘universes’ presented by DC or Marvel Comics. I would also observe that it is, potentially, culturally catastrophic to have the ephemera of a previous century squatting possessively on the cultural stage and refusing to allow this surely unprecedented era to develop a culture of its own, relevant and sufficient to its times.”
~ Alan Moore, 2014

Stuart Klawans Measures Weiner

“The outstanding political film of the 2016 presidential season is about the 2013 New York City mayoral race. Like many of the best documentaries, it brings you so close to people in their unguarded moments that you marvel at the trust, or complicity, that grew between the filmmakers and their subjects. Unlike most, it shows some of these people wondering how the film has even come to exist—an inescapable question, given that the intrusion into its chosen candidate’s life is extreme, and the candidate’s urge to self-broadcast has led to his extremity. “Shit. This is the worst: doing a documentary on my scandal,” mutters An­thony Weiner—seven-time US congressman, two-time New York mayoral candidate, and twice-exposed enthusiast of cell-phone flirtation—­as seen at the beginning of Weiner. At the conclusion, after this second mayoral bid has ended in humiliation, an off-camera Josh Kriegman (who codirected with Elyse Steinberg) rounds out the theme by asking the obvious: “Why have you let me film this?”
~ Stuart Klawans Measures Weiner

~ A. O. Scott’s Captain America Review Exemplifies What Variety Once Described As “Torpid Mitting”

“This very crowded, reasonably enjoyable installment in the Avengers cycle reveals, even more than its predecessors, an essential truth about the Marvel Cinematic Universe. It’s not so much a grand science-fiction saga, or even a series of action-adventure movies, as a very expensive, perpetually renewed workplace sitcom. New characters are added as the seasons wear on. Cast members are replaced. The thing gets a little baroque and tests the boundaries of coherence, but we keep showing up because it can be pleasant, in a no-pressure, low-key kind of way, to hang out with these people as they banter and squabble and get the job done. Sometimes you want to go where everybody knows both your street name and your nom de cape. (And yes, thank you, I’m perfectly aware that these Marvel superheroes don’t wear capes.)”
~ A. O. Scott’s Captain America Review Exemplifies What Variety Once Described As “Torpid Mitting”

Woody Allen

“I never, ever, ever read anything about myself. Not my interviews, not stories about me. I never, ever read any criticism of my films. I scrupulously have avoided any self-preoccupation. When I first started, that was not the case. I just pay attention to the work and don’t read about how great I am or what a fool I am. The enjoyment has got to come from doing the project. It’s fun to get up in the morning and have your script in front of you and to meet with your scenic designer and your cinematographer, to get out on the set and work with these charming men and beautiful women and put in this Cole Porter music and great costumes. When that’s over, and you’ve made your best movie, move on. I never look at the movie again — I never read anything about it again.”
~ Woody Allen

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The next thing that really changed my world and thoroughly influenced my writing were the films of Robert Bresson. When I discovered them in the late seventies, I felt I had found the final ingredient I needed to write the fiction I wanted to write.


What was the final ingredient?


Recognizing that the films were entirely about emotion and, to me, ­ profoundly moving while, at the same time, stylistically inexpressive and monotonic. On the surface, they were nothing but style, and the style was extremely rigorous to boot, but they seemed almost transparent and purely content driven. Bresson’s use of untrained nonactors influenced my concentration on characters who are amateurs or noncharacters or characters who are ill equipped to handle the job of manning a story line or holding the reader’s attention in a conventional way. Altogether, I think Bresson’s films had the greatest influence on my work of any art I’ve ever encountered. In fact, the first fiction of mine that was ever published was a chapbook called “Antoine Monnier,” which was a god-awful, incompetent attempt to rewrite Bresson’s film Le diable ­probablement as a pornographic novella. So I came to writing novels through a channel that included experimental fiction, poetry, and nonliterary influences pretty much exclusively. I never read normal novels with any real interest or close attention.
~ Dennis Cooper Discovers Bresson

The whole world within reach.
~ Filmmaker Peter Hutton

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