The News

Winslet VF Interview

Kate Winslet: “We’re just so lucky and don’t have anything to fucking complain about ever, frankly. We’re just trying to make the best of an extraordinary fucking global disaster. It’s just horrendous, isn’t it? The question of how Hollywood will change is probably not something that any of us could fully answer this far out. But it is clearly changing. Just experiencing the little bit of press that I have been doing to support Ammonite. I love not getting into those fucking dresses and those fucking shoes. All the money. It’s always really pained me, the money that gets wasted on colossal, great big junkets: flying journalists, actors, glam squads all over the world. Why the hell is any of that important? I always find it so strange talking about process and not sounding like a complete fucking asshole because who wants to hear about an actor’s process—especially at a time like now? I feel so fortunate to have been in a position for a good many years where I could hold my own, keep my head down, and try and produce decent work… but it’s easy to lose one’s voice along the way and to lose sight of the responsibility that comes with that. And I don’t want to fuck that up. I know that I can always do better… Life is fucking short and I’d like to do my best when it comes to setting a decent example to younger women. We’re handing them a pretty fucked-up world, so I’d like to do my bit in having some proper integrity.”

No Responses to “Winslet VF Interview”

Comments are closed.

MCN Commentary & Analysis See All

THB #93: The Batman (no spoilers)

David Poland | March 6, 2022

THB #76: 9 Weeks To Oscar

David Poland | January 26, 2022

THB #73: Netflix Is Chilled

David Poland | January 24, 2022

The News Curated by Ray Pride See All

-30-

May 1, 2022

The New York Times

"Netflix, the great disrupter whose algorithms and direct-to-consumer platform have forced powerful media incumbents to rethink their economic models, now seems to need a big strategy change itself. It got me thinking about the simple idea that my film and TV production company Blumhouse is built on: If you give artists a lot of creative freedom and a little money upfront but a big stake in the movie’s or TV show’s commercial success, more often than not the result will be both commercial (the filmmakers are incentivized to make films that will resonate with audiences) and artistically interesting (creative freedom!). This approach has yielded movies as varied as Get Out (made for $4.5 million, with worldwide box office receipts of more than $250 million), Whiplash (made for $3.3 million, winner of three Academy Awards), The Invisible Man (made for $7 million, earned more than $140 million) and Paranormal Activity (made for $15,000, grossed more than $190 million).From the beginning, the most important strategy I used to persuade artists to work with me was to make radically transparent deals: We usually paid the artists (“participants” in Hollywood lingo) the absolute minimum allowable by union contracts upfront, with the promise of healthy bonuses based on actual box office results—instead of the opaque 'percentage points' that artists are usually offered. Anyone can see box office results immediately, so creators don’t quarrel with the payouts. In fact, when it comes time for an artist to collect a bonus based on box office receipts, I email a video clip of myself dropping the check off at FedEx to the recipient."
Jason Blum Sees Room For "Scrappier" Netflix

The New York Times | April 30, 2022

"As a critic Gavin was entertaining, wry, questioning, sensitive, perceptive"
Critic-Filmmaker Gavin Millar Was 84; Films Include Cream In My Coffee, Dreamchild

April 29, 2022

The New York Times

Disney Executive Geoff Morrell Out After Less Than Four Months

The New York Times | April 29, 2022

The Video Section See All

Mike Mills, C’mon C’mon

David Poland | January 24, 2022

The Podcast Section See All