Movie City News Archive for December, 2014

Art Of The Title Illustrates 10 Best Credit Sequences Of 2014

Art Of The Title Illustrates 10 Best Credit Sequences Of 2014

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London Kino Death Knell: Gov’t To Demolish Curzon Soho Arthouse For Railway Ticket Booth

London Kino Death Knell Gov’t To Demolish Flagship Curzon Soho Arthouse For Railway Ticket Booth But Will First Be A Construction Depot For A Decade

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Why There’s No Familiar MLK Oratory Is In Selma: The Speeches Are Tightly Held Under Copyright And Licensed To DreamWorks

“We never even asked, because we knew those rights are already gone, they’re with Spielberg.” Why There’s No Familiar MLK Oratory Is In Selma: The Speeches Are Tightly Held Under Copyright And Licensed To DreamWorks

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FBI Briefed On Alternative Analysis That Says A Fired Employee, Not North Korea, Fashioned Sony Hack

FBI Briefed On Alternative Analysis That Says A Fired Employee, Not North Korea, Fashioned Sony Hack

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“Bottom line is folks should interrogate history. Don’t take my word for it or LBJ rep’s word for it. Let it come alive for yourself. #Selma.”

“Bottom line is folks should interrogate history. Don’t take my word for it or LBJ rep’s word for it. Let it come alive for yourself. #Selma.”

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Oscar Double-Winner Luise Rainer Was 104

Oscar Double-Winner Luise Rainer Was 104 And – More From EW

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A Peek At How Selma Portrays Lyndon Johnson

A Peek At How Selma Portrays Lyndon Johnson 1’00”

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20 Weeks To Oscar: History Is Written By…

I don’t care whether Selma is a work of precise historical accuracy. I do care how it makes me and other audiences feel, how it makes us think, what it has to say. This is just as true of The Interview and American Sniper and Foxcatcher and The Imitation Game and The Theory of Everything and Unbroken and Big Eyes and The Penguins of Madagascar.

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“o less than an inside-Hollywood drama or a backstage musical, “Selma” tears away the curtain on the making of images—indeed, some of the most important images in American history. The movie tells the story of how these images were made, and shows the colossal sacrifices endured in the effort to make them. It’s a movie about history and the creation of history—and, in the process, it takes its own place in history.”

“No less than an inside-Hollywood drama or a backstage musical, Selma tears away the curtain on the making of images—indeed, some of the most important images in American history. The movie tells the story of how these images were made, and shows the colossal sacrifices endured in the effort to make them. It’s a movie…

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Elissa Bassist & Cheryl Strayed On “How to Write Like a Mother#^@%*&”

Elissa Bassist & Cheryl Strayed On “How to Write Like a Mother#^@%*&”

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Mark Pellington Releases A Fine New Short, Honest

Mark Pellington Releases A Fine New Short, Honesty 8’59”

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Adrian Curry On The 1970s And 1980s Movie Poster Designs Of Robert Tanenbaum, Including A Christmas Story, My Bodyguard, A Boy And His Dog

Adrian Curry On The 1970s And 1980s Movie Poster Designs Of Robert Tanenbaum, Including A Christmas Story, My Bodyguard, A Boy And His Dog

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Director Rupert Wyatt On His Move From Apes To The Gambler To “Echo Chamber”

“A successful franchise gives you enormous value. But it gives you enormous value only to do the same thing.” Director Rupert Wyatt On His Move From Apes To The Gambler To “Echo Chamber”

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Kermode On Anderson

“Somehow it ends up being so deep, meaningful and soulful. I don’t know how he does it. There’s not many people that can do that–have that many jokes and that much humanity. Usually one or the other wins out. But Pynchon’s got it all.” Kermode On Anderson

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Pittsburgh Post-Gazette Revels In Rash Of 2014 Film Productions That Rolled In The ‘Burgh

Pittsburgh Post-Gazette Revels In Rash Of 2014 Film Productions That Rolled In The ‘Burgh

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Adrian Shaughnessy On The Art Of Print Posters For Movies

Adrian Shaughnessy On The Art Of Print Posters For Movies

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Lee Daniels On How Working In TV Is Different From Film (Without Abandoning Film)

Lee Daniels On How Working In TV Is Different From Film (Without Abandoning Film)

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Glenn Kenny Sez Cinema 2014, Despite A Spirited Attack, Failed To Strangle Daddy Patriarchy

Glenn Kenny Sez Cinema 2014, Despite A Spirited Attack, Failed To Strangle Daddy Patriarchy

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David Carr Media-Equates 2015 Trouble For Movie Studios, Chains, Viacom CEO, Time Inc.,MSNBC, NBC News And The CEO Of The New York Times Co.

David Carr Media-Equates 2015 Trouble For Movie Studios, Chains, Viacom CEO, Time Inc., MSNBC, NBC News And The CEO Of The New York Times Co.

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Movie City News

“I don’t think it’s cruel to say this, because John himself would undoubtedly have turned it into a gleeful anecdote: When he had the stroke that killed him, he was at a local dinner theater. Hell of a review.”

“I am inclined to aver that every activity needs its critics, from narcissists bloviating in Washington to exhibitors of knee holes in their blue jeans by way of following a fad. So, too, tennis players and others wearing their caps backward. There is, to be sure, only fairly innocuous folly in puncturing pants or reversing caps, but for political or artistic or religious twisting of thought or harboring holes in the head there is rather less excuse. I have always inveighed against the bleary journalism practiced by newspaper reviewers, as opposed to the real criticism performed by, well, critics.”

“I often felt a twinge of grief at the idea that John Simon had devoted his life to a method of work that could only make him increasingly unhappy. Here was a man, elegant, articulate, and vastly knowledgeable, fluent in at least half a dozen languages, whose gifts of mind gave nothing back to the arts he wrote about except a few unkind remarks that made fun of someone’s performance, ethnicity, physical attributes, or, with a pun, on his target’s name. (“If this is Norman Wisdom, I’ll take Saxon folly.”) Other theatre critics keep such darts in their rucksacks for occasional use; John lived by them.”

“One person’s critic is another person’s crackpot. That they are not united in their opinions is ascribable to the Latin saying: quot homines, tot sententiae. I myself prefer being considered a creep, but that is what you get for having what Vladimir Nabokov called ‘Strong Opinions.’ It is odd that in a country so wallowing in negativity, starting with mass shootings and climaxing with Trump, such an unimportant matter as theater criticism should generate so much hostility. The only target patently more important is lead in the drinking water.”

Review: Little Women (no spoilers)

The DVD Wrapup: Cold War, Betty Blue, Official Secrets, Demons, Olivia, American Dreamer, Land of Yik Yak

20 Weeks To Oscar: Cinema, Trump, and Oscar

E. Scott Weinberg On Youthful Fangoria Encounters

Rome Bookstore Closes

With a Grauniad-Alleged $300 Million Budget, Could The Yet-Unseen But Surely Weird Cats Pass A Billion Dollars at The Box Office?

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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