Movie City News Archive for December, 2018

Taffy Brodesser-Akner On Margot Kidder

Taffy Brodesser-Akner On Margot Kidder

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Filmmaker’s Top 20 Posts Of 2018

Filmmaker’s Top 20 Posts Of 2018

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Jen Yamato On The Visual Panache of Into The Spider-Verse

Jen Yamato On The Visual Panache of Into The Spider-Verse

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Israeli Author Amos Oz Was 79

Israeli Author Amos Oz Was 79

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Voice Filmers Fired

Thanks, April. Yes, it’s true: The Voice Media weeklies are done with film/tv effective 12/31. Thanks to everyone who ever read us or worked with us! https://t.co/O8WCcAeOWd — Alan Scherstuhl (@studiesincrap) December 28, 2018

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Kendra James On Eight Seasons Of “Bewitched” Fashion

Kendra James On Eight Seasons Of “Bewitched” Fashion

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Sandro Has Again Been Malkoviching

Sandro Has Again Been Out Malkoviching

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“Die Hard isn’t just a Christmas movie — it’s the best ever, according to Twentieth-Century Fox”

“Die Hard isn’t just a Christmas movie — it’s the best ever, according to Twentieth-Century Fox” “Christmas movies are fucked up. Case in point: Last year, about this time, Die Hard played on several screens in several rooms at a house party thrown by a thirtyish couple I know. As the seasonal call of ‘Yippee…

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Ben Schwartz on “Bad Day at Black Rock: When the Gorillas Take Over”

Ben Schwartz on “Bad Day at Black Rock: When the Gorillas Take Over”

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Record $15 Million in China Presales for Long Day’s Journey Into Night

Record $15 Million in China Presales for Long Day’s Journey Into Night

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“Why Pacific Rim: Uprising Is the Most Important Film of 2018: It Revealed We Are Now in the Chinese Moment of Capitalism,” Writes Charles Mudede

“Why Pacific Rim: Uprising Is the Most Important Film of 2018: It Revealed We Are Now in the Chinese Moment of Capitalism,” Writes Charles Mudede

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Art of the Title’s Top 10 Title Sequences of 2018

Art of the Title’s Top 10 Title Sequences of 2018

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The Original “Flash Mob” Ending Of A Simple Favor

The Original “Flash Mob” Ending Of A Simple Favor

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“When we decided to strip out motion blur, the people at Imageworks said, ‘That’s not going to work, you won’t be happy.’ We said, ‘No, that’s the goal: Make us unhappy. Then figure out a new way to make us happy.’ We’re creating incredible images in this movie and we want to see them as clearly as possible, so let’s not soften them.”

“When we decided to strip out motion blur, the people at Imageworks said, ‘That’s not going to work, you won’t be happy.’ We said, ‘No, that’s the goal: Make us unhappy. Then figure out a new way to make us happy.’ We’re creating incredible images in this movie and we want to see them as…

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Rachel Weisz

“It can just get really boring watching heterosexual people, whether you’re gay or not,” Weisz says. “It’s boring, particularly when the woman is the object of desire rather than the agent of desire. That’s what we’ve been spoon-fed — that the woman is the object of the male subjectivity, of his desire and passion. Oh,…

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Kyle Turner

“To create narratives that do not acknowledge the inescapable fact that difference is what makes queer people and the artifacts, art and traditions they have what they are, is to either buy into a paradigm of straightness and a normativity in art and society that already has existed, or to force artists to create an…

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“Facebook. Sigh. Criticize Facebook? Sure. Leave? Why?” by Jeff Jarvis

“Facebook. Sigh. Criticize Facebook? Sure. Leave? Why?” by Jeff Jarvis 

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“Very important for me was to have a black family at the center of a horror film,” Peele said. “But it’s also important to note, unlike Get Out, Us is not about race. It is instead about something that I feel has become an undeniable truth. And that is the simple fact that we are our own worst enemies.”

“Very important for me was to have a black family at the center of a horror film,” Peele said. “But it’s also important to note, unlike Get Out, Us is not about race. It is instead about something that I feel has become an undeniable truth. And that is the simple fact that we are…

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Screenwriter Christina Hodson on The Road From Bumblebee To Harley Quinn

Screenwriter Christina Hodson on The Road From Bumblebee To Harley Quinn

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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?

Quote Unquotesee all »

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