Movie City News Archive for October, 2019

When You’re A Star

“When you are a star they let you do it!” A brilliant and brutal piece by @amandacarpenter @Timehttps://t.co/gqRabCYmUp — E. Jean Carroll (@ejeancarroll) October 30, 2019

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Tosches

“Life is a racket,” he added. “Writing is a racket. Sincerity is a racket. Everything’s a racket.” https://t.co/nhU4GbfEnk — New York Times Music (@nytimesmusic) October 29, 2019

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Lou Reed Mixtape for Drella

This is so exciting and cool: a recently discovered mixtape that Lou Reed made for Andy Warhol, in which Reed sings songs based on “The Philosophy of Andy Warhol (From A to B and Back Again).” https://t.co/6RPAaShJhi — Sarah Larson (@asarahlarson) October 30, 2019

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Strategy Session: Getting Out Of The Way

Playing from ahead can be even more difficult than playing from behind, especially if your goal is a win and not just a participation trophy.

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Garrahan Star Wars

Thanks, but we’re not interested in making new Star Wars movies…we’ve got our Netflix deal instead https://t.co/WkcakxwHRn — Matthew Garrahan (@MattGarrahan) October 29, 2019

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“Journalists and writers are prone to gauzy mythologizing, and a great publication — Gawker, The Awl, Splinter, The Village Voice, Pacific Standard, Topic, Mad, Racked, VICE media properties, not to mention all the glossy magazines that have abandoned print, publications that laid off their editorial staff as part of some desperate pivot, and the local papers that have shuttered completely — never seems more righteous or essential than in the immediate wake of its death. Sentimental hyperbole easily goes viral, and feels truest when everyone is still drunk on the memories, and indignant about what’s being lost. So I’m going to attempt avoiding gauzy mythologizing and sentimental hyperbole when I say that the sports blog Deadspin, which is not yet dead but hearing its own death rattle under its newest owners’ moronic leadership, has been the world’s best daily website at least since I started reading it about a decade ago. No other publication has turned such a consistently critical, interrogative, moral, and necessarily cynical eye toward an industry rotted through with bullshit, while also maintaining the levity and humor sometimes required to think seriously about what many people see as children’s games…”

“Journalists and writers are prone to gauzy mythologizing, and a great publication — Gawker, The Awl, Splinter, The Village Voice, Pacific Standard, Topic, Mad, Racked, VICE media properties, not to mention all the glossy magazines that have abandoned print, publications that laid off their editorial staff as part of some desperate pivot, and the local…

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Meyer Ackerman

One of New York’s great art house titans, he was known for uncannily picking films that could play long runs. Held “La Cage au Folles” at the 68th St. Playhouse until its sequel was ready. Meyer Ackerman, 96, Whose Theaters Were Loved by Cinephiles, Dies https://t.co/4zL6nwJrgG — Janet Maslin (@JanetMaslin) October 29, 2019

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Locationing 1970s Los Angeles For Dolemite Is My Name

Locationing 1970s Los Angeles For Dolemite Is My Name

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Edgar Wright on Film LIbraries

I’ll say it again. A whole film studio’s archive shouldn’t be locked up in a vault. These films need to be available to see on the big screen. https://t.co/iJaQuB9Nmv — edgarwright (@edgarwright) October 29, 2019

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Blog RIP

RIP blogging we all tried real hard to make the internet good and then corporations and rich idiots destroyed everything a generation of writers tried to build — Molly Lambert 🦔 (@mollylambert) October 29, 2019

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Deadspin 3

To all the aspiring media investors who have been playing footsie with the idea of starting something new—the editorial talent for what would be one of America’s best publications is just sitting on the curb right now. — Hamilton Nolan (@hamiltonnolan) October 29, 2019

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Deadspin 2

On the revolt going on inside Deadspin: A senior editor fired, a stern warning from the union, and it could be the tip of the iceberg. https://t.co/Cbf2MoMJZq — ((( Jacob Bogage ))) (@jacobbogage) October 29, 2019

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Deadspin

Hi! I’ve just been fired from Deadspin for not sticking to sports. — Barry Petchesky (@barry) October 29, 2019

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Netflix Speeds

Netflix has issued a blog post on its controversial plan to let viewers watch movies at faster speeds. It's not just faster speeds, it's a bunch of new ways to change your viewing experience on mobile (including slower speeds). CC @tnyfrontrow https://t.co/HHJA34CFBi — Lucas Shaw (@Lucas_Shaw) October 29, 2019

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Who Owns, Buyer Or Seller

Film makers went berserk awhile back when a company bought videotaped films, edited out the sex/profanity, and sold the videos to people who didn't want that stuff. Same issue: Who controls it? Seller or buyer? https://t.co/k37UiO8wyo — Dan Gillmor (@dangillmor) October 29, 2019

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Russell Means

Russell Means dies at 72; American Indian activist helped lead Wounded Knee uprising https://t.co/aE3V4zf5RL — AprilYvette Thompson (@AprilYThompson) October 29, 2019

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Chicago International Announces Audience Awards

JUST MERCY, AND THEN WE DANCED, AND READY FOR WAR TAKE TOP AUDIENCE AWARDS AT 55th CHICAGO INTERNATIONAL FILM FESTIVAL Audience-Voted Awards Reflect Diversity and Excellence in Filmmaking CHICAGO – The Chicago International Film Festival announced the winners of the Festival Audience Awards. Voted by Festival-goers, the Audience Award for Best Feature goes to Just Mercy by director Destin Daniel Cretton. The Festival’s Gold Q-Hugo Award…

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Boyd Estimates

I prefer to have been too conservative in my estimate rather than the other way around. That really *is* tragic. — Boyd van Hoeij (@filmboyd) October 29, 2019

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Unlikely Headlines On The March

‘Stargate’ at 25: How Roland Emmerich’s Sci-Fi Classic Overcame a Chaotic Birth https://t.co/p3FBEBcCvK pic.twitter.com/ha0HrUullJ — Variety_Film (@Variety_Film) October 29, 2019 Unlikely Headlines On The March

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Eisner Kundun

Fun fact: Disney's then-CEO Michael Eisner apologized to China because this astonishing film didn't kindly depict Mao's death squads. https://t.co/OEQy8LT5Of — Nick Newman (@Nick_Newman) October 29, 2019

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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