MCN Curated Headlines Archive for December, 2012
“‘Oh, yeah, thanks by the way for all the people flashing their —s at me all the time,’ And he was, like: ‘What? Do people do that?’ Yes people —-ing do that. That’s all they do. I get flashed all the time. It’s mostly men.”
Nibbling With Judy Greer
It “followed a bunch of black troops, and they had been —-ed over by the American military and kind of go ape—. [The] black troops go on an Apache warpath and kill a bunch of white soldiers and white officers on a military base and are just making a warpath to Switzerland.”
Tarantino Talks About Shooting Unwritten Parts Of Inglourious Basterds
“The Amazing Availability Of It!”
Alain De Botton On Internet Porn And What It Does To Men; Calls For “Repression”
“John Ford was one of the Klansmen in The Birth of a Nation, John Ford put on a Klan uniform for D.W. Griffith. One of my American Western heroes is not John Ford, obviously. To say the least, I hate him. Forget about faceless Indians he killed like zombies. It really is people like that that kept alive this idea of Anglo-Saxon humanity compared to everybody else’s humanity.”
Why Quentin Tarantino Professes To Hate John Ford
“I’m a little worse for wear. It was amazing. Again, the consistency of this extraordinary audience response happened again. They clapped fifteen to sixteen times during the film. And at the end the people are just destroyed by it. You turn around and see these faces are completely ravaged by tears and people are saying they can’t speak, ‘just let me sit here for a few minutes quiet for a bit.’ It’s pretty overwhelming. To get the Australian male to cry is a big deal.”
Tom Hooper Reports On Another Les Mis Audience With Customary Reserve, Humility
“Hushpuppy is, in other words, a lot like Elliott in E.T., Jim Graham in Empire of the Sun, David in A.I. and the archetypal Peter Pan evoked not only in Hook but also in Close Encounters of the Third Kind, Catch Me if You Can and (why not?) Tintin.”
Scott Shall Make No Distinction Between Lincoln And Beasts Of The Southern Wild
Miguel Gomes On Cinema And Tabu
And – “Tabu proves definitively that cinema is still very much alive. In the right hands, original cinematic art can still be created without having to resort to mashups or impersonal nostalgia. For that reason, it’s not only my favorite film of 2012; it’s my favorite of the 21st century so far.”
“Anderson recalls the time Kubrick extended a lunch invitation only to rescind it once Anderson made it clear he was not interested in sharing technical secrets.”
Indie Focus Is Go! Mark Olsen‘s 2002 Interview With The Late Gerry Anderson
“So much of filmmaking today is avoidance basically. It’s distraction, avoidance, irresponsible fantasy. Les Misérables is somehow not that. It manages to go to the tough places. It’s escapism with a moral compass, and I’m not quite sure people are aware how difficult it was to actually get the film to do what it does. Eddie Redmayne said, ‘ Why aren’t you using that close-up that you’re using in the teaser?’ He was talking about the way you see all the muscles in Anne’s neck work as she sings and the raw power of that, and I thought, God, that’s interesting.”
Tom Hooper Admires Tom Hooper
