MCN Curated Headlines Archive for July, 2017
“For a very long time, the criteria for excellence in the arts have been owned by a particular body of experts who generally have a condescending view of the quality of art developed in community-based and social change programs and projects. These credentialed ‘experts’ hold to a definition of quality largely based in an ‘art for art’s sake’ paradigm. However, this definition loses the connection with the vast majority of people who live in the country.”
Eric Booth Sees “A Democratizing Moment, When The Hegemony Of The Established Industry Controllers Is Expanded To Provide Additional Valid Criteria To Judge Excellence”
Kakutani Takes Buyout From NYT Book Reviewing Berth After Nearly 40 Years At Paper
Plus – What Is Her Favorite Word?
And – Parul Sehgal Of The Book Review Joins Roster
“Getting a movie made is a fascinating, complicated process. You could write a movie about it.”
Taylor Sheridan On Making His Own Screenwriting Rules
“Brands started to question the ROI of sponsorship. The question was how to solve for that. We had to productize more effectively. A live event offers access, experience and content. We have access to the world’s best storytellers and create incredible experiences brands can be part of, and then we make content for brands and we have a place to showcase that.”
Tribeca Enterprises CEO Talks About More Active Brand Presence
“I didn’t do enough hand-holding and flattering and reassuring to the financiers. I only cared about the acting and that didn’t translate to caring about the film or all that money.”
Val Kilmer Regrets Having Attitude
“Roadside editing, you know, this is anywhere, anytime basically. This was for a climactic chase sequence, and you could literally wheel it out of the main truck and be ready for Edgar in minutes. Edgar said, ‘We’re filming on the road, I’d like you to be with me editing as we’re filming.’ This was editing quite literally on the fly. Edgar sitting next to me yelling ‘Cut,’ I could immediately grab the shot from video assist, and we’d put this little sequence together exactly in this manner.”
How Baby Driver Was Cut Day-By-Day During Location Production
“We intend to shorten the length of play that we allot many films, which helps keep the content on screen fresh.”
IMAX To Screen Fewer 3D Versions Of Tentpoles
“I actually lived in a room in Ben’s house at 33rd and Third back in 1977, for about two months because the lab would not print Eraserhead dark enough. It was just a nightmare. We finally got a great print and were about to open, and Ben told me, ‘I’m not going to spend any money, I’m not going to do much promotion, but after two months there will be lines around the block.’ And it turned out to be true.”
John Anderson On Ben Barenholz, Storied Movie Visionary, Elemental In Careers Of Sayles, Lynch And The Coens, Inventor Of The Midnight Movie Phenom, Making Fiction Directorial Debut At The Age Of 82
“In a reflection of the volatility of the film business and the precariousness of deal making with Chinese companies, Legendary is facing uncomfortable questions about its future.”
Brooks Barnes On The Shifting Fates Of Legendary
“We have the solutions now. Solar electricity, wind electricity, batteries in electric vehicles and soon electricity from renewable sources are going to be cheaper all over the world than fossil fuels. So we’re going to win this,” Says Al Gore
“Denis had a keen eye for the subtle glories of infirmity that many of us could only see only after he pointed them out.”
Remembering Denis Johnson
“I became very aware of women in certain circumstances not being allowed to play by the same rules guys get to play by. I was actively looking for a protagonist that could break those rules.”
Charlize Theron Talks Work Ethic After Fury Road And Atomic Blonde
“We have begun the process of how to monetize the residual Gawker brand.”
Gawker.com May Be Up For Sale But Cannot Publish New Material Until March 2018
“This is not a kumbaya piece of theater. I’m not looking for everyone to hold hands. I want people to leave with a sense that they’ve been moved in a profound way.”
Ever-Modest Michael Moore Takes His Interior Monologue To B’way At Prices Up To $150
“We were gravitating toward what we thought of, in a way, as ecstatic music, which included Swans and Terry Riley. We came back a little bit less interested in song structure. We still like that, but we’re more interested in something toward that ecstatic music.”
Jim Jarmusch On Punk Rock, Wu-Tang And Making Music For His Movies
“Part of the reason to go looking for Trent is his dissatisfaction,” Fincher says. “It’s a riptide, what Trent does. There can be incredibly beautiful melodies, but there’s always this tendency for what’s underneath it to be haunting. You have this beautiful melody sitting on top of this thing that is making you somehow dissatisfied with the beauty of it, and that’s a really interesting conundrum. It’s like those two things are nesting together. And that feels like the human condition to me. I find it soothing. It’s connected to a kind of longing that I relate to.”
Trent Reznor Soundtracks The Apocalypse
“It does feel lonely. We’re excited to offer something different to the audience but, as always, very nervous about its reception. But I feel like I wouldn’t be doing my job right as a filmmaker if I didn’t feel pretty damn concerned about what I’d done. I’m in a position to take risks — and I feel a responsibility to take risks. There are a lot of filmmakers out there who might have the idea and the skills and the ambition, but they might not be in a position to be able to do it. I feel that I have a responsibility to put something out there that I care about and believe in.”
Christopher Nolan Acknowledges The Height Of His Privilege
“You’re always fighting against the sponsors, because they always want more and more. There are things which are absolutely taboo. For example, in the auditorium they will never get something on the screen. The sponsors are like a virus, the money is a virus, it gets everywhere, and you have to be careful. I always say that I sleep with a gun under my pillow, because you have to be aware of this all the time. On the one hand I’m a very diplomatic guy, but on the other hand I can be very Stalinist. I learnt this from Jean-Marie Straub. I worked for him for ten years or so, and that was a good school. I learnt not to become sentimental.”
A Rumbustious Rollercoaster Of An Interview With Hans Hurch, The Late Curator Of The Viennale
“As the moviegoing audience fragments, Cinker appeals not only to the steady niche audience for classics, but also to a wide spectrum of people who have fallen in love with foreign actors who have starred in popular TV series.”
Beijing Gets A Luxe High-End Arthouse
