MCN Originals Archive for February, 2015

The Coming & Going Of A Studio Chief

Amy Pascal was not only a studio chief. She was the longest surviving studio chief in Hollywood by many years (in Hollywood time, of course). Almost 19 years in the job. The new longest-running show in Hollywood is Jim Gianopulos, who has been in place since 2000, although he only became a solo act in 2012 and just hired Stacey Snider to take a pretty firm handle on production as he thinks more expansively.

The second longest running show in town might shock you…

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The Gronvall Report: Gabe Polsky On RED ARMY

The thrillingly kinetic new documentary Red Army shows there’s another, deeper dimension to the sport that sets it apart from American football: not all that long ago, hockey was emblematic of the Cold War struggle between the USA and the USSR. The movie tells the little known behind-the-scenes story of the Soviet Union’s state-sponsored world-champion hockey team, a nearly unbeatable marvel of speed, agility, and unity.

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Gurus o’ Gold: Final Voting Starts This Week (1 of 2)

The Gurus go the whole 22 (excluding shorts) as The Academy voting is about to begin. There is a lot of movement, though the projected winner has only changed in 2 categories since Nomination Day.

Part 2 is here

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Sundance 2015 Review: The Forbidden Room

Known for making trippy, weird stories that are both deeply personal explorations of philosophical ideas, Maddin works in layers of abstract visual poetry. Recline in your seat, breathe in, breathe out, and allow the imagery to flow into you as you try to take it all in; you’re peering directly into Maddin’s brain through the lens of his camera, and given the recurrence of the idea of “brain” throughout his work, that’s about as meta as you can get.

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The Weekend Report

Go Patriots … regardless of your opinion of American Sniper, Clint Eastwood’s late-career phenom once again led session viewing with an estimated $31.5 million box office. The frame saw three new national releases that did not compete with Super Bowl Sunday. “Found footage” time-travel yarn Project Almanac arrived with $8.4 million while the tale of custody and race Black or White grossed $6.4 million. The Loft, a second remake of a 2008 Belgian film by its original director, struggled to $2.8 million.

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Eight Sundance Standouts

At a festival that prides in programming new faces – and with so many movies demanding to be discovered – it’s hard to know what will rise to the Sundance surface. Well, sort of: with the festival awards behind us, we do know the big US Dramatic winner Me and Earl and the Dying Girl, a ticket too hot for me to find a seat for, will find lots of success in the coming months.

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MCN Originals

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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