MCN Originals Archive for January, 2016

The DVD Wrapup: Sicario, Sleeping With Other People, Maneater, Cruel, Broad City and more

Stripped to its narrative framework, Sicario is a powerfully rendered procedural that, while chronicling a strike against a cartel kingpin, forces viewers to endorse or decry the extralegal tactics used in the elimination of so-called narco-terrorists. In the same way that Osama Bin Laden was denied the luxury of a trial by a Navy SEAL hit squad, the target of the CIA-led commando unit in Sicario isn’t likely to require the services of a lawyer, either. Do we care? No more than we sweated the details of the raid on Bin Laden’s compound in Pakistan. Villeneuve reserves those questions for Blunt’s ethically grounded FBI agent.

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Gurus o’ Gold: Down To The Nomination Wire…

For a very confused season, things seem to be coming into focus, at least for the Gurus. Opinions are firming up on 8 Best Picture candidates. The Big Short is the big mover, rising to contention in a number of categories and even the top slot for Adapted Screenplay. Carol has suffered from a lack of guild nominations. And only one category seems wide open, even for the 5-slot… Supporting Actress. But will it all change again?

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The Weekend Report

Domestic box office for 2015 set a new record of $11.2 billion, a 7.3% revenue bump from 2014. Star Wars: The Force Awakens remained the top title in the universe with an estimated $88.8 million. There were no new national releases but The Hateful Eight expanded and shot up third with $16 million.

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Friday Box Office Estimates

Star Wars: The Force Awakens continues to dominate the known universe, likely to announce a Sunday estimate topping Avatar‘s record domestic gross. The film will pass $700 million today, 16 days into its run, while Avatar hit the mark on its 72nd day of release.But Avatar maintains a $1.3 billion lead in international theatrical.

Daddy’s Home will pass the $90m mark that Get Hard achieved this last spring, marking Will Ferrell’s third $90m+ domestic hit in the last two years. The Hateful 8 expanded earlier than expected, delivering a solid $7,500 or so per-screen for the weekend, but significantly behind the opening of Django Unchained in 2012.

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2015: The Studios

Disney is, simply, in a different business than anyone else. There are good parts. There are bad parts. But for now, they are the only one in the business they are in… and here is why…

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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