HEDGE FUND GUY

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“I’ve been reading a lot about Daniel Loeb, a hedge fund guy who describes himself as an activist but who knows nothing about our business, and he is looking to take scalps at Sony because two movies in a row underperformed?  How any hedge fund guy can call for responsibility is beyond me, because if you look at those guys, there is no conscience at work. It is a business that is only about creating wealth, where when they fail, they get bailed out and where nobody gets fired. A guy from a hedge fund entity is the single least qualified person to be making these kinds of judgments, and he is dangerous to our industry.” – George Clooney, on Sony, Hedge Funds and Studio Finance

SLOW FILMS

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I don’t say this generally because I know it’s not politically incorrect, but if the problem people have with the film is the pace, fuck ‘em, because we’re in Cannes, and this is not the place to be watching ‘Transformers 3,’ and they can go fuck themselves. It’s not that much work, and they should be ashamed of themselves.”

“I have no problem with hearing criticism, I have no problem with hearing people have a problem with the film, one way or another, but if the problem is like, ‘Oh, it was slow,’ they can go fuck themselves,” he continued. “Because movies are not barium enemas, you’re not supposed to get them over with as quickly as possible. This is a place where films are supposed to be a certain thing where they take their time and you should think about them. It’s supposed to be a place where cinema is something for thought, not fast food. If that’s what they want they should stay home. Plenty of movies for them in the multiplex, is what I would say.” – James Grey, on The Immigrant reviews at Cannes.

ALEXANDER WANG

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Wang picked up fall’s baton for chic, luxe looks with athletic undertones, leaving behind fur-tipped opulence and concentrating instead on perforated, kinetic wear-ability. “I never really did sports growing up,” he said with a laugh, realizing the irony of the underlying sensibility that’s been with him since the start. “Maybe that’s why they intrigue me. The technology that goes into that clothing is steps ahead, so it’s always been something I look towards.”

SODERBERGH ON ART+COMMERCE

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(Magic Mike:)    When (Channing) called me two years ago and said was I interested, I said there was only one way. You and I are going to pay for it, we’re not talking to anybody else, and we’re in preproduction tomorrow… I flew to Cannes four weeks later and sold enough territories to cover us. Cash was coming out of our pocket, but at least on paper we were somewhat covered. That’s how we did it.

(Today Vs Then:) I remember seeing a statement that we’d spent $1.5 million to promote sex, lies. I was like, that’s outrageous! Now, the competition for eyeballs is so intense from other movies, from television, from the internet, that it’s really difficult to take an out-of-the-blue, true art house movie from a young filmmaker, one that doesn’t have elements, and be able to nurture it over months to maybe 600 theaters or more. Nobody has the time or resources to pull that off now.

You always have to weigh the accessibility of the idea against the cost of executing it properly. I try to be aware of that.

SPECTACLE

2010-05-018-20000_leagues_under_the_sea plankton-source-flickr-eelke-dekker-for-web la-taniere-du-dragon disney in parisI think we’re at a real transitional point where it’s time to start thinking about the possibilities of making a motion-picture experience that’s totally different from television, and much more immersive, and maybe not even compatible with it. If you want to get people to pay extra to go out to a theater, it’s got to be a spectacular experience they can’t get at home. – Donald Trumbull

 

MILOS FORMAN

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“The power has Politics on its side. Let the Art be on the side of individual.”

IT’S ALL TRUE

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“Orson Welles didn’t ‘write’.  He had ideas.”

MASTERS

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Charlie Rose: What was the most important thing you learned from Robert Altman?
Paul Thomas Anderson: How to giggle and give in.

I FELT TRAPPED

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Even though I was only in my mid-twenties and rationally realized that there was plenty of time and opportunity ahead, that pressure to break through in my work was building into a kind of psychic crescendo, and when it appeared to be thwarted, I felt desperately depressed, cornered. I felt trapped in a suicidal rat race, with no way out of the maze. 

-Stephen King

ART + FEELING

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I don’t think that writers or painters or filmmakers function because they have something they particularly want to say. They have something that they feel. And they like the art form: they like words, or the smell of paint, or celluloid and photographic images and working with actors. I don’t think that any genuine artist has ever been oriented by some didactic point of view, even if he thought he was.

Stanley Kubrick

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