Weekend Reads 8-9 September 2018


Thirty-Seven Takes and Reads Since Midweek: China May Shun Asians; Shane Black Apologizes; Burt Reynolds; An Oral History Of Deliverance; David Simon And "A Shard Of The Real"; Amy Scott On Hal; Joe Russo: Movies Aren't Dumbing Down; Academy Waits A Year On "Popular" Oscar While Dumbing Down Show; TIFF Tough Talk; Michael Eisner Demos VR in 1998; Moonves Eclipsed?

China Balking at Showing Crazy Rich Asians in Cinemas NYTimes
"Predator director Shane Black skips TIFF Q&A amid controversy over casting of registered sex offender" LATimes

Mountain Men: An oral history of Deliverance: A look at the adaptation of James Dickey’s novel Atlanta

Leonard Maltin Sniffs At Burt Reynolds Leonard Maltin Blog

Les Moonves May Get History's Biggest Total Eclipse: $100 Million To Walk Away NYPost

"Film has always been in crisis. It goes on because there’s such a desire to make great films. Film will always go on.” John Boorman Launches Irish Film School In Dublin Irish Times

“Hal” of Mirrors: Amy Scott On Her Hal Ashby Doc And Chicago As “Finish Your Shit” School Newcity
"Journalism gave me a kind of exoskeleton for maneuvering through the world. Everything I learned came out of the newspaper." David Simon on hoping to "capture a shard of the real" with television  New York Review Of Books

"The idea that cinema is dumbing down is patronising nonsense, says top Hollywood director Joe Russo" Grauniad  

 "Starting in 2019, if Your Film Isn’t Diverse, It Won’t Be Eligible for a BAFTA" Slate 

THE ACADEMY RELENTS

"The Academy announced today that it will not present the new Oscars category at the upcoming ninety-first awards. The Academy recognized that implementing any new award nine months into the year creates challenges for films that have already been released." Academy
"Academy Scraps Popular-Film Oscar in a Year That Doesn’t Need It" Kyle Buchanan NYTimes
"So far, people have been focusing on the perverse incentives the award creates for Academy voters. But even more pernicious could be the incentives it creates for filmmakers and studios." Christopher Orr The Atlantic

TORONTO, PERMIS

"The trick, as is ever, will be whether TIFF uses this velocity of goodwill to further its self-stated goal – literally putting the "audience first" – or employ it as armour when the inevitable and justified criticisms come in about the festival lacking access, being overpriced, and relying on quantity over quality." Globe and Mail

AROUND THE WORLD, MONEY MOSTLY IN MIND 


Natalie Portman Says Vox Lux Her Most Political Role Variety

 "To avoid any speculation about what I might have said, I repeat it here: ‘Shame on you, whore, you’re disgusting!’ Something that just came out of my mouth, without thinking about what I was saying or of the consequences,” Venice Film Festival-Ousted Italy Blogger Reuters

Warner Bros Launches 'inclusion rider' Diversity Policy with Michael B. Jordan film Grauniad

Chris Weitz: "Every day you’re making a movie it sort of gravitates toward a clusterfuck. You just have to surf it... Every feature film is, in some ways, a lie." Adam Skolnick Longreads

"There was a point this year that I realized I didn't want to watch movies anymore, nor talk about them, nor write about them. I was done. There was a great emptiness in my heart..." Walter Chaw Introduces Another Year At Telluride Film Freak Central

Bond Candidates:Bart Layton, S.J. Clarkson, Yann Demange Variety

 A Star is Born: "Hollywood’s favorite structured myth about itself"? Rebecca Keegan Vanity Fair

"The Comedy-Destroying, Soul-Affirming Art of Hannah Gadsby: Creating the furious stand-up special 'Nanette' was an act of self-preservation for the Australian star. The result has been a sensation 'beyond my comprehension.'" NYTimes

⁦"Jonah Hill‬⁩: The actor and unlikely icon on finding his true calling New York Cover Story

 "You live in a democracy, you assume that there are numerous checks and balances to prevent powerful people from doing crooked things. For the first time in my adult life, I doubted this was true in Britain. We had presented strong evidence of a criminal conspiracy at one of the most powerful media companies in the world – and no one wanted to know. Not the police. Not the regulator. Not – initially, at least – parliament. And not the British press." Alan Rusbridger Grauniad

Clothes On Film On Beetlejuice Clothes On Film

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