By Ray Pride Pride@moviecitynews.com

Voice Media Group Hires Scott Foundas as New York-Based Film Writer

Foundas’ Film Reviews and Features will Appear across Voice Media Group’s Print Publications, Websites and Mobile Platforms

DENVER, Oct. 31, 2012 — Voice Media Group announced today that Scott Foundas will join the staff of the Village Voice as its principal film writer.

Foundas spent the last three years as associate program director at the Film Society of Lincoln Center. Before moving to New York, he was the film editor at the Voice‘s sister paper in Los Angeles, LA Weekly, from 2005 to 2009.

“I’ve long admired Scott Foundas’ film writing and I’m delighted to be able to work with him again,” said Christine Brennan, VMG executive editor. “Scott is a formidable critic and a great addition to the film coverage our papers are known for.”

Foundas’ film reviews and features will appear in all of the Voice Media Group’s publications, as well as on their websites and mobile platforms.  VMG maintains a strong commitment to film journalism, employing two fulltime writers, one fulltime editor, and many freelance contributors. Its member newspapers covered more than 750 films last year, printed weekly film features and interviews, and published dispatches from national and international film festivals.

“I am thrilled to be returning to the world of weekly movie reviewing and feature writing,” said Foundas. “The VMG team of film critics publish exceptional work — always lively and thought-provoking — and I look forward to working alongside them.”

Foundas will begin his new assignment December 3.

About Voice Media Group Voice Media Group is a privately held media company focused on the creation of original news and entertainment content across print, mobile and web properties for the culturally aware consumer. The company will own and operate thirteen leading weekly newspapers — including Village Voice (New York), LA Weekly (Los Angeles), Westword (Denver), New Times (Phoenix), Houston Press, Dallas Observer, Riverfront Times (St. Louis), New Times (Miami), City Pages (Minneapolis), New Times (Broward), SF Weekly (San Francisco), Seattle Weekly, and OC Weekly (Orange County) — affiliated digital properties, and a national sales arm, VMG National. At its outset, VMG will reach more than seven million monthly readers in print and 16 million unique desktop visitors each month, in addition to 1.2 million email subscribers, more than 5.7 million visits on mobile, and more than forty signature food, music and arts events per year nationwide. Meanwhile, VMG National will serve more than 56 partner sites and publications with weekly print circulation of 3.14 million and 94 million pageviews per month. For more information, visit www.voicemediagroup.com.

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé