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Ray Pride

By Ray Pride Pride@moviecitynews.com

“American Possibility: The Cinema of Hal Hartley” (3’46” intro)

As the Canadian Film Institute’s Tom McSorley writes as a February-March retrospective is announced, “Hartley’s work combines the best of American-style exuberance and intelligence with broader artistic influences from Europe and Asia. His work has been favourably compared to the films of Hollywood comedic master, Preston Sturges, to the searching and formally inventive films of French New Wave legend, Jean-Luc Godard, to the kinetic, balletic solemnity of Buster Keaton movies.”

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“It’s a film festival’s job—and increasingly so—to create moments of recognition, of enjoyment, of shock, of learning. Not of consumerism. Not of implementing cultural policy. But moments without pretence, unclouded by vested interests, by intervention, by cynicism, by everyday business. Committed to nothing but the thing itself. Under obligation to nothing, to no one, not even to the filmmakers themselves. To basically seek access to a form that does not yet exist, a place no one has been to, a time that has not yet come. ’A form that thinks, and a thought that forms,’ as Jean-Luc Godard has it.”
~ Hans Hurch, late director of the Viennale

“There’s a mass belief that if you’re texting, you’re somehow not interrupting the conversation—you’re not being rude. It’s an illusion of multitasking. I started filmmaking when people didn’t expect to have a phone on set, when it would’ve been seen as unprofessional to pull out a phone. Phones have become a huge distraction, and people work much better without them. At first it causes difficulty, but it really allows them to concentrate on what they’re doing. Everybody understands. I’ve had a lot of crews thank me. With a set, we’re trying to create a bubble of alternate reality.”
~ Christopher Nolan