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Ray Pride

By Ray Pride Pride@moviecitynews.com

Picturing Sundance 2014: 21 Images

Sleep is good. Seeing movies is better. Writing solid, thoughtful reviews instead of instant reactions longer than a well-wrought tweet: even better. Those will come later, but for the day, a few quick descriptions and some more glimpses of 10 days at Sundance. (All images © 2014 Ray Pride.)

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LOT

They don’t want you to park at the Library.

Abandon

Abandon Hope, All Ye…

Filmmaker Reception

At Riverhorse, Filmmaker-Journalist reception.

IRON HORSE

Sometimes you get onto the wrong shuttle. Well, more than once. It shouldn’t be twice in a row. Argh!

Facetime oldtimer

Main Street: a large number of oldtimers would just stop, plant themselves and FaceTime away.

Wow in Park City

WOW indeed. 4.0 to the moon!

Faraci, Buchanan copy

Devin Faraci, Kyle Buchanan at Filmmaker-Journalist reception at the Riverhorse.

Banksy

Gawker shadows fall across the Banksy on the side of Java Cow.

BRM Trivia

The annual indiefilm trivia at the Yarrow, led by Tom Hall, with John Vanco and Matt Dentler to the right.

Main Street Wednesday

Midweek, a raft of journalists and filmmakers and most all of the “gifting suites” beat a path to SLC.

HQ In the gloaming

The Festival HQ in the gloaming.

Don't Go in the Shop

Don’t go into the Shop.

Nick Cave

Before 20000 Days On Earth at the Prospector.

Robert Greene copy

Robert Greene, estimable documentarian and editor of Listen Up Philip.

ARP Receives

The receiving line for Alex Ross Perry after Listen Up Philip at The Marc. (The line extends beyond the frame.)

Silver Miner

A sky the silver miners could have seen in the nineteenth century.

Filmmaker press lunch

The Filmmaker-Press reception (pastrami and tuna tartare bites not shown).

Peter

Buttons from the Montreal remembrance ceremony for late documentary man-about-world Peter Wintonick.

Fritz the Bear

Fritz the Bear.

Main Street moon

The moon over Main Street. And: Joe Swanberg after the no-longer-secret screening of Nymphomania.

Swanberg Nymphomania

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“When books become a thing, they can no longer be fine.

“Literary people get mad at Knausgård the same way they get mad at Jonathan Franzen, a writer who, if I’m being honest, might be fine. I’m rarely honest about Jonathan Franzen. He’s an extremely annoying manI have only read bits and pieces of his novels, and while I’ve stopped reading many novels even though they were pretty good or great, I have always stopped reading Jonathan Franzen’s novels because I thought they were aggressively boring and dumb and smug. But why do I think this? I didn’t read him when he was a new interesting writer who wrote a couple of weird books and then hit it big with ‘The Corrections,’ a moment in which I might have picked him up with curiosity and read with an open mind; I only noticed him once, after David Foster Wallace had died, he became the heir apparent for the Great American Novelist position, once he had had that thing with Oprah and started giving interviews in which he said all manner of dumb shit; I only noticed him well after I had been told he was An Important Writer.

“So I can’t and shouldn’t pretend that I am unmoved by the lazily-satisfied gentle arrogance he projects or when he is given license to project it by the has-the-whole-world-gone-crazy development of him being constantly crowned and re-crowned as Is He The Great American Writer. What I really object to is this, and if there’s anything to his writing beyond it, I can’t see it and can’t be bothered. Others read him and tell me he’s actually a good writer—people whose critical instincts I have learned to respect—so I feel sure that he’s probably a perfectly fine, that his books are fine, and that probably even his stupid goddamned bird essays are probably also fine.

“But it’s too late. He has become a thing; he can’t be fine.”
~ Aaron Bady

“You know how in postproduction you are supposed to color-correct the picture so everything is smooth and even? Jean-Luc wants the opposite. He wants the rupture. Color and then black and white, or different intensities of color. Or how in this film, sometimes you see the ratio of the frame change after the image begins. That happens when he records from his TV onto his old DVCAM analog machine, which is so old we can’t even find parts when it needs to be repaired. The TV takes time to recognize and adjust to the format on the DVD or the Blu-ray. Whether it’s 1:33 or 1:85. And one of the TVs he uses is slower than the other. He wants to keep all that. I could correct it, but he doesn’t want me to. See, here’s an image from War and Peace. He did the overlays of color—red, white, and blue—using an old analog video effects machine. That’s why you have the blur. When I tried to redo it in digital, I couldn’t. The edges were too sharp. And why the image jitters—I don’t know how he did that. Playing with the cable maybe. Handmade. He wants to see that. It’s a gift from his old machine.”
~ Fabrice Aragno