Film Essent Archive for July, 2010

Can You Do Me a Kindness?

Just a note for you NYC folks: Winnebago Man premieres there this weekend, and tix are reportedly selling out. I caught Winnebago Man last year at Cinevegas, and it is hilarious. From last year’s Cinevegas dispatch:
I also very much enjoyed Winnebago Man, in which director Ben Steinbauer became obsessed with tracking down Jack Rebney, better known to many folks through YouTube as The Winnebago Man (or, alternatively, The World’s Angriest Man) courtesy of a viral video of outtakes of Rebney taken during an industrial video shoot for the recreational vehicles, in which he rants and swears most impressively. Steinbauer managed to track down Rebney, considered by found video afficionados to be a “holy grail” of sorts, to find out what happened to him. While I’m not normally in favor of the director of a documentary being in the film itself, this particular case is an exception, given that the story is somewhat about the relationship that evolves between Steinbauer and his crusty, curmudgeonly subject.
Winnebago Man is an immensely enjoyable film, and that’s at least in part due to some excellent editing choices by Malcolm Pullinger. It’s also worth noting that one of the cinematographers credited on the film is Brad Beesley, who also shot and directed the surprisingly poignant Summercamp!, which is one of my favorite underappreciated documentaries.

Me again. If you’re in NYC and you’ve not seen Winnebago Man, go see it, will you? Added bonus: Michael Moore and Jack Rebney, the Winnebago Man himself, are expected at the screenings at the Sunshine Cinema.

Armond, Armond, Quite Contrary

I was just reading this piece that Ray Pride linked to about Armond White on Maclean’s, in which writer Jaime Weinman attempts to dissect the man whose penchant for contrariasm has made him one of the most talked about critics du jour.
Love him or hate him, but you have to admire White for finding a way to use the internet to reinvent himself, rather than just shaking his fist in the air and yelling at those damn kids to get off his print critic lawn. Roger Ebert, who’s quoted in the article from this piece calling that White a “… troll. A smart and knowning one, but a troll.” has also learned to leverage the power of the internet to his advantage, communicating more directly with his large fan base through both his online journal and prolific use of Twitter. But whereas Ebert has been accused in recent years of growing too soft and generous with his reviews, White is the bellwether of contrariasm. If everyone else loves it (see: Toy Story 3) White is almost certain to review it negatively. If most other critics slam a film, White is likely to find something to like about it.

Read the full article »

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“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch

To me, Hunter S. Thompson was a hero. His early books were great, but in many ways, his life and career post–Fear and Loathing on the Campaign Trail is a cautionary tale for authors. People expected him to be high and drunk all the time and play that persona, and he stuck with that to the end, and I don’t think it was good for him. I always sort of feel mixed emotions when I hear that people went and hung out with Hunter and how great it was to get high with Hunter. The fact is the guy was having difficulty doing any sustained writing at all for years probably because so many quote, unquote, “friends” wanted to get high with him … There was a badly disappointed romantic there. I mean, that great line, “This is where the wave broke, the tide rolled back … ” This was a guy that was hurt and disappointed and very bitter about things, and it made his writing beautiful, and also with that came a lot of pain.
~ Anthony Bourdain