Film 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 »

Quote Unquotesee all »

“I always thought that once I had lived in Chicago for a while, it would be interesting to do a portrait of the city – but to do it at a significant time. Figuring out when would be the ideal time to do that was the trick. So when this election came around, coupled with the Laquan McDonald trial, it seemed like the ideal time to do the story. Having lived in Chicagoland for thirty-five-plus years and done a number of films here, I’ve always been struck by the vibrancy of the city and its toughness. Its tenderness too. I’ve always been interested in the people at the center of all the stories. This is a different film in that regard, because we’re not following a couple of individuals over the course of the project in the way that a lot of the films I’ve done have, but I still feel like people’s voices and aspirations and hopes are at the center of this series.

It wasn’t easy. We started back in July 2018, it was actually on the Fourth of July – that was our first shoot. It’s like most documentaries in that the further you go along the more involved and obsessed you get, and you just start shooting more and more and more. We threw ourselves into this crazy year in Chicago. We got up every day and tried to figure out if we should be out shooting or not, and what it is we should shoot. We were trying to balance following this massive political story of the mayor’s race and these significant moments like the Laquan McDonald trial with taking the pulse of people in the city that we encounter along the way and getting a sense of their lives and what it means to live here. By election day, Zak Piper, our producer, had something like six cameras out in the field. You could double-check that, it might have been seven. We had this organized team effort to hit all the candidates as they were voting, if they hadn’t already voted. We hit tons of polling places, were at the Board of Elections and then were at the parties for the candidates that we had been able to follow closely. Then of course, we were trying to make sure we were at the parties of the candidates who made it to the runoff. So, yeah, it was kind of a monster.”
~ Steve James On City So Real

“I really want to see The Irishman. I’ve heard it’s big brother Martin Scorsese’s masterpiece. But I really can’t find the time. The promotion schedule is so tight, there’s no opportunity to see a three and a half-hour movie. But I really want to see it. In 2017, right before Okja’s New York premiere, I had the chance to go to Scorsese’s office, which is in the DGA building. There’s a lovely screening room there, too, with film prints that he’s collected. I talked to him for about an hour. There’s no movie he hasn’t seen, even Korean films. We talked about what he’s seen and his past work. It was a glorious day. I’ve loved his work since I was in college. Who doesn’t? Anyone involved with movies must feel the same way.”
~ Bong Joon-ho