Movie City Indie Archive for April, 2007

Loving some Miranda July: a promo for "No one belongs here more than you"

Miranda11.jpgThis is easily the silliest thing I’ve seen all day, aside from Bill O’Reilly’s spittle, Geraldo Rivera’s curled mustache, the snowflakes curling in the blue, bright Midwestern sky and endless commentary from Quentin Tarantino scrawled across the vastness of the internets about women’s dirty feet, but it’s endearing in the best possible Miranda July fashion as the writer-director-actor of Me And You And Everyone You Know offers a few pointers on her new collection of stories, “No one belongs here more than you.”

[LOOK] Geraldo Rivera's "My Nightmare…" with a whiff of Paddy Chayefsky

Grindhouse hits Fox News with a toe-to-toe, tit-for-tat, fact-versus-fiction, spit-versus-spittle spat that turns into a Bill O’Reilly-Geraldo Rivera cage match… “You are telling me, Geraldo Rivera, a man with teenage daughters…” Per the man who first showed the Zapruder film on ABC, “Cool your jets! It has nothing to do with illegal aliens… t has to do with drunk driving! Don’t obscure a tragedy to make a cheap political point. It is a cheap political point and you know it!” Planet Terror, indeed. [You might wanna lower the volume if you watch; h/t Oliver Willis.]

Still, I prefer Paddy Chayefsky‘s version.

[LOOK] Teasing David Lynch Documentary 2007

Bob Clark, 1941-2007.

Even for those who weren’t inundated watching its cable holiday marathons starting back in the 90s, I like to think A Christmas Story brought an immense amount of giddy, goofy happiness into the world. Bob Clark also directed one of the most successful independently-financed pictures of all time, Porky’s. He and his 22-year-old son were killed on the Pacific Coast Highway past two this morning by a drunk driver without a driver’s license, when his car “was struck head-on by an SUV. The 24-year-old driver of the other vehicle was arrested on suspicion of gross vehicular manslaughter and for being under the influence.” christmasstory.jpgSome drunk-driving enthusiasts, unknown or celebrities, are more fortunate than others; this makes me deeply sad—actually, pretty fucking angry—which makes it unlikely I’ll finish writing tonight about the images in my head from Quentin Tarantino’s epic, limb-scattering head-on collisions in Death Proof. Here’s the LA Times’ more detailed report. PLUS: the Christmas Story house. PLUS: Roger Ebert’s nostalgic and very personal “Great Movies” review; he and Clark are of the same generation. “The movie is not only about Christmas and BB guns, but also about childhood, and one detail after another rings true. The school bully, who, when he runs out of victims, beats up on his own loyal sidekick. The little brother who has outgrown his snowsuit, which is so tight that he walks around looking like the Michelin man; when he falls down he can’t get up. The aunt who always thinks Ralphie is a 4-year-old girl, and sends him a pink bunny suit. Other problems of life belong to that long-ago age and not this one: clinkers in the basement coal furnace, for example, or the blowout of a tire. Everybody knows what a flat tire is, but many now alive have never experienced a genuine, terrifying loud instantaneous blowout.” Here’s a tongue-freezing selection of sound clips from “A Christmas Story,” and a photo album from a happier time, when the twentieth anniversary of the film was celebrated in Newport Beach, California.

[DOSSIER] Everybody's a critic: taking shots at Werner Herzog

Or, Werner Herzblog, as it seems on a range of sites this week, despite the postponement of MGM’s release of Rescue Dawn, Herzog’s fictional, Christian Bale-starring remake of his own doc, Little Dieter Wants to Fly. Last week, Indie linked to the Financial Times’ interview with the director, in which he recounts getting shot during an interview with English writer Mark Kermode; here’s the excerpt from Kermode’s doc with the incident in question. (The entry also links to Herzogbeard.jpgscreenwriter Alan Greenberg‘s screenplay for an upcoming project of Herzog’s, “The Cheese and The Worms” (Greenberg’s Robert Johnson biopic, “Love in Vain,” never made, was championed years ago by Herzog; the published version is worth the updig.) David Poland, at Hot Blog, reprints Herzog’s lightly likeable, 12-point “Minnesota Declaration”, from 1999: “There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization.” The “only authentic and official website of Werner Herzog” is here, and among its many resources is a vast library of stills from Herzog’s immense filmography (click the camera icon on the toolbar). More: a 12-page chapter from Herzog’s book, “Walking in Ice” [downloadable PDF] and Tim Bissell‘s fine, 15-page December 2006 Harper’s profile of Herzog, “The Secret Mainstream” [downloadable PDF]. And: a few key examples of Herzog’s history of on-set “suffering and anguish” [downloadable PDF]. Plus: Ernst Reijseger‘s long-player, “Requiem for a Dying Planet,” with intensely eclectic music drawn from Herzog’s The Wild Blue Yonder and The White Diamond with RealAudio streaming links of all the tracks. AND ALSO: Jamie Stuart wrassles with Herzog when Grizzly Man opened. Below: a clip from Les Blank‘s Burden of Dreams, in which Herzog expatiates on the “obscenity” of the jungle; Blank‘s 1980 Werner Herzog Eats His Shoe (20 minutes) about an ostensible bet with Errol Morris [see comment below]; Herzog’s 13-minute, 1968 short, Last Words (Letzte Worte) in its entirety; the trailer for Rescue Dawn; Henry Rollins‘ recent, earnest eight-minute interview with Herzog from his IFC show; Harmony Korine on his mentor and collaborator; and footage of Klaus Kinski on the set of Nosferatu.

Read the full article »

1 Comment »

The Life Phonetic: leaking Wes Anderson's Darjeeling Express

darjeelingmap.jpgLeaky teacup of the day, via the IFCBlog and a nest of several other sources, including Big Screen, Little Screen: a downloadable PDF of a draft of Wes Anderson‘s new enterprise, written by Anderson, Jason Schwartzman and Roman Coppola, Darjeeling Limited. Casting: “Francis Wilson”: Owen Wilson; “Jack Wilson”: Jason Schwartzman; “Peter Wilson”: Adrien Brody. Can it really be about Francis Coppola, Peter Bogdanovich and Jack Nicholson, kinda-sorta?

A few words from David Lynch about product placement

Mon espace pour des auteurs: JLG


Movie City Indie

Quote Unquotesee all »

“Roger Ebert claimed that the re-editing of The Brown Bunny after Cannes allowed him a difference of opinion so vast that he first called it the worst film in history and eventually gave it a thumbs up. This is both far fetched and an outright lie. The truth is, unlike the many claims that the unfinished film that showed at Cannes was 24 minutes shorter than the finished film, it was only 8 minutes shorter. The running time I filled out on the Cannes submission form was arbitrary. The running time I chose was just a number I liked. I had no idea where in the process I would actually be when I needed to stop cutting to meet the screening deadline. So whatever running time was printed in the program, I promise you, was not the actual running time. And the cuts I made to finish the film after Cannes were not many. I shortened the opening race scene once I was able to do so digitally. After rewatching the last 4 minutes of the film over and over again, somewhere within those 4 minutes, I froze the picture and just ended the film there, cutting out everything after that point, which was about 3 minutes. Originally in the salt flats scene, the motorcycle returned from the white. I removed the return portion of that shot, which seemed too literal. And I cut a scene of me putting on a sweater. That’s pretty much it. Plus the usual frame here, frame there, final tweaks. If you didn’t like the unfinished film at Cannes, you didn’t like the finished film, and vice versa. Roger Ebert made up his story and his premise because after calling my film literally the worst film ever made, he eventually realized it was not in his best interest to be stuck with that mantra. Stuck with a brutal, dismissive review of a film that other, more serious critics eventually felt differently about. He also took attention away from what he actually did at the press screening. It is outrageous that a single critic disrupted a press screening for a film chosen in main competition at such a high profile festival and even more outrageous that Ebert was ever allowed into another screening at Cannes. His ranting, moaning and eventual loud singing happened within the first 20 minutes, completely disrupting and manipulating the press screening of my film. Afterwards, at the first public screening, booing, laughing and hissing started during the open credits, even before the first scene of the film. The public, who had heard and read rumors about the Ebert incident and about me personally, heckled from frame one and never stopped. To make things weirder, I got a record-setting standing ovation from the supporters of the film who were trying to show up the distractors who had been disrupting the film. It was not the cut nor the film itself that drew blood. It was something suspicious about me. Something offensive to certain ideologues.”
~ Vincent Gallo

“I think [technology has[ its made my life faster, it’s made the ability to succeed easier. But has that made my life better? Is it better now than it was in the eighties or seventies? I don’t think we are happier. Maybe because I’m 55, I really am asking these questions… I really want to do meaningful things! This is also the time that I really want to focus on directing. I think that I will act less and less. I’ve been doing it for 52 years. It’s a long time to do one thing and I feel like there are a lot of stories that I got out of my system that I don’t need to tell anymore. I don’t need to ever do The Accused again! That is never going to happen again! You hit these milestones as an actor, and then you say, ‘Now what? Now what do I have to say?'”
~ Jodie Foster