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.

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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

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Movie City Indie

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“Would I like to see Wormwood in a theater on a big screen? You betcha. I’d be disingenuous to argue otherwise. But we’re all part of, like it or not, an industry, and what Netflix offers is an opportunity to do different kinds of films in different ways. Maybe part of what is being sacrificed is that they no longer go into theaters. If the choice is between not doing it at all and having it not go to theaters, it’s an easy choice to make.”
~ Errol Morris

“As these stories continue to break, in the weeks since women have said they were harassed and abused by Harvey Weinstein, which was not the birth of a movement but an easy and highly visible shorthand for decades of organizing against sexual harassment that preceded this moment, I hope to gain back my time, my work. Lately, though, I have noticed a drift in the discourse from violated rights to violated feelings: the swelled number of reporters on the beat, the burden on each woman’s story to concern a man “important” enough to report on, the detailed accounting of hotel robes and incriminating texts along with a careful description of what was grabbed, who exposed what, and how many times. What I remember most, from “my story” is how small the sex talk felt, almost dull. I did not feel hurt. I had no pain to confess in public. As more stories come out, I like to think that we would also believe a woman who said, for example, that the sight of the penis of the man who promised her work did not wound her, and that the loss she felt was not some loss of herself but of her time, energy, power.”
~ “The Unsexy Truth About Harassment,” by Melissa Gira Grant