Movie City Indie Archive for January, 2008

Michel Gondry's craptastic "Sweded" trailer for Be Kind Rewind



And he seems like such a quiet young man.

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I was robbed last night at one of the best parties I've been to in a long time: Arin Crumley seeks balance.



Four-Eyed Monsters co-creator Arin Crumley would like to report a crime, and also to restore Balance. This is a peculiar video. [Photographic evidence and more here.]

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In honor of Rambo 5, here's Aki Kaurismaki's Rocky 6



Harvey Weinstein got on the blower with somebody or other and said there’d be another Rambo… Let’s see what Aki can do.

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Once, more

Hansard, Irglova, Carney


Two fresh comments from David Carr‘s Carpetbagger blog regarding the Oscar fortunes of “Falling Slowly” (all punctuation, etc., in the original): “I was lucky enough to have been peripherally engaged with the shooting experience of the Irish film ‘once’. The song contested, ‘falling slowly’ was written for the film, albeit a number of years before the film began actually shooting, but without going into long winded specifics I can assure all concerned that I was witness to the truth in this ridiculous matter. The song was written for the film. I have read alan’s material that his link provides. His presupposition that doubt should be cast upon the authenticity of the songs authors is bizzare to say the least. Certainly the fabric of his article has no argument to support his doubt. It is quite obvious that the true element of concern to the Academy in this issue is the fact that Glen Hansard had the gall to preform his composition before the motion pictures eventual release. Discussions that strive to debate the genesis of the song’s authorship are facile and to this observers mind without any merit or reason. I truly hope this great event for contemporary independent cinema is given the chance to gain a small degree of the recognition it truly deserves on the hallowed stage of the Academy, free from the impotent claims of falsehood of the aforementioned journalist and his ilk… — Posted by Paula R.” And: “The song Falling Slowly had been banging around Frames gigs for a couple of years in different guises and Glen said at these gigs that the song had been written for a film that his Friend John had written that at the time had been called Buskers and the name was then changed to Once. Glen has always stated that that particular song had been written for the film project his friend was working on, and this was back in 2002, about the same time that Glen and Mar started writing music together.
— Posted by Toni”

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Sundance wraps imminently…

Show


Overview, reviews. photos, video… from a world with working WiFi and crossed eyes.

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[LOOK] Which candidate would you like to have a beer with?



An ad for a Senate campaign that answers the question, “What candidate would you like to have a beer with?” [His name is Steve Novick.]

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Sundance on Ice (day seven)

Gondry


Michel Gondry. [Interview, Four Seasons Hotel, Chicago.]

Wintonick

Peter Wintonick, documentary director, producer and Agora advocate. [Main Street.]

Line

Wait list. [Yarrow I, Yarrow Hotel, Park Avenue.]

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Sundance on Ice (day six)

Night ski


Night skiing. [Above Park Avenue, across from Albertson’s, Park City.]

Pepsi

Filmmakers’ Lodge. [Main Street.]

Wireless internet

Filmmakers’ Lodge. [Main Street.]

Event parkingEvent parking. [Park Avenue.]

Marker

Highlightering.

Main

Main Street, dusk.

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Sundance wifi follies…

More photos, reviews and some video, soon, if there’s a cup of wifi to be found anywhere on the side of this mountain…

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Old media sends another suicide note # 117: LA Times

tinycricket.gifDoes anyone copyedit these ledes or are there editors who despise columnist Jay A. Fernandez? “You can’t throw a skim latte in L.A. without hitting a writer who has a screenplay that’s been stuck in the system since grunge was breaking.” What the fuck is this guy talking about?

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Heath Ledger singing: 10 Things I Hate About You

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Sundance on Ice (day five)

The gloves of Park City


“The Gloves Of Park City.” part 1. [Main Street.]

Snow

Snow day.

Shuttle: enter stage left

Enter stage left: the shuttle. [Park Avenue, across from Albertson’s.]

Baghead promo

Promo piece for Baghead. [Festival headquarters.]

Entrance

Entrance. [Egyptian Theater, Main Street.]


Wait list

Wait list. [Egyptian Theatre, Main Street.]

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Cricketing: David Sterritt tosses a manifesto at Kent Jones

Reviewing Kent Jones‘ “Physical Evidence: Selected Film Criticism” at PopMatters, fellow cricket (and admitted colleague and drinking pal of Jones) David Sterritt offers a modest manifesto at the end: “Given [Jones’] gift for perceptive film-critical thought, I wish Jones would now address himself to a problem that few critics (including me) have tackled with the care, energy, and resourcefulness that it demands: the predisposition of nearly all film critics to approach their subject(s) in terms that value the emotional over the intellectual and the descriptive over the intuitive. Good movies touch our feelings, of course, but that isn’t the only thing that makes them good; and while Jones knows this—hence tinycricket.gifhis high praise for masters of film-thought like Hou Hsiao-hsien and Abbas Kiarostami, for instance—he too falls into the commonplace pattern of privileging the feelings that good films give him, and signaling his reactions in telegraphic ways that won’t mean much to people who aren’t equally familiar with the film or filmmaker in question.” He continues: “What’s needed today is a new paradigm of readily accessible yet rigorously thoughtful prose combining theoretical analysis with intuitive ideas about cinema and the aesthetic world it creates. Jones is one of the few writers who might actually be able to work out an innovative model along these lines. Start down the road, Kent, and you’ll be surprised how many will join you on the path.”

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Wajda on Katyń's Oscan nom

wajda.jpg“I received the great and very important news of the nomination of my film Katyń in Warsaw this afternoon,” comments Wajda. “Polish directors are no longer behind a wall and no longer have to use coded messages to communicate with their audiences. The Academy Award® nomination gives Katyń an additional opportunity to reach international audiences worldwide. It’s even more significant to me as Katyń is certainly the most personal film of all the films I have made. Katyń is the place where I lost my father, Captain Jakub Wajda who was murdered there by the Soviets. I also witnessed my mother’s desperate and hopeless efforts in search for my father and her discovery of the truth about his fate. Katyń still remains an unhealed wound in Polish history, the secret story which has been told for the first time on the screen in my film. Once more, I would like to stress how happy I am that the Academy® honored Katyń giving it such a distinctive recognition.”

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Movie City Indie

Quote Unquotesee all »

“You know, I was never a critic. I never considered myself as a film critic. I started doing short films, writing screenplays and then for awhile, for a few years I wrote some film theory, including some film criticism because I had to, but I was never… I never had the desire to be a film critic. I never envisioned myself as a film critic, but I did that at a period of my life when I thought I kind of needed to understand things about cinema, understand things about film theory, understand the world map of cinema, and writing about movies gave me that, and also the opportunity to meet filmmakers I admired.

“To me, it was the best possible film school. The way it changed my perspective I suppose is that I believe in this connection between theory and practice. I think that you also make movies with ideas and you need to have ideas about filmmaking to achieve whatever you’re trying to achieve through your movies, but then I started making features in 1986 — a while ago — and I left all that behind.

“For the last three decades I’ve been making movies, I’ve been living, I’ve been observing the world. You become a different person, so basically my perspective on the world in general is very different and I hope that with every movie I make a step forward. I kind of hope I’m a better person, and hopefully a better filmmaker and hopefully try to… It’s very hard for me to go back to a different time when I would have different values in my relationship to filmmaking. I had a stiffer notion of cinema.”
~ Olivier Assayas

A Spirited Exchange

“In some ways Christopher Nolan has become our Stanley Kubrick,” reads the first sentence of David Bordwell’s latest blog post–none of which I want or intend to read after that desperate opening sentence. If he’d written “my” or “some people’s” instead of “our”, I might have read further. Instead, I can only surmise that in some ways David Bordwell may have become our Lars von Trier.”
~ Jonathan Rosenbaum On Facebook

“Jonathan has written a despicable thing in comparing me to Trump. He’s free to read or not read what I write, and even to judge arguments without reading them. It’s not what you’d expect from a sensible critic, but it’s what Jonathan has chosen to do, for reasons of a private nature he has confided to me in an email What I request from him is an apology for comparing my ideas to Trump’s.”
~ David Bordwell Replies

“Yes, I do apologize, sincerely, for such a ridiculous and quite unwarranted comparison. The private nature of my grievance with David probably fueled my post, but it didn’t dictate it, even though I’m willing to concede that I overreacted. Part of what spurred me to post something in the first place is actually related to a positive development in David’s work–an improvement in his prose style ever since he wrote (and wrote very well) about such elegant prose stylists as James Agee and Manny Farber. But this also brought a journalistic edge to his prose, including a dramatic flair for journalistic ‘hooks’ and attention-grabbers, that is part of what I was responding to. Although I realize now that David justifies his opening sentence with what follows, and far less egregiously than I implied he might have, I was responding to the drum roll of that opening sentence as a provocation, which it certainly was and is.”
~ Jonathan Rosenbaum Replies