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 »

Tsangari: With my next film, White Knuckles, it comes with a budget — it’s going to be a huge new world for me. As always when I enter into a new thing, don’t you wonder how it’s going to be and how much of yourself you are going to have to sacrifice? The ballet of all of this. I’m already imaging the choreography — not of the camera, but the choreography of actually bringing it to life. It is as fascinating as the shooting itself. I find the producing as exciting as the directing. The one informs the other. There is this producer-director hat that I constantly wear. I’ve been thinking about these early auteurs, like Howard Hawks and John Ford and Preston Sturges—all of these guys basically were hired by the studio, and I doubt they had final cut, and somehow they had films that now we can say they had their signatures.  There are different ways of being creative within the parameters and limitations of production. The only thing you cannot negotiate is stupidity.
Filmmaker: And unfortunately, there is an abundance of that in the world.
Tsangari: This is the only big risk: stupidity. Everything else is completely worked out in the end.
~ Chevalier‘s Rachel Athina Tsangari

“The middle-range movies that I was doing have largely either stopped being made, or they’ve moved to television, now that television is a go-to medium for directors who can’t get work in theatricals, because there are so few theatricals being made. But also with the new miniseries concept, you can tell a long story in detail without having to cram it all into 90 minutes. You don’t have to cut the characters and take out the secondary people. You can actually put them all on a big canvas. And it is a big canvas, because people have bigger screens now, so there’s no aesthetic difference between the way you shoot a movie and the way you shoot a TV show.

“Which is all for the good. But what’s happened in the interim is that theatrical movies being a spectacle business are now either giant blockbuster movies that run three hours—even superhero movies run three hours, they used to run like 58 minutes!—and the others, which are dysfunctional family independent movies or the slob comedy or the kiddie movie, and those are all low-budget. So the middle ground of movies that were about things, they’re just gone. Or else they’re on HBO. Like the Bryan Cranston LBJ movie, which years ago would’ve been made for theaters.

“You’ve got people like Paul Schrader and Walter Hill who can’t get their movies theatrically distributed because there’s no market for it. So they end up going to VOD, and VOD is a model from which no one makes any money, because most of the time, as soon as they get on the site, they’re pirated. So the whole model of the system right now is completely broken. And whether or not anybody’s going to try to fix, or if it even can be fixed, I don’t know. But it’s certainly not the same business that I got into in the ’70s.”
~ Joe Dante

Z Weekend Report