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Movie City Indie Archive for September, 2008

[PR] Transformers 2 gets iMichael IMAX treatment

IFOX-transformers-35.jpgMICHAEL BAY TO SHOOT SELECT SCENES OF TRANSFORMERS: REVENGE OF THE FALLEN WITH IMAX® CAMERAS
LOS ANGELES, CA, September 30, 2008 – IMAX Corporation (NASDAQ: IMAX; TSX: IMX), DreamWorks Pictures and Paramount Pictures today announced that director Michael Bay will shoot key sequences of Transformers: Revenge of the Fallen with IMAX® cameras. Bay will integrate the IMAX footage with state of the art CGI to create an unprecedented look and feel for the highly anticipated sequel to last year’s box office hit, Transformers. As previously announced, Transformers: Revenge of the Fallen will be released to IMAX® theatres simultaneously with the movie’s wide release on June 26, 2009.
The movie sequences shot in traditional 35mm will be digitally re-mastered into the unparalleled image and sound quality of The IMAX Experience® with IMAX DMR® (Digital Re-mastering) technology. The IMAX DMR scenes will appear in the traditional “letterbox” shape, while scenes shot with IMAX’s cameras will expand vertically to fill the entire IMAX screen.
“The extraordinary level of detail and intensity captured by the IMAX camera creates many exciting possibilities for us with this film,” said Michael Bay, the film’s director. “IMAX’s all-encompassing format will take this story to a new level, and I am once again very excited to share The IMAX Experience with Transformers fans around the world.”

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[NSFW] Full Metal Debate



Was John McCain saying things under his breath during the first debate? This is how rumors get started.

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"50 eggs…"

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For Mr. Newman, via Hobotopia.

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Paul Newman for Ned Lamont (2004)



Ned Lamont talks about the lifelong progressive.

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Newman's own popcorn

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Paul Newman by Dennis Hopper, 1964

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Paul Newman, James Dean screen test

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Paul Newman in Slap Shot



Trailer. [Bonus below: Slap Shot en Québécois.]

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Postering Synecdoche, New York

Needs more airship.

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Sacha Baron Cohen crashes Milan catwalk

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Trailering W.: Based On A True Story's latest incarnation

[If you’re reading this from Indie’s front page, to view in proper ratio, click below on the time stamp link.]


As apt needle-drops go for placing a song to footage, this is splendid. On the nose a bit? Yup.

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Filmmaker Todd Sklar on working in Columbia, Missouri



Earlier this week, I traveled to Columbia, Missouri to present two Olivier Assayas films (Irma Vep; Late August, Early September) in the first installment of Ragtag Cinema’s Critic’s Series. It was the first time I met filmmaker Todd Sklar, although I had reviewed his self-distributed feature comedy debut, Box Elder, earlier this year. (It’s still out there, including a scheduled return engagement at Chicago’s Siskel.) Afterwards, we stepped out onto Hitt Street to talk about why Columbia’s good for him and for filmmaking. [The trailer for Box Elder is below; here’s a good making-of piece. Website.]

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Three Days Of The Condor: "We play games"

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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

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