Movie City Indie Archive for October, 2008

Gran Torino, a film by Dramis Pereo, produced by Flurshurlinger Mishloff and Skofrol Framuk

a film by dramis pereo.pngThe trailer for Clint Eastwood’s Gran Torino is up; the credit block on the splash page is… unusual?

1 Comment »

Indie is bouncing from interview to interview

Close-ups at work: women on Sarah Palin

Close-ups work.

Lance Hammer on filmmaking today: The adults have left the room

A few optimistic words from the director of Ballast.

What was the most viewed indie of the weekend with 165,00 viewers? Princess of Nebraska

On Monday, I had a conversation with filmmaker Lance Hammer about how movies like his Ballast could make money in the present and emerging market. And while he’s an optimist about the future of filmmaking, he was less than sanguine about the possibility of breaking even with a film like his today. Which is why this news release leaves me with mixed feelings: “165,000 + views in a two-day period is the biggest online opening ever for a feature-length studio film: Wayne Wang’s new film The Princess of Nebraska made its world premiere on YouTube™ on Saturday, October 18, 2008 at 12:00am EST. With more than 165,000 views in its first two days, the online launch represents the most successful studio film premiere in YouTube’s history. In relation to a theatrical release, the film would have placed around 15th on the box office charts. Magnolia Pictures’ Ray Price said, “It’s astounding that over a two day period The Princess of Nebraska became the most widely viewed independent film in the country.” That’s a lot of eyeballs. An interesting small film is getting seen. What’s next? [The film is below.]

Wayne Wang's Princess of Nebraska

Wayne Wang’s career as a feature director came with one of the first micro-budgeted success of the once-burgeoning American independent movement (in theatrical terms, at least), 1992’s Chan is Missing Much of his work is with women or bears Chinese and Chinese-American themes, even as he alternates studio work with smaller projects, such as Brooklyn-by-the-block Smoke (1995), written by Paul Auster. With a modest amount of money on hand after shooting, a companion film, Blue in the Face was made in five days by Wang and Auster, and there’s a similar occasion a decade later, with Wang’s latest, the generational drama A Thousand Years of Good Luck in theaters now, and the teensy-scaled The Princess of Nebraska, a story of a young woman making a momentous choice, shot with smaller, mostly consumer-level cameras, including the main character’s cell phones, now showing via YouTube’s Screening Room for free starting today (It’s embedded above.) A primary reason these almost guerilla-scaled collaborations appeal to Wang is how contrary they are to the style of editing in contemporary studio-budgeted projects, where a moment for reflection is a moment to be snipped. It’s called a “pacing pass,” or a review of the assembly to make sure that everything is always moving at the briskest of clips. “Well, that’s true with all these studios now. You preview, you preview, and you’re already chopping things out. And then at the end, they go through a pacing pace and basically anything that is a moment of taking a breath, for the audience to think, they take it right out. So that’s what the studio films have become. There are no characters: they’re heroes, they’re comic strip heroes, and they’re very one-note most of the time. There are a few films that go and deal with characters but there are very few of them. And plot! Everything has to be part of the plot. Everything is so cause-and-effect, it’s unreal. That’s why, again, in my film there are a lot of things that are not explained. A lot of things that don’t lead to something. Which is part of their lives and their conflicts.” Wang is open to evolving forms of distribution, but says, “We need to look at the world in both those ways. The sad thing is probably that the theater films are all going to be event films. That’s the reality.” And smaller pictures? The easy-to-laugh director says, laughing, “It’s fun to do. It’s almost like throwing all the rules out the window.”

Abel Ferrara takes a pirouette around Little Italy

[Via The Circuit.]

One take: "Humbled"/"Choice"

Guinness unleashes fridge magnet in Buenos Aires

V. nice sense of place.

Kim's video would like you to adopt 55,000 videos

Kim's public offer.jpg

Guillaume Depardieu was 37

The U.S. trailer for The Duchess Of Anglaise.

Kennedy had a catchy jingle in 1960

Indie is screening

American mystic

Not Mickey Rourke.

Photographer William Claxton was 80



Movie City Indie

Quote Unquotesee all »

“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch