Movie City Indie Archive for June, 2009

You want to travel blind: portraits

Kitano considers
Azita
Ondaatje before reading
An exhibition of portraits of film figures and friends is running in Chicago through July 26 at the Rainbo Club. The address, more information and other pictures are here. [Takeshi Kitano; Azita Youssefi; Michael Ondaatje]

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Riot police turn and run from BBC Persia

hurrah_they_yelled.jpgLink here.












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Under fire [violence]

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Truth in advertising?

lepetderniereamarienbad.jpgA campaign for the DVD of Paul Blart, Mall Cop was replaced on The Awl by one for Last Year At Marienbad, but part of the earlier ad remains… Or is this a new Criterion we’re seeing here?

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Jerzy Skolimowski on his missing years as a director

skolimowski_the_judgement_full.JPGIn Vertigo, John Riley talks to about the 17 years between features. “Even during that long break, I looked at film projects, but either I was too lazy or just resting or I was focusing on becoming a serious painter. The process of painting feeds my needs now. You concentrate on doing something exactly as you want. With film-making there are always compromises, you can’t do exactly as you would wish, you’re not even trying to do that. But Four Nights With Anna is as close as I’ve ever got to making exactly the film I wanted—maybe not 100% but the high 90s. It was a small budget but I insisted on doing things exactly as I wanted. Filmmaking is really hard work, physically hard work, so I can’t say I enjoy it, but to create art one has to suffer! But, to my surprise, I feel ready to make another film: I have a great subject, I can see how to do it; I’m working on a script and have about half the money for my next project. So the prospects are good!” [A good career overview.][Art.]

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Mad Max in Esfehan, Iran



Leather-jacketed riot cops on motor scooters chased by protesting citizens… the end of the shot is like the end shots of Wenders’ State of Things and Jarmusch’s Limits of Control. [Via Andrew Sullivan.]

But, of course, it’s not fiction:


[Via Laura Secor in the New Yorker.]

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Tetro, brought to you by…

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This has to be the most honest film ad in ages… What brought you Tetro? What paid for Coppola’s latest opus? Safeway, aisle 3. Synergy, theater 4. The citation of the theater at the bottom of the ad is also neatly reminiscent of the 1970s full-page ads for Cinema 1 or Cinema 2 or the Beekman premiering Nashville or The Conversation. [From Friday, June 12's New York Times.]

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Excellent Response



From a project by MJ Buffett.

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Deadline by Bang-yao Liu



The pressures of deadlines reflected in stop-motion animation of Post-It notes. A student project from the Savannah College of Art and Design.

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Circles, squares, dollars, cents

sarrisamcinf6787.jpg

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[PR] Anvil, stars of Anvil! The Story Of Anvil opening for AC/DC at Giants Stadium

anvil460.jpg


[Photo by Brent J. Craig.]
HARD ROCK LEGENDS AC/DC TAP CANADIAN METAL BAND ANVIL OF THE CRITICALLY ACCLAIMED FILM “ANVIL! THE STORY OF ANVIL” AS OPENERS FOR JULY 28 SHOW AT GILLETTE STADIUM AND JULY 31 SHOW AT GIANTS STADIUM
New York, NY (June 8, 2009) – Based on the overwhelming response to and incredible buzz created by the critically acclaimed documentary “Anvil! The Story of Anvil,” the band has been chosen to fill the spot as opening act for rock legends AC/DC at their Gillette Stadium show on July 28th and their Giants Stadium show on July 31st. Anvil band members, Steve “Lips” Kudlow and Robb Reiner will see their dreams come true as they are set to open for one of the greatest hard rock bands in the world, AC/DC, for the two biggest shows on their Black Ice World Tour. This opportunity marks a stellar comeback for the 30 year-old band that continues to reach new heights with the success and continued expansion of their documentary and recent features in Newsweek and Rolling Stone.
“Anvil! The Story of Anvil” is the directorial debut of screenwriter Sacha Gervasi (“The Terminal”) and was produced by Rebecca Yeldham (“The Kite Runner” and “The Motorcycle Diaries”). The film follows Steve “Lips” Kudlow and Robb Reiner and their band, Anvil, which released one of the heaviest albums in metal history, 1982’s Metal on Metal. The album influenced an entire musical generation of rock bands, including Metallica, Slayer, and Anthrax, who all went on to sell millions of records. Anvil, on the other hand, took a different path—straight to obscurity. The film is both entertaining and touching as it follows their last-ditch quest for the fame and fortune that has been so elusive to them. “Anvil! The Story of Anvil” is a timeless tale of survival and the unadulterated passion it takes to follow your dream, year after year.

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David Fincher directs iPhone spot, "Break In"



Or, download here.

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Indie is waking up

Perchance to dreamIvyLeaned

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Movie City Indie

Quote Unquotesee all »

“Any time a movie causes a country to threaten nuclear retaliation, the higher-ups wanna get in a room with you… In terms of getting the word out about the movie, it’s not bad. If they actually make good on it, it would be bad for the world—but luckily that doesn’t seem like their style… We’ll make a movie that maybe for two seconds will make some 18-year-old think about North Korea in a way he never would have otherwise. Or who knows? We were told one of the reasons they’re so against the movie is that they’re afraid it’ll actually get into North Korea. They do have bootlegs and stuff. Maybe the tapes will make their way to North Korea and cause a fucking revolution. At best, it will cause a country to be free, and at worst, it will cause a nuclear war. Big margin with this movie.”
~ Seth Rogen In Rolling Stone 1224

“Yes, good movies sprout up, inevitably, in the cracks and seams between the tectonic plates on which all of these franchises stay balanced, and we are reassured of their hardiness. But we don’t see what we don’t see; we don’t see the effort, or the cost of the effort, or the movies of which we’re deprived because of the cost of the effort. Paul Thomas Anderson’s Inherent Vice may have come from a studio, but it still required a substantial chunk of outside financing, and at $35 million, it’s not even that expensive. No studio could find the $8.5 million it cost Dan Gilroy to make Nightcrawler. Birdman cost a mere $18 million and still had to scrape that together at the last minute. Imagine American movie culture for the last few years without Her or Foxcatcher or American Hustle or The Master or Zero Dark Thirty and it suddenly looks markedly more frail—and those movies exist only because of the fairy godmothership of independent producer Megan Ellison. The grace of billionaires is not a great business model on which to hang the hopes of an art form.”
~ Mark Harris On The State Of The Movies