“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
~ James Gray
Movie City Indie Archive for June, 2009
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]
Who knew soybean oil, vinegar, high fructose corn syrup, sugar, modified food starch, eggs, salt, mustard flour, artificial color, potassium sorbate as a preservative, paprika, spice, natural flavor and dried garlic was so cool?
A 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?
In 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.]
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.]
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.]
The pressures of deadlines reflected in stop-motion animation of Post-It notes. A student project from the Savannah College of Art and Design.
[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.
Or, download here.