Movie City Indie Archive for July, 2009

Kiarostami: like tears in rain

Abbas-Kiarostami-Rain-001.jpg


Abbas Kiarostami reflects on rain and the digital image. “The idea for this series of “rain” pictures is one I had a long time ago. I had spent years looking through my car windscreen, admiring the rural landscape, admiring the raindrops and the effect of light on them. I tried taking photographs through the windscreen, but at that time I was using film, and I could hardly ever get the right light effect to make the pictures work.
It was only when digital cameras arrived that I thought: now I can go back to this idea. I could work with very little light, and while I was driving. I drove with one hand on the wheel, and used my other hand to take pictures. But maybe I shouldn’t say that—I wouldn’t want to promote bad driving. I’ve often noticed that we are not able to look at what we have in front of us, unless it’s inside a frame. So I took my car windscreen as a frame, and I turned off the windscreen wipers so as not to wipe off the rain—I wanted the raindrops to remain on the glass. Everything we can see in the photographs—the yellow-brown, the green, the black—we owe to the light. It’s the reflection of the light on the raindrops that gives the pictures these subtleties and nuances.” {More from the Guardian at the link.]

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Batman lives, even if she's lost

Boo Boo

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Selling Mumblecore on Brit TV



But you can hear what they’re saying in this promo! Seriously, wasn’t that word stillborn? A season of movies on Film Four in the UK, which explicates here. [Via Karina Longworth.]

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When Macaulay Culkin met Harmony Korine…



Just because the music in the cafe is too loud and not as good as this: Sonic Youth’s “Sunday.”

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Indie returns Tuesday

Buzz

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The English Surgeon in NYC

GEOFFREY SMITH’S THRILLING, TONIC THE ENGLISH SURGEON [****] follows Henry Marsh, a doctor with a decade-plus humanitarian history of visiting Ukraine for several days at a time to perform brain surgery with whatever means at hand. Marsh, with large owlish glasses and a stubborn steady stare, remains cool-tempered and inventive in every circumstance, a wizard, like Harry Potter grown wise and gray. (A scene in which he discusses a fatal diagnosis in front of a patient who knows no English is simple, direct and stunning.)The_English_Surgeon_transp.JPG
Beautifully structured and edited, with an effective, understated score by Nick Cave and Warren Ellis, this tremendously moving film’s extremes include a surgery that has to take place while the patient’s awake, a horrifying and horrifyingly funny sequence that we see from the perspective of both patient and doctor. Marsh is steely when reflective: “When push comes to shove, we can afford to lose an arm or a leg, but I am operating on people’s thoughts and feelings. And if something goes wrong I can destroy that person’s character… forever.”
“The film is really about one man’s struggle to do good things in a flawed and selfish world. It’s a moral fable, right?” Smith said to me when we talked after its premiere at Hot Docs 2008 in Toronto. With figures that range from generous neighbors, to church folk who raise money to get a stricken woman to Kiev for treatment, says Smith, “right through to Henry Marsh, who’s coming from another country to try to save lives. That whole web of connection [works] at all levels. And I simply want people to see it for what it is, a series of links, a series of kindhearted people who are doing [good] for no particular reason other than the humanity. It’s so clichéd to speak like that. It’s so cliché to end a film with the words ‘What are we if we don’t help others? We’re nothing, nothing at all.’ If you hadn’t been on the journey to that point, you could write it off as being sentimental. But actually, there’s not a trace of sentimentality in there. Because it never lets you up, [my film] never indulges in sentiment. You go from one good thing, to humor, then straight back to absolute tragedy. Whenever we get too comfortable, [things] come crashing back down again. There’s the grandmother who loses her granddaughter, there’s the little girl who’s blind, and of course, there’s the girl at the end who’s 23, who’s going to be dead in two years time. [The film] is simply a reflection of the world out there. That was my only model, a mix of farce and humor and tragedy and then start up again. Hope mingling all the way through. That’s what was important to hold onto, because I knew that was real.”

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"Vampires are cuter than I thought": a clip from Park Chan-wook's Thirst



Opens July 31 in NY, LA and San Francisco.

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Trailering the Branchage Jersey International: A Cutting Hedge Film Festival

Branchage Jersey International Film Festival 2009 .

There’s a whole story about this not-that-remote event here.

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Lessons in youth interviewing, Japanese style


She likes Daniel, she really does.. Below, the 11-year-old Japanese fangirl asks to sniff Rupert Grint. [Via JapanProbe.]

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OnePiece: do Charlyne Yi and Jake Johnson believe in love now



After talking Paper Heart for half-an-hour, I only had this fallback question left: is there anything you’re surprised people haven’t asked you since Sundance? Johnson has his own question to prompt a question. The film opens August 7 in NYC and LA, goes wider August 14. [The trailer's after the jump..]

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Cronkite's coverage of Moon landing, July 20, 1969



Forty years ago come Monday…

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Movie City Indie

Quote Unquotesee all »

Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé