Movie City Indie Archive for July, 2009

Trailering Whip It

Jonathan Glazer's latest video, The Dead Weather's "Treat Me Like Your Mother"

Men and women are sometimes known to disagree.

Jack Kerouac reads, with Steve Allen at the ivories

Via Coudal Partners.

A touch of the math: a reporter's wrong timing

Logistics awry followed by giggle…

Making music 'round the world: a video for Sour

SOUR / 日々の音色 (Hibi no Neiro) MV from Magico Nakamura on Vimeo.

Startlingly cute and complex. Directed by Masashi Kawamura, Hal Kirkland, Magico Nakamura and Masayoshi Nakamura. Bon jour, Michel Gondry! [Via Spike Jonze.]

Mary Louise Parker, milk, cookies, bedtime story

[PR] Entitling Michael Moore: Capitalism: A Love Story

Money worldwide
Michael Moore Unveils Title for New Film
Oscar®-winning filmmaker’s October 2nd Release a “Love Story” About Capitalism
(Beverly Hills, CA) July 8, 2009— Capitalism: A Love Story is the newly unveiled title of Oscar®-winner Michael Moore’s latest documentary feature. Overture Films will release the film domestically on October 2, 2009, and Paramount Vantage will handle international distribution. As previously announced, Moore will return to the issue that began his career: the disastrous impact that corporate dominance and out-of-control profit motives have on the lives of Americans and citizens of the world.
On why he chose to make a ‘love story,’ Moore stated that it was time for him to make a ‘relationship movie.’ “It will be the perfect date movie,” said Moore. “It’s got it all—lust, passion, romance, and 14,000 jobs being eliminated every day. It’s a forbidden love, one that dare not speak its name. Heck, let’s just say it: It’s Capitalism.”

Read the full article »

The opening 7:44 of The Hurt Locker


Sets the tone; if you want to see the film fresh from start to finish, get thee to a cinema. {Registration required]

Capturing Reality: The Art of the Documentary

Capturing Reality: The Art of Documentary, from Canada’s National Film Board, is a film about contemporary documentary cinema and features leading lights of the field, including Albert Maysles, Errol Morris, Alanis Obomsawin, Michel Brault, Nick Broomfield, Kim Longinotto and Werner Herzog. Thirty-three filmmakers from 14 countries talk about the artistic and ethical choices they make in their craft. While the 97-minute film is on DVD with four additional hours of interview clips, much of it’s available on the neatly-designed website. Here’s Errol Morris on being born to babble, for instance. Here’s filmmaker Nettie Wild on “the first day on the job.”

One more reason it's hard to do satire these days

“That’s not how I’m wired! That’s not how I’m wired to operate! … The world needs more Trigs, not fewer.”

this is 606: a photo exhibition of "chicagoesque" images

Bridge fog
Ten large photographic landscapes of Chicago, or “606,” open Friday, July 3 at The Architrouve in Chicago, 6-9-m. [Location and daily hours through August 2 here.] The set is drawn from the ongoing daily photographic project, “this is 606,” which is here.

Microsoft's bodily fluid ad for IE8

Bug or feature?

Are We There Yet?: 60 creepy seconds from Swedish McDonald's ad

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