Movie City Indie Archive for August, 2009

Movie city breeze

Time Lapse Test: Station Fire from Eric Spiegelman on Vimeo.

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Indie is interviewing

Party surprisers

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Covered, by John Grayson

Covered from John Greyson on Vimeo.

The Canadian filmmaker withdrew his short from Toronto International over political disagreement with a sidebar on film in Tel Aviv.

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Indie is screenering


Dark movies by daylight…

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Tarantino on spaghetti westerns and non-homaging

Tarantino wanted to clarify for Sight & Sound how his films are about language. Not so much film language: “I don’t know if this film does that quite so much. When I read Nick James’ piece in Sight & Sound [in the July issue], obviously inglourious-basterds-02_420.jpgI didn’t agree with where he was coming from in a lot of the aspects of it, but that’s all well and good. The thing I took exception to – and he’s not the only one to do it – is that there’s this aspect when critics write about my work, partly it’s because they know I’m such a film aficionado, where they try to match wits with me and show their own cinema knowledge. I give them a licence to show off their knowledge, and they apply that to me. So the part I don’t like about Nick’s piece is, like, “Oh, here’s a big slice of Leone, and a dollop of Cimino, and a side order of Tinto Brass.” I take exception to that! I don’t think like that. Now, I’m going to address what you’re saying. In the case of Kill Bill, that completely applies. Uma Thurman isn’t just fighting her way through her death list, she isn’t just fighting her way through the Deadly Vipers, she’s fighting her way through the annals of exploitation cinema from all over the world. That actually is part of it. I don’t think that’s necessarily what I’m doing with Inglourious Basterds. Having said that, there definitely is, in the first two chapters, an idea of doing a spaghetti western with World War II iconography. I thought that would work its way through the whole movie, but it actually doesn’t. I think it ends after the second chapter and it becomes something else. But one of the hooks I had to hang that on, as opposed to it just being a groovy idea, is this: one of the things I always enjoyed about spaghetti westerns was the brutal landscape, the brutal world in which they took place. It was much more unforgiving and hostile than most American western landscapes. It’s very violent, life is cheap, death is around the corner at any moment. Well, that describes Europe during World War II – right there in the 20th century, a very close approximation of a spaghetti-western landscape. And something I find very, very interesting about the opening chapter of Inglourious Basterds is that, even with the Nazi uniforms, even with the motorcycles and the car, it doesn’t break the western feel. It almost adds to it in a strange, shouldn’t-work-but-does kind of way. It just feels like a western. And not even just a spaghetti western: it could be Shane.”
But here’s the snappy capper: “The shot through the doorway of Shosanna fleeing can’t help but recall The Searchers.” “I’ll take slight exception to that too – and I’m having a good time clarifying this – in that I think it’s safe to say that if John Ford’s mother had never met John Ford’s father, I’d still have figured out that shooting through a doorway like that would make for a cool shot.” Tarantino laughs loudly.

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DVD of the week: Goodbye Solo (*** 1/2)

On the superficial level of plotting, Raman Bahrani’s Goodbye Solo (Lionsgate, $28) sounds like the setup for a student film or a revisit of “Collateral”: in Winston-Salem, North Carolina, a Senegalese cabdriver named Solo (Souléymane Sy Savané), working hard to make money for his family to subsist, picks up a fare, William (Red West), a rough 70-year-old white Southern loner. William proposes a ride to the nearby mountaintop of Blowing Rock in two weeks, where he intends to leap to his death. But Bahrani, as he’s proven in Man Push Cart and Chop Shop, goes beyond cliché, working with and against archetype, showing a genuine drive to understand behavior in its intimate and momentary particulars. Solo befriends William, taking 965567_goodbye-solo.jpghim on taxi rides, hanging out in bars, checking out women. Bahrani’s written that “ultimately Solo must find the courage and strength to love his new friend selflessly in order to help him do something seemingly horrible, or leave him to face it alone.” There is so much about friendship and loneliness and hope and despair in Goodbye Solo, from the very opening when the deal is proposed. The drama that develops between William and Solo—between West and Savané—is nothing short of astonishing. Bahrani observes these two men’s faces and suggests worlds—two small ones, two modest lives, filled with blood and heart and simply alive. It’s a thrill to see performances this accomplished and a film, shot by Michael Simmonds in fine, rough form that lives up to their work and the characters. Bahrani’s sense of both city and mountaintop is also uncommonly expert. With director’s commentary. [DVD trailer below.]

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Indie answers to Jackson

Answers to Jackson

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Take a bite out of Basterds

Food section_697basterd.jpg

A full-page ad from the Dining section of the New York Times, August 16. How many other stealth ads were there skewing toward a potential female audience?

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Georges Clouzout's Slinkies in hell: from L'enfer

The unfinished film, showing at TIFF ’09.

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[500] Days of Summer in five panels


[The other four panels here; click to make larger.]

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Ben Stiller instructs Mickey Rooney on how to use Twitter

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Inglourious alliance: Al Gore presents Basterds


Premieres, premieres everywhere: In Nashville, Al Gore turned out to support Lawrence Bender, who was producer of An Inconvenient Truth. Also: Eli Roth in snappy suit and Mélanie Laurent.
[Photo: Bev Moser via The Weinstein Company.]

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Trailering Michael Moore's Capitalism: A Love Story

CNN (?!) preems. Dig that M.I.A. music cue…

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Quentin Tarantino considers question about Chicago-style deep-dish pizza

Tarantino listens to question about Chicago deep-dish pizza

[AMC River East, Chicago, Inglourious Basterds premiere. Photo: Ray Pride]

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Movie City Indie

Quote Unquotesee all »

“There was somebody from Creative Screenwriting Magazine who was here earlier, and she said ‘Have you got any advice for writers?’ and I said, ‘Yeah, write standing up’. Because this time around, I bought a cheap little stand off Amazon, and I wrote standing up, because it’s slightly uncomfortable – it’s not so uncomfortable that you can’t do it, it’s slightly uncomfortable. And it means you don’t end up going on the internet, basically, because you’re there to do a fucking job. So I’ll write for 25 minutes… then I’ll go and play on the PlayStation for a bit. And I do this all night. I go nocturnal. And then I go back and I’ll write a bit more, and then I go back to the PlayStation, and then I go back… And hopefully by then, I’ll lose track of time and then I’ll be writing for fucking ages, and then there’s a point where you get excited about it. So my advice for writers is always: write standing up, and get Scrivener, and write in 25 minute bursts, and get a PlayStation.”
~ Charlie Brooker

“People used to love to call me a maverick, because I had a big mouth, and I’d say, ‘That bum!’ or something like that when I was young. Mainly, because I believed it, and I didn’t know there was anybody’s pain connected to the business. I was so young, I didn’t feel any pain. I just thought, ‘Why don’t they do some exciting, venturesome things? Why are they just sitting there, doing these dull pictures that have already been done many, many times, and calling them exciting? That’s a lie — they’re not exciting. Exciting is an experiment… That reputation keeps with you, through the years. Once the press calls you a maverick, it stays in their files. I’ll be dead five years, and they’ll still be saying, ‘That maverick son-of-a-bitch, he’s off in Colorado, making a movie.’ As if they really cared. You know, in this business, it’s all jealousy. I mean, this is the dumbest business I’ve ever seen in my life. If somebody gets married, they say, ‘It’ll never work.’ If somebody gets divorced, they say, ‘Good. I’ll give you my lawyer.’ If somebody loses a job, everyone will call him — to gloat. They’ll discuss it, they’ll be happy, they’ll have parties. I don’t understand how people that can see each other all the time, and be friends, can be so happy about each other’s demise.”
~ John Cassavetes


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