Movie City Indie Archive for August, 2009

Helen Keller 1930 Vitaphone newsreel

Those eyes.

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Trailering Nicholas Winding Refn's Bronson

The cost of "free": how can films keep being financed?

Brian Newman, former CEO of the Tribeca Film Institute, ponders: “With the ease of “frictionless” access to media online, how will any production costs be paid for? “The Internet is a super-distribution machine that allows copies of digital media to flow in an almost frictionless way. As the wealth and survival of traditional media businesses are built on selling precious copies, the free flow of free copies is undermining the established order. If reproductions of media are free, how can we keep on financing films and how can we find value in the media we create and sell?”


Indie is interviewing


Trailering Jared Hess' Gentlemen Broncos

Polish poster for All That Jazz


Free-associating through search engines and websites for a particular European film poster gave no joy but this Polish poster for Bob Fosse’s All That Jazz? It’s the movie, with a little less Jessica Lange, a little less open-heart. Story goes Polish illustrators almost never saw the movies before making the posters, which may be a good thing, especially in a fine case like this.

While I Was Away…

Wow. 350,000+ views in seven days. Word gets around… If you haven’t seen it, you may have feared it. By Toronto writer Jay David.

Hope and Vachon continue the indie conversation with Rockwell and Giamatti

I’ve been late posting anything about this series of short videos, but producers Ted Hope and Christine Vachon’s conversations about what-is-indie are nice’n’chewy.

Cart: The Film, by Jesse Rosten

Cart – The Film by Jesse Rosten on Vimeo.

Ever wonder how abandoned shopping carts end up where they do?

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Trailering Lemonade: when ad jobs go dry

From director Mark Colucci and writer Erik Proulx, an upcoming feature interviewing former advertising hotshots. From the website: “More than 70,000 advertising professionals have lost their jobs in this “Great Recession.” Lemonade is about what happens when people who were once paid to be creative in advertising are forced to be creative with their own lives.”

A midday smoke break with a colleague

There’s copyright and there’s courtesy and there’s blogging: if you’ve happened across a clumsily cropped version of this unguarded portrait (it’s not posed) of Movieline’s S. T. VanAirsdale from Sundance 2009 on any film websites, I’ll just note it’s mine and everywhere I’ve posted it, the sites have copyright notices. A link back or a credit are always appreciated—that’s the ideal of publishing and sharing work on the internet—but then again, there is the occasional blogger who compulsively cuts-and-pastes hundreds of words from the work of others far beyond legal and moral notions of “fair use,” making even the occasionally proffered link superfluous. It’s hardly worth complaining.

Alfred Hitchcock is 110


Indie is screening and screenering


A view of the nine-eyed perspective of Google Street View


Montreal artist Jon Rafman talks about his collection of remarkable images found while tooling along the byways of Google Street View: “One year ago, I started collecting screen captures of Google Street Views from a range of Street View blogs and through my own hunting. This essay illustrates how my Street View collections reflect the excitement of exploring this new, virtual world. The world captured by Google appears to be more truthful and more transparent because of the weight accorded to external reality, the perception of a neutral, unbiased recording, and even the vastness of the project. At the same time, I acknowledge that this way of photographing creates a cultural text like any other, a structured and structuring space whose codes and meaning the artist and the curator of the images can assist in constructing or deciphering.” [Essay here.]

Movie City Indie

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“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