Movie City Indie Archive for October, 2009

Yes… feeding squirrel-like kitten with chopsticks

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Good days? Bad days? Good days.



Week later, two million views, still a classic.

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Charles and Ray Eames' Polaroid SX-70 promo film



Technology arrives…

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Out of the box: Richard Kelly's 1996 The Goodbye Place

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VIFF 2009 trailers: Sexuality and Subtitles



Vancouver’s fest trailers are always pretty swell.

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Picturing Chicago International Film Festival 45 award ceremonies

The Chicago International Film Festival’s 45th edition runs through Thursday, but juried awards were handed out Saturday night at the Pump Room of the Ambassador East Hotel. In the International Feature Film Competition, three prizes went to Tina Mabry’s Mississippi Damned, a Gold Hugo for Best Film, a Gold Plaque for Best Supporting Acress to Jossie Harris Thacker and another GP for Mabry’s screenplay. Andrea Arnold’s Fish Tank took a Silver Hugo Special Jury Award for “esthetic boldness” along with a GP for Michael Fassbender for Best Supporting Actor. Vincere took Silver Hugos for Marco Bellocchio as Best Director, Giovanna Mezzogiorno as Best Actress and Filippo Timi for Best Actor, along with a Gold Plaque for Best Cinematography, Daniele Cipri. Hipsters took a Gold Plaque for Best Art Direction. Only a handful of winners were present: the Mississippi Damned crew was happy to be there. New Directors and Short Film nods listed in the festival press release after the jump, along with video (below) of Martin Landau accepting an Achievement Award in the Chicago hotel where North by Northwest was shot. [Ray Pride.]
John Russell Taylor's 39th Chicago International Film Festival


This is critic John Russell Taylor’s 39th consecutive CIFF, he says.


David Robinson

David Robinson served on the documentary jury.

Bruce Webb, director, The Be All And End ALL

Bruce Webb directed competition entry The Be All And End All.

Martin Landau

Martin Landau says the film industry has changed in 50 years.

Bisset signs

A scrum of autograph hunters outside the hotel sought a signature from jury president Jacqueline Bissett.


Remarks

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An hour of Hitchcock on the "Tomorrow" show



The wavy rainbows when the VHS recorder was restarted after commercial are a nice throwback as well. The other embeds are below on a single page. Via @Ebertchicago. And here’s sixteen or so hours for your iPod: the complete recordings of the Hitchcock-Truffaut interviews.

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Für Falcon: A fictional, non-hoax balloon ride gone wrong



Roger Michel’s beautifully edited opening scene of Enduring Love, dubbed in German, but it still looks swell.

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Trailering Edge of Darkness

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Oscar's got 65 foreign-language contenders

Sez the Academy:
Albania, “Alive!,” Artan Minarolli, director;
Argentina, “El Secreto de Sus Ojos,” Juan Jose Campanella, director;
Armenia, “Autumn of the Magician,” Rouben Kevorkov and Vaheh Kevorkov, directors;
Australia, “Samson & Delilah,” Warwick Thornton, director;
Austria, “For a Moment Freedom,” Arash T. Riahi, director;
Bangladesh, “Beyond the Circle,” Golam Rabbany Biplob, director;
Belgium, “The Misfortunates,” Felix van Groeningen, director;
Bolivia, “Zona Sur,” Juan Carlos Valdivia, director;
Bosnia and Herzegovina, “Nightguards,” Namik Kabil, director;
Brazil, “Time of Fear,” Sergio Rezende, director;
Bulgaria, “The World Is Big and Salvation Lurks around the Corner,” Stephan Komandarev, director;
oscahs2010.jpgCanada, “I Killed My Mother,” Xavier Dolan, director;
Chile, “Dawson, Isla 10,” Miguel Littin, director;
China, “Forever Enthralled,” Chen Kaige, director;
Colombia, “The Wind Journeys,” Ciro Guerra, director;
Croatia, “Donkey,” Antonio Nuic, director;
Cuba, “Fallen Gods,” Ernesto Daranas, director;
Czech Republic, “Protektor,” Marek Najbrt, director;
Denmark, “Terribly Happy,” Henrik Ruben Genz, director;

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#chaosreigns: IFC embraces viral goofing for Antichrist

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IFC’s circulating the link to Peter Debruge’s The Satanic Mr. Fox mashup: a warning that there’s footage from the thus-far most notorious scene from Antichrist. (But not involving human mutilation.) Here’s the YouTube link.

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John Woo at U.S. premiere of Red Cliff at Chicago International Film Festival

John Woo
John Woo screened


Woo was late to a pre-premiere reception; journalists traded Hong Kong gangster film scenarios for the director’s non-appearance.

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Movie City Indie

Quote Unquotesee all »

“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

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas