Movie City Indie Archive for October, 2009

The Girl and her Cat, Lumière brothers

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The Serpentine Dance (1899), Lumière brothers

2012 or 2009?

“Film director, motion graphics designer and Art Center College of Design alumnus, Theo Alexopoulos, takes you on a visceral journey through the USGS ShakeOut Earthquake Scenario.” Nice work, dude. I can say that from thousands of miles away.

Gay Talese on getting drunk at the New York Times

2012 roadblock

In short, “Spinning toycars convulsive tectonic infarction amandapeet teeth pudgycusack 911-2012 freefloating anxiety”

Two October photo shows: "Far. And Near."

Far. And Near.

Two photo shows start this weekend in Chicago: a selection of Chicago scenes by night [left], “Far” and smaller, more intimate portraits, including Michel Gondry, Emir Kusturica and Quentin Tarantino’s mouth, “Near.” Details including addresses, etc. at Far. And Near. [Larger image here.]

Mike Royko's 1987 Chicago Tribune commercial: "A great city deserves a great newspaper"

Movies that won’t be made, stories that will be embroidered, characters not to be repeated. Wouldn’t it be great to read 800 words a day, five days a week from Royko, about Chicago’s grasp for Olympics 2016? Below: Scott Jacobs’ 1982 short interview, Royko at the Goat.

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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