Movie City Indie Archive for March, 2010

Rodarte X Maggie Cheung, by Wing Shya


Wing Shyahas been a photographer on Wong Kar-Wai’s films. There’s lovely stuff at the link. Music by Peter Kam.

Diesel takes Godard shopping


While Hal Hartley gently weeps. From the YouTube link: “This is a new campaign from Diesel called “A Hundred Lovers” and mixes a cool brand video with a unique shopping experience as part of the larger “be stupid” work on the new Diesel Website.”

Postering $9.99

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By Jeremy Saunders.

Butterfly swarms still threaten civilization

Eva Markvoort, subject of 65_Redroses, was 25

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[Yung Chang, Nimisha Mukerji, Philip Lyall, Eva Markvoort, HotDocs 2009]
65_RedRoses’ Eva Markvoort has died. “A New Westminster woman who became a celebrated cystic fibrosis campaigner died in her Vancouver General Hospital bed of the disease on Saturday (March 27) morning. She was 25. Markvoort was diagnosed with cystic fibrosis as a baby. The former Miss New Westminster and University of Victoria theatre student received a double lung transplant in 2007, but her body wouldn’t accept the donated organs. She was awaiting a second donation when she died. Markvoort brought worldwide attention to the disease while encouraging people to become organ donors through her online journal, 65 Red Roses—a name chosen for how she would mispronounce “cystic fibrosis” as a toddler—as well as an award-winning documentary of the same name made by Vancouver filmmakers Nimisha Mukerji and Philip Lyall. Two days before she died, she wrote in her blog that she was “supersaturated” with drugs and that her doctors were going to try taking her off some of them to see how she would manage. Her final words in a blog post were: “and i am not managing, not managing at all. i’m drowning in the medications. i can’t breathe. every hour, once an hour, i can’t breathe. something has to change.”

Markvoort’s last video. Her LiveJournal. Below: the trailer for the fiercely moving, intimate documentary.

HBO's 15-minute "Making of 'Treme'"

Dennis Hopper on "Bad Things" (Nike Comm'l)

Dennis Hopper on collecting art


Directed and Produced by Kimberly M. Wang.

Crediting Noe's Enter the Void


[Via Scott Macaulay.]

Tron vs. Saul Bass


By Hexagonall.

[PR] Composer John Barry to be honored at Ghent Film Festival

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John Barry to receive the Lifetime Achievement Award at 10th anniversary of World Soundtrack Academy
(Ghent, Belgium) On October 21, 2010 the music of four-time Oscar winner, John Barry will be performed live in concert at the Ghent International Film Festival.The 80 -iece Brussels Philharmonic will perform selections from Barry’s scores including Goldfinger, Mary Queen of Scots, Out of Africa, Dances with Wolves and Midnight Cowboy, conducted by Nicholas Dodd. The concert will be accompanied by a video presentation of film clips. With the John Barry concert, the Ghent Film Festival will be continuing its tradition of showcasing memorable, award-winning film music in the form of live concerts. Previous editions have featured Ennio Morricone, Maurice Jarre, Elmer Bernstein, Hans Zimmer, Howard Shore and Alexandre Desplat. Go here for more information.

The Internet, seen from 1969


Prescient! [Via Kottke.]

"Unloveable": Johnny Depp directs a video


A little bit “An Occurence At Owl Creek Bridge”…

Trailering David Simon's "Treme"

[PR] Oscar's moving back to February

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Key Dates Announced for 83rd Academy Awards®
Beverly Hills, CA (March 25, 2010) — The 83rd Annual Academy Awards will be presented on Sunday, February 27, 2011, Academy President Tom Sherak announced today. The ceremony will again take place at the Kodak Theatre at Hollywood & Highland Center® in Hollywood, and will be televised live by the ABC Television Network. Key dates currently scheduled are:

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This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.

“One of the fun things about seeing the new Quentin Tarantino film three months early in Cannes (did I mention this?) is that I know exactly why it’s going to make some people furious, and thus I have time to steel myself for the takes.

Back in July 2017, when it was revealed that Tarantino’s next project was connected to the Manson Family murders, it was condemned in some quarters as an insulting and exploitative stunt. We usually require at least a fig-leaf of compassion for the victims in true-crime adaptations, and even Tarantino partisans like myself – I don’t think he’s made a bad film yet – found ourselves wondering how he might square his more outré stylistic impulses with the depiction of a real mass murder in which five people and one unborn child lost their lives.

After all, it’s one thing to slice off with gusto a fictional policeman’s ear; it’s quite another to linger over the gory details of a massacre that took place within living memory, and which still carries a dread historical significance.

In her essay The White Album, Joan Didion wrote: “Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the murders on Cielo Drive traveled like brushfire through the community, and in a sense this is true.”

Early in Once Upon a Time in Hollywood, as Leonardo DiCaprio and Brad Pitt’s characters drive up the hill towards Leo’s bachelor pad, the camera cranes up gently to reveal a street sign: Cielo Drive. Tarantino understands how charged that name is; he can hear the Molotov cocktails clinking as he shoulders the crate.

As you may have read in the reviews from Cannes, much of the film is taken up with following DiCaprio and Pitt’s characters – a fading TV actor and his long-serving stunt double – as they amusingly go about their lives in Los Angeles, while Margot Robbie’s Sharon Tate is a relatively minor presence. But the spectre of the murders is just over the horizon, and when the night of the 9th finally arrives, you feel the mood in the cinema shift.

No spoilers whatsoever about what transpires on screen. But in the audience, as it became clear how Tarantino was going to handle this extraordinarily loaded moment, the room soured and split, like a pan of cream left too long on the hob. I craned in, amazed, but felt the person beside me recoil in either dismay or disgust.

Two weeks on, I’m convinced that the scene is the boldest and most graphically violent of Tarantino’s career – I had to shield my eyes at one point, found myself involuntarily groaning “oh no” at another – and a dead cert for the most controversial. People will be outraged by it, and with good reason. But in a strange and brilliant way, it takes Didion’s death-of-the-Sixties observation and pushes it through a hellfire-hot catharsis.

Hollywood summoned up this horror, the film seems to be saying, and now it’s Hollywood’s turn to exorcise it. I can’t wait until the release in August, when we can finally talk about why.

~ Robbie Collin