Movie City Indie Archive for April, 2010

A personable Robert Towne vs. eccentric interviewer

Sometimes you don’t want to see how the other guy does it. I think the interview is supposed to be about screenwriting. Note: the interview was not done for Set Design magazine.

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Ash land: Sigur Rós' "Untitled #1 (Vaka)"

1970s Icelandic volcanic eruption footage

… and what became of a small village, in 3:25.

RED introduces its Epic and Scarlet cameras

Well. Goodness. That is attractive.

"The Endless Night: A Valentine to Film Noir"

Six minutes. By Ruby Tuesday 717.

Previewing Alex Gibney's untitled Eliot Spitzer doc

"Kubrick before Kubrick" in Milan

Kubrick shoeshine boy.jpg
El Pais has four photos from a show of about 300 early Kubrick photographs. The slideshow is here. The article’s in Spanish, but here’s the Google translation. The show is at Palazzo della Ragione, 16 April-4 July. 20 photos here, if you click on the small photo top left.

Bill Forsyth saunters through his career

He’ll be talking Housekeeping at Film Forum Thursday night. Below: BBC’s Mark Kermode and Forsyth take a spin ’round Local Hero.

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Trailering Mr. Brainwash's Life Remote Control

Rough draft for Banksy’s Exit Through The Gift Shop? Just another flavor in the blender… [Via @erickohn.]

"Florida is being attacked by giant fish with teeth": trailering Mega-Pirahna

About time they did. From the notorious knock-off artistes, The Asylum.

Alexandre Desplat on working with Terrence Malick on Tree of Life

Malick’s latest feature is almost certain to premiere at Cannes. From November’s Thessaloniki International Film Festival’s 50th edition, composer Alexandre Desplat talks about working with him.

Trailering The Kids Are All Right

Releases July 2010.

3 films by Jeremy Blake

Here. Wiki: “A graduate of the California Institute of the Arts, he was selected for the Whitney Biennial in 2000, 2002 and 2004. His “Winchester” series, inspired by the story of Sarah Winchester and the Winchester Mystery House, was shown at the San Francisco Museum of Modern Art in 2005. Blake also created the painted abstract hallucination scenes in the 2002 Paul Thomas Anderson film Punch Drunk Love, and contributed artwork and video for Beck’s album Sea Change. Blake was also involved in creating and commissioning a soundtrack album called The Forty Million Dollar Beatnik with Neil Landstrumm and Mike Fellows in 2000 on Scandinavia Records and Pork Salad Press to accompany an LA drawings/script show by Blake of the same title.”

Fassbinder on the future

From Wenders’ Chambre 666.

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