Movie City Indie Archive for May, 2010

Dennis Hopper shoots

Untitled 1991 Polaroid.jpg
Selma, Alabama (Full Employment), 1965.jpg
[RIP] Dennis Hopper, Photographer.jpg
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Dennis Hopper was 74: sweet glimpses

“I mean, what are they going to say, man, when he’s gone? Huh? ‘Cos he dies, when it dies, man… when it dies, he dies, what are they going to say about him? What, are they gonna say he was a kind man, he was a wise man, he had plans, he had wisdom, bullshit man, am I gonna be the one that’s gonna set him straight, look at me! Wrong! You.”




Someday this world’s gonna end.
Below: A scene from Wenders’ The American Friend and Hopper at the opening of his recent Taos show.

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Oh, fern!! Trailering Winnebago Man


And it’s sweet…

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IRON BABY

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At the inception of (500) Days Of Fatal Attraction: a teaser


Oh show me the way to the next karaoke bar… or surely we must die, surely we must die.

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Trailering Bruce McDonald's This Movie Is Broken


Written by Don McKellar and featuring Broken Social Scene; shot entirely across one Toronto day. Details.

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Teasering Assayas' Carlos


En français. May roll-out with an ad. Nudity.

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Toby Talbott on the New Yorker Theater at The New School


An older video, but new to me.

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Sounds familiar….

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Twitter parade, from Japan

harch_667.jpgA typo! A link that didn’t work! But now a parade: a way for Twitter users to immediately visualize how many spam accounts are marching in their wake. Insert your Twitter name here. Play loud?

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David Lynch's Lady Blue Shanghai


Marion Cotillard stars in David Lynch’s Shanghai-set contribution to Dior’s ongoing auteur-driven internet promo shorts. The FT’s Nicola Copping writes, “They called me up and said, ‘Would you like to make a short film for the internet? You can do anything you want, you just need to show the handbag, the Pearl Tower and some old Shanghai.’” For Lynch, it is clear the lines will continue to blur. “This falls between a regular film and a commercial. I liked that idea. There are ads and people get hit hard, and then there is this, where it is like coming at it from a different angle.” … It’s the third “Lady Dior” noir shorts, which all feature Cottilard, and began in May 2009 with Lady Noire, directed by La Vie en Rose‘s Olivier Dahan. “Lynch’s Lady Blue is twelve, enigmatic, weird but wonderful minutes crammed with Lynchian leitmotifs – flashing lights, flashbacks and a haunting soundtrack.”

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Chris Markergrams

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One of Chris Marker’s latest projects is breaking Article 9 of the Civil Code by taking taking photographs of other passengers on the Paris Metro. David Thomson says he got The New Republic’s seven-picture portfolio via a mutual friend. “[H]e has been a photographer all his life, and in the last few years he has found a new subject—people on the Paris Metro—shot with a secret camera.” Like Marker’s other photo work dealing with faces and crowds, there’s an empathetic gaze and attention to the found moment; the means raises other questions. Thomson: “When he first started the project, [he] was an elderly gentleman, but still nimble and fit—so he was not often noticed. He may have been 89; he could not always remember… So he used to spend part of his days and nights on the metro. And he had noticed that an elderly gentleman on the metro could sit there with an empty look in his eyes, and under that cover he could gaze upon people and observe them without being detected, or reported as a spy or a Don Juan… [T]he metro… was all silent purpose and bored crusade. These people were all going somewhere. They had a mission, and their loveliness—he thought everyone was lovely in the metro’s white light—was their purpose…” [More prose and six other shots at the link.]

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Movie City Indie

Quote Unquotesee all »

“I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
~ Lauren Milici On “The Final Girl”

“‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
~ Greil Marcus On Michael Jackson