Movie City Indie Archive for June, 2010

Restrepo's Sebastian Junger on the McChrystal matter

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Animating Hitchcock in A McGuffin

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Tilda Swinton's Edinburgh "Laurel & Hardy" flashmob


Just because.

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Oh Canada: and the police advance


This is from a movie, right, not from someone’s window, right? G20, it’s something Belgian, right? Science fiction? Updates at Twitter. Warning: next embed contains sudden violence against a woman with a camera: “muzzle blast,” it’s reportedly called.

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Trailer Jerzy Skolimowski's Essential Killing, with Vincent Gallo


From a 72-year-old director who’s made greats like Deep End and Moonlighting, this looks pleasingly out of left field.

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City in the Garden's got anger in the sky


Chicago’s motto “Urbs in Horto” momentarily “Ira in Divum.”

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Trailering The Social Network


Toggle to “fullscreen” for best results.

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Director-approved: four images from Inception

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Faye Dunaway eats an egg, by Kazumi Kurigami


Bonus: Also for Parco, Gary Numan engages with a prehensile iPad. And Paul Newman goes bird-watching for Maxwell Blendy.

Read the full article »

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Postering Winnebago Man

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Somebody’s done Jack a kindness. [Designer: Kii Arens.]

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Trailering Joel Schumacher's Twelve

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Amir Bar-Lev on The Pat Tillman Story


In the news, considering the involvement of resigned Afghan war commander McChrystal in the aftermath of Tillman’s death.

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The simple style of another "Family Circus"

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It’s not Eno’s Oblique Strategies, but there’s always room for the random wisdom of “Nietzsche Family Circus.”

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Movie City Indie

Quote Unquotesee all »

“I’ve been pleasantly surprised by how many recappers, while clearly over their heads, are baseline sympathetic to finding themselves routinely unmoored, even if that means repeating over and over that this is closer to “avant-garde art” than  normal TV to meet the word count. My feed was busy connecting the dots to Peter Tscherkassky (gas station), Tony Conrad (the giant staring at feedback of what we’ve just seen), Pat O’Neill (bombs away) et al., and this is all apposite — visual and conceptual thinking along possibly inadvertent parallel lines. If recappers can’t find those exact reference points to latch onto, that speaks less to willful ignorance than to how unfortunately severed experimental film is from nearly all mainstream discussions of film because it’s generally hard to see outside of privileged contexts (fests, academia, the secret knowledge of a self-preserving circle working with a very finite set of resources and publicity access to the larger world); resources/capital/access/etc. So I won’t assign demerits for willful incuriosity, even if some recappers are reduced, in some unpleasantly condescending/bluffing cases, to dismissing this as a “student film” — because presumably experimentation is something the seasoned artist gets out of their system in maturity, following the George Lucas Model of graduating from Bruce Conner visuals to Lawrence Kasdan’s screenwriting.”
~ Vadim Rizov Goes For It, A Bit

“On the first ‘Twin Peaks,’ doing TV was like going from a mansion to a hut. But the arthouses are gone now, so cable television is a godsend — they’re the new art houses. You’ve got tons of freedom to do the work you want to do on TV, but there is a restriction in terms of picture and sound. The range of television is restricted. It’s hard for the power and the glory to come through. In other words, you can have things in a theater much louder and also much quieter. With TV, the quieter things have to be louder and the louder things have to be quieter, so you have less dynamics. The picture quality — it’s fine if you have a giant television with a good speaker system, but a lot of people will watch this on their laptops or whatever, so the picture and the sound are going to suffer big time. Optimally, people should be watching TV in a dark room with no disturbances and with as big and good a picture as possible and with as great sound as possible.”
~ David Lynch