Movie City Indie Archive for July, 2010

Postering Enter The Void

All the information that’s in the eye-punching credit sequence… in sixty seconds.

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Markets of Britain, a short film by Lee Titt

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Trailering Mao's Last Dancer

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Maury Chaykin with Jian Ghomeshi, April 2010


He comes across as such a sweet man.

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Maury Chaykin in War Games

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Trailering Happy People, narration/narrated by Werner Herzog


… just not in the trailer.

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David Brooks' "magic green jacket"

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Now that’s an in-joke: who inside nytimes.com made this “mistake”? The correct photo is likely in place now on the original page.

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Rating of the week: Countdown to Zero

“Rated PG for heavy foreboding, images of devastation.”

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Comic-Con carne: Robert Rodriquez wants to serve you tacos…

tacotaco_45678.jpg… if you’re in San Diego. As the p.r. has it: “Robert Rodriguez and the cast of his new film, MACHETE, will be serving tacos at the MACHETE Taco Truck before showing Exclusive Footage from the film at 9 PM. This event is open to the public. The invitation below has information about where it will be taking place. It can be redeemed for a free taco!”

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Christopher Nolan's Doodlebug (1997)


Hint: it’s all in his head. From the Cinema 16 shorts series.

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Picturing unknown Brando

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Sixty years ago today Marlon Brando’s first feature, The Men, was released. LIFE’s published a gallery of the “the brilliant brat,” from which these are drawn, here.
“Accompanying Ed Clark’s images in LIFE’s archives were meticulous notes about Brando written by Theodore Strauss, who would ultimately write the magazine’s 1950 profile coinciding with the release of The Men. Strauss details every quirk of the actor: what he wore, how he ate, what he read, how he shunned any sort of red carpet that might have been laid out for him when he came to town. “Stanley Kramer, producer of The Men, had intended on putting Brando in a good hotel, but Brando would have none of it,” Strauss writes. “First of all he insisted on living with the paraplegics in Birmingham Veterans Hospital during the four weeks before production began. This, he felt, was necessary to giving a completely knowledgeable and valid performance in his role. At the hospital he was given a bed in a 32-bed ward, where he was treated almost like any other patient.” Pictured: On the grounds of the hospital, Brando attempts to tip back and balance his wheelchair.” First photo: Margaret Bourke-White. Second, Credit: Edward Clark/TIME & LIFE Pictures

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Trailering Chris Nolan's Following reissue on VOD


From the press release: “IFC Films is proud to present Christopher Nolan’s debut feature film, FOLLOWING, available nationwide on demand. A fascinating introduction to the talent and vision of a filmmaker who is fast becoming one of the major American directors of our time, FOLLOWING originally debuted in 1998, and enjoyed a quick succession of Festival prizes and wild critical acclaim. The film is a sly neo-noir thriller which follows a writer who picks out strangers at random from the crowded streets of London shadows them see where they go, how they spend their days. FOLLOWING features the innovative blend of high-minded style and genre elements that Nolan has now made his trademark. The film will enjoy a three month period of availability on demand via cable providers Comcast, Cox, Cablevision, Time Warner, Bright House, Charter and Insight.”

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Trailering Schnabel's Miral

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Inception, based upon an idea by Andy Warhol

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Trailering The Social Network

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Movie City Indie

Quote Unquotesee all »

“I’m an ardent consumer of Fassbinder. Years ago, when I heard that he was a big admirer of Douglas Sirk, I went straight to the source — to the buffet Fassbinder dined out on — and found that there was plenty more. And what palettes! I love the look of Fassbinder movies. Some of them are also hideous in a way that’s really exciting. When you go to Sirk, it’s more standardized. The movies produced by Ross Hunter — those really lush, Technicolor ones. I know Sirk was a painter and considered himself a painter first for a long time. He really knew how to work his palettes and worked closely with whatever art director he had. I was a guest speaker for the Technicolor series at TIFF Bell Lightbox and we screened Magnificent Obsession. To prepare for that, I watched the movie with a pen and paper. I wroteto down the names of the palettes. Soon, I realized those general color terms weren’t good enough. I used to be a house painter and I remembered the great names of the 10,000 different colors you could get in a paint chip book. So, I started to try to name the colors. Sirk used 100 different off-whites, especially in the surgery scenes in Magnificent Obsession!”
~ Guy Maddin On Sirk And Fassbinder

“I’ve never been lumped in with other female directors. If anything, I’ve been compared way too much to male filmmakers whom I have little to nothing in common with except visual style. It’s true that women’s filmmaking is incredibly diverse, but I am personally interested in how female consciousness might shape artwork differently, especially in the way female characters are constructed. So I actually would encourage people to try to group women’s films together to see if there are any threads that connect them, and to try to create a sort of canon of women’s films that critics can talk about as women’s films. One reason I want to be thought of as a female filmmaker is that my work can only be understood in that context. So many critics want to see my work as a pastiche of films that men have created. When they do that, they deny the fact that I am creating my own world, something completely original. Women are so often thought of as being unable to make meaning. So they are allowed to copy what men make—to make a pastiche out of what men have created—but not to create original work. My work comes from a place of being female, and rewrites film genres from that place. So it’s essential for me to be placed into a history of female-feminist art-making practice, otherwise it’s taking the work completely out of context.”
~ Love Witch Writer-Designer-Director Anna Biller