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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

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Quote Unquotesee all »

“The core fear is what can happen to you, personally. Your body. That’s what horror films deal with, precisely. We are a very thin skin wrapped around a pumping heart and guts. At any given moment it can come down to that, be it diseases, or somebody’s assault, or war, or a car wreck. You could be reduced to the simple laws of physics and your body’s vulnerability. The edged weapon is the penultimate weapon to disclose that reality to you.”
~ Wes Craven, 1996, promoting Scream

MAMET
Well, that, to me, is always the trick of dramaturgy; theoretically, perfectly, what one wants to do is put the protagonist and the audience in exactly the same position. The main question in drama, the way I was taught, is always what does the protagonist want. That’s what drama is. It comes down to that. It’s not about theme, it’s not about ideas, it’s not about setting, but what the protagonist wants. What gives rise to the drama, what is the precipitating event, and how, at the end of the play, do we see that event culminated? Do we see the protagonist’s wishes fulfilled or absolutely frustrated? That’s the structure of drama. You break it down into three acts.

INTERVIEWER
Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

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