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Movie City Indie Archive for August, 2010

Red light

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Blue light

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Kono dezain wa arimasu ka?!

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The Maysles Brothers' Salesman is on Hulu

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Something from Somewhere


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The last words of Satoshi Kon


A dying artist’s last written thoughts. Excerpt: “Because of the visits by Maruyama-san and my parents, I feel as though I’ve taken a big burden off my shoulders. Lastly, to my wife, about whom I worry the most, but who has been my support until the end. Since that time-left pronouncement, we drowned ourselves in tears together so many times. Every day was brutal for both of us, physically and mentally. There are almost no words for it. But the reason why I was able to survive those difficult days was because of the words that you said to me right after we received the news.
“I’ll be at your side [run with you] until the end.”
True to those words, as though you were leaving my worries in the dust, you skillfully directed the demands and requests that came rushing towards us like a landslide, and quickly learned how to take care of your husband. I was so moved, watching you deal with things so efficiently.
“My wife is awesome.”
No need to keep saying that now, you say? No no. You are even more awesome now than you ever were – I truly feel this. Even after I have died, I believe that you will send Satoshi Kon to the next world with grace. Ever since we got married, I was so wrapped up in “Work, work” that I was only able to spend some time at home after the cancer – such a shame. But you stood close to me, you always understood that I needed to immerse myself in my work, that my talent was there. Thank you.” [More at the link.]

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Tweets of the day, from filmmaker Alejandro Adams

“I get tired of the abundant congratulation of economy in filmmaking. It is a medium of excess, indulgence, profligacy. I want to die of it… When books express awe at how conscientious a director was

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The opening credits of the late Satoshi Kon's Paprika

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Trailering 127 Hours




I do like that pullback upwards, the last proper shot of the until-then sunny trailer for Danny Boyle’s newest.

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"Scott Pilgrim vs. The Matrix"


Mmm… whoa?

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AWE. Some. John Boorman’s "The Matrix"


Walter Hill’s “The Dark Tower: The Gunslinger” with Clint Eastwood. Stop! 20 beauties in all here

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It's called… "Inebriation"

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The Last Chatroulette


Born for each other!

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Movie City Indie

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Quote Unquotesee all »

“Chad Harbach spent ten years writing his novel. It was his avocation, for which he was paid nothing, with no guarantee he’d ever be paid anything, while he supported himself doing freelance work, for which I don’t think he ever made $30,000 a year. I sold his book for an advance that equated to $65,000 a year—before taxes and commission—for each of the years of work he’d put in. The law schools in this country churn out first-year associates at white-shoe firms that pay them $250,000 a year, when they’re twenty-five years of age, to sit at a desk doing meaningless bullshit to grease the wheels of the corporatocracy, and people get upset about an excellent author getting $65,000 a year? Give me a fucking break.”
~ Book Agent Chris Parris-Lamb On The State Of The Publishing Industry

INTERVIEWER
Do you think this anxiety of yours has something to do with being a woman? Do you have to work harder than a male writer, just to create work that isn’t dismissed as being “for women”? Is there a difference between male and female writing?

FERRANTE
I’ll answer with my own story. As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me. That phase ended after a couple of years. At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them. I devoured books at that age, and there’s no getting around it, my models were masculine. So even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men. I didn’t want to write like Madame de La Fayette or Jane Austen or the Brontës—at the time I knew very little about contemporary literature—but like Defoe or Fielding or Flaubert or Tolstoy or Dostoyevsky or even Hugo. While the models offered by women novelists were few and seemed to me for the most part thin, those of male novelists were numerous and almost always dazzling. That phase lasted a long time, until I was in my early twenties, and it left profound effects.
~ Elena Ferrante, Paris Review Art Of Fiction No. 228

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