Movie City Indie Archive for September, 2010

RIP Sidney Falco

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RIP Josephine; Bernard Schwartz; Tony Curtis

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RIP Joe Mantell: “Forget It, Jake…”

A perfect line and a perfect line reading. Still stellar even in a snip from a trailer.

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Teasing Athina Rachel Tsangari’s ATTENBERG (nudity)

From a co-producer of Yorgos Lanthimos’ Dogtooth; impressive word from Toronto-goers like Daniel Kasman. Haven’t seen Dogtooth? The Greek theatrical release trailer is below.
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Arthur Penn Was 88

Born September 27, 1922; Died September 28, 1922. The still, from Mickey One (1964), belies the film’s mood. Below, the opening five minutes, as shot by in ominous, lovely black-and-white by Ghislain Cloquet. It may have been his most eccentric enterprise, aside from Penn And Teller Get Killed.

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This Is That Not All That There

Shuttering the brick-‘n’-mortar offices of This Is That Productions, Ted Hope email blasts 6,000 colleagues and acquaintances with a little William Carlos Williams-styled enjambment… also parsed out via Twitter: “Email blasted my poem in homage to WCW eating the plums on my change of address & the impossibility of keeping TITofc open. Whew… I never thought it was surprising that the company could have the #1 film in USA & still not afford to keep ofc open… If i could buy one book on financing indie film @KTFfilms And on investmt structure it would be Das Kapital or Shoot to Kill… Why do people think negative when you say you are leaving the physical world and will continue to strive virtually?…. Fire sale: Mac OS X Serve v10.5 Purchased in march 2009 best offer over $1000 DM me”

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R.I.P. Sally Menke

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Sundance Channel Promos CARLOS

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Chicago International Film Festival Turns 46

kutza

The Chicago International Film Festival turns 46. It’s been founder Michael Kutza’s baby since its inception. “North America’s oldest competitive film festival” runs October 7-21. The schedule was announced September 21 at Lucky Strike Lanes, a floor below the AMC River East 21, the downtown multiplex where all festival films are shown. Some notable titles arrive from other festivals, including the Palme d’or-winning Uncle Boonmee Who Can Remember His Past Lives, by School of the Art Institute alum Apichatpong Weerasethakul. [Photo: Ray Pride]

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Opening Night, 7th Reykjavik Int’l Film Festival

A quirky festival in a fascinating land: I attended last year’s sixth Reykjavik International Film Festival, and just got the press release from Friday night’s opening of the seventh: “The seventh edition of the Reykjavik International Film Festival was officially declared open by Jón Gnarr, the Mayor of Reykjavik, at the Festival’s opening party on Thursday evening. The party, attended by a host of Iceland’s film, stage and television personalities including Oscar Nominee Fridrik Thor Fridriksson (Best Foreign Language Film, Children Of Nature, 1991), took place at the National Theatre building which is more accustomed to hosting stage plays than film screenings, obviously. However, the architect Gudjon Samuelsson designed the grand theatre early in the 20th Century also to be suitable as a film screening room, albeit a very grand one.

“And that was only too fitting, as the National Theatre did very well in hosting the screening of the opening film of RIFF 2010, Cyrus, which is presented in the Special Presentations category and directed by Jay and Mark Duplass, was met with several fits of belly laughter as well as repeated nods of approval, and a rapturous applause when the lights came back on. The comic relief was met with welcoming spirits after a rather acidic “Festival Splash” opening speech where veteran film producer Thor Sigurjonsson took the opportunity to lash out at the Icelandic government’s plans to cut down grants to film and tv production.

“But spirits were high, happy and optimistic in the party after the screening, where copious amounts of champagne were washed down with greetings and congratulations regarding the happy days ahead. After all, RIFF has only just begun and it promises to be a feast of fine, fresh cinema as always. We’ll see you when the lights are switched on again.” [Photos: HAG]
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Postering CARLOS

Paging Sidney Lumet… Sidney Lumet to the courtesy phone, please.

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Promo Item Of The Day: Never Let Me Go Naked

If you’ve seen the film, the postmark is ominous and comic: “National Donor Programme.”

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David Byrne On The Wall Street Soundtrack

Via David Byrne’s mailing list, notes on his substantial contribution to Oliver Stone’s latest. “On Friday, the movie Wall Street: Money Never Sleeps comes out, and I’m all over the soundtrack! Oliver Stone’s film recreates scenes from the bank collapses and bailouts, and the attendant shenanigans of a couple of years ago… and of course Gekko is back. Stone approached me about music a while back, and I met him at an office and gave him a pile of records. He ended up mainly using a lot of songs from my recent collaboration with Brian Eno (“Everything That Happens Will Happen Today”), a few songs from recent solo and dance score records, and a reprise of “This Must Be The Place,” the Talking Heads song that was used in the first Wall Street movie. It was almost like I’d scored the picture. Stone was super accommodating – inviting me numerous times to view rough assemblies to be sure I was OK with how the music was being used. This is pretty unusual; most times licensing a song for a movie is a bureaucratic formality, and the artist is never invited into the process. That said, I’ve only turned down movie song use once or twice for aesthetic reasons – if I thought a scene made unfortunate associations with a song. If you’ve got these recordings already, this all won’t mean anything to you, but if not, and if you see the movie and wonder, what was that music? – here is your answer. The music, along with some score pieces by fellow Scot Craig Armstrong, is available today on iTunes, and via all the usual download and online outlets.” (Info.)

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Ariel Schulman, Co-Director, CATFISH

Ariel Schulman

Elysian Hotel, Chicago, 20 September 2010.

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Flinging Into The Fall Film Season

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Movie City Indie

Quote Unquotesee all »

“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas