Movie City Indie Archive for September, 2010

Trailering Trigger

“Good night, Edmonton!” This looks bittersweet, to say the least. The late Tracy Wright and Molly Parker in Bruce McDonald’s shot-in-nine-days Trigger. Wright’s so-pleased smile in the reaction shot of the first vignette is classic even in 60-second form. (Background.)

Vive Chabrol!

Jack Rebney, Seen Skulking In Chicago

Winnebago Man has a week run at Siskel, starting October 15. Jack keeps an eye out for a kindness.

A third promo for LET ME IN

The “Newly Revised Edition” of “Romeo & Juliet”? So this remake hopes. Plus, “Now and Later,” always preferred over blood funnels in evidence bags.


Embedding aggravations, so all to offer is a link. Can Mark Lee Ping-Bin do no ill?

Oscar-Winning Logorama’s Online, Legally


Philip Seymour Hoffman, John Ortiz Promoting JACK GOES BOATING

John Ortiz, Philip Seymour Hoffman

The Press Kit For Never Let Me Go

A fake 1970s audiocassette… Inside the shell, a 2GB flash drive containing the press kit.


Movie City Indie

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch