Movie City Indie Archive for November, 2010


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Julia Roberts Goes Lavazza


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Chris Morris introduces FOUR LIONS

Clever lad!

[Via Alamo Drafthouse’s Bad-Ass Digest. The UK trailer is below.]
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Peter Greenaway Minces No Words

Peter Greenway, from a New York Observer Q&A by Alexandra Peers on the occasion of his multimedia recreation of Da Vinci’s “Last Supper” in New York: “There’s a phrase that says that to the young, there is no painting before Jackson Pollock and no cinema before Quentin Tarantino. I’m addressing questions of visual literacy. I take a missionary stance. I sincerely believe most people are visually illiterate. They do not know what they are looking at… Cinema is now wasted. Scorsese still makes the same film as Griffith’s.”

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French Cinematheque Takes Rivette’s Complete Archive

The French Cinematheque has Jacques Rivette’s complete archives. This image of Anna Karina from The Nun? Nice start!

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“It Gets Better, Love, Pixar”

8,070 likes, 176 dislikes: dare we dip into the YouTube comments?

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Spammers Leave Lagos, Stalk Soho!

The spammers have left Lagos and now they’re stalking Soho! The slightly eccentric first sample I’ve seen of Hollywood-centric email spam.

20th Century Fox
Twentieth Century House
31-32 Soho Square


The Twentieth Century-Fox Film Corporation was founded as the result of a merger of two entities, Fox Film Corporation founded by William Fox, and Twentieth Century Pictures, founded by Darryl F. Zanuck.

We are pleased to inform you of the result of the just concluded 2010 final draws of 20th Century Fox 100th Anniversary promo. 20th Century Fox 100th anniversary promo was conducted from an exclusive list of e-mail addresses of individual and corporate bodies. The selection process was carried out through random selection in our computerized email selection machine from a database of over 2,500,000 email addresses drawn from all the continents of the world. Emails were provided by the entire register domain. Read the full article »

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Chris Petit On Excavating The Present

Critic-filmmaker-novelist Chris Petit talks about the changes in production and perception since Radio On in 1979 and Content thirty years later. [Some notes on Radio On here.] Driving is a constant, tracing “the stone dream” of highways, in a phrase Petit cites from J. G. Ballard. And in trusting to find the film within all the… content.

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Preview: Ophuls’ Hotel Terminus: The Life And Times Of Klaus Barbie

While news figures are bandying “Nazis… Nazi… Nazism” around, Marcel Ophuls’ Hotel Terminus: The Life And Times Of Klaus Barbie, a documentary Oscar-winner, is out on DVD. Here’s a preview.

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The Academy’s Documentary Feature Shortlist…

Links to shortlisted features’ websites are below. Most of them have trailers and other materials, including press kits.

Beverly Hills, CA – The Academy of Motion Picture Arts and Sciences today announced that 15 films in the Documentary Feature category will advance in the voting process for the 83rd Academy Awards®. One hundred-one pictures had qualified in the category.

Client 9: The Rise and Fall of Eliot Spitzer, Alex Gibney, director (ES Productions LLC)

Enemies of the People, Rob Lemkin and Thet Sambath, directors (Old Street Films)

Exit through the Gift Shop, Banksy, director (Paranoid Pictures)

Gasland, Josh Fox, director (Gasland Productions, LLC)

Genius Within: The Inner Life of Glenn Gould, Michele Hozer and Peter Raymont, directors (White Pine Pictures)

Inside Job, Charles Ferguson, director (Representational Pictures) (download PDF script)

The Lottery, Madeleine Sackler, director (Great Curve Films)

Precious Life, Shlomi Eldar, director (Origami Productions)

Quest for Honor, Mary Ann Smothers Bruni, director (Smothers Bruni Productions)

Restrepo, Tim Hetherington and Sebastian Junger, directors (Outpost Films)

This Way of Life, Thomas Burstyn, director (Cloud South Films)

The Tillman Story, Amir Bar-Lev, director (Passion Pictures/Axis Films)

Waiting for ‘Superman’, Davis Guggenheim, director (Electric Kinney Films)

Waste Land, Lucy Walker, director (Almega Projects)

William Kunstler: Disturbing the Universe, Emily Kunstler and Sarah Kunstler, directors (Disturbing the Universe LLC)

The Documentary Branch Screening Committee viewed all the eligible documentaries for the preliminary round of voting. Documentary Branch members will now select the five nominees from among the 15 titles on the shortlist.
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Video: Bernard Sumner, Hot Chip and Hot City’s”Didn’t Know What Love Was” for Converse

A little deadpan nonsense.

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Scripting Awards Season: The First Screenplays

Screenplays for award contenders are posted for download to circumvent a rule: if anyone from the public can download them, no one at the Academy can say they were intended only to influence Oscar voters. Among the first PDFs, Sony Pictures Classics’ roster includes Animal Kingdom; Barney’s Version; Get Low; Inside Job; Made in Dagenham; Mother and Child and Please Give. Overture Films’ front door is here. Scripts include Let Me In; Jack Goes Boating and Stone. Overture also features, from Anchor Bay, City Island and Solitary Man (forthcoming).

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Ray Harryhausen Talks Career, Technique; Plays With Toys

From the Bradford Animation Festival, “John Landis talks to Ray Harryhausen about his career, animation technique and the making of Jason and the Argonauts.”

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Movie City Indie


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“We now have a situation where audiences very often prefer commercial trash to Bergman’s Persona or Bresson’s L’Argent. Professionals find themselves shrugging, and predicting that serious, significant works will have no success with the general public. What is the explanation? Decline of taste or impoverishment of repertoire? Neither and both. It is simply that cinema now exists, and is evolving, under new conditions. That total, enthralling impression which once overwhelmed the audiences of the 1930s was explained by the universal delight of those who were witnessing and rejoicing over the birth of a new art form, which furthermore had recently acquired sound. By the very fact of its existence this new art, which displayed a new kind of wholeness, a new kind of image, and revealed hitherto unexplored areas of reality, could not but astound its audiences and turn them into passionate enthusiasts.

Less than twenty years now separate us from the twenty-first century. In the course of its existence, through its peaks and troughs, cinema has travelled a long and tortuous path. The relationship that has grown up between artistic films and the commercial cinema is not an easy one, and the gulf between the two becomes wider every day. Nonetheless, films are being made all the time that are undoubtedly landmarks in the history of cinema. Audiences have become more discerning in their attitude to films. Cinema as such long ago ceased to amaze them as a new and original phenomenon; and at the same time it is expected to answer a far wider range of individual needs. Audiences have developed their likes and dislikes. That means that the filmmaker in turn has an audience that is constant, his own circle. Divergence of taste on the part of audiences can be extreme, and this is in no way regrettable or alarming; the fact that people have their own aesthetic criteria indicates a growth of self-awareness.

Directors are going deeper into the areas which concern them. There are faithful audiences and favorite directors, so that there is no question of thinking in terms of unqualified success with the public—that is, if one is talking about cinema not as commercial entertainment but as art. Indeed, mass popularity suggests what is known as mass culture, and not art.”
~ Andrei Tarkovsky, “Sculpting In Time”

“People seem to be watching [fewer] movies, which I think is a mistake on people’s parts, and they seem to be making more of them, which I think is okay. Some of these movies are very good. When you look at the quality of Sundance movies right now, they are a lot better than they were when I was a kid. I do think that there have been improvements artistically, but it’s tough. We’ve got a system that’s built for less movies in terms of how many curatorial standard-bearers we have in the states. It’s time for us to expand our ideas of where we find our great films in America, but that said, it’s a real hustle. I’m so happy that Factory 25 exists. If it didn’t exist, there would be so many movies that wouldn’t ever get distributed because Matt Grady is the only person who has seen the commercial potential in them. He’s preserving a very special moment in independent film history that the commercial system is not going to be preserving. He’s figuring out how to make enough money on it to save these films and get them onto people’s shelves.”
~ Homemakers‘ Colin Healey On Indie Distribution