Movie City Indie Archive for November, 2010

Chaplin’s MODERN TIMES: LEGACY

Julia Roberts Goes Lavazza

http://www.youtube.com/watch?v=W8_8I7NnJV4&feature=player_embedded

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.”

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!

“It Gets Better, Love, Pixar”

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

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
London
W1V 6AP

JOIN THE 100TH ANNIVERSARY CELEBRATION.

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 »

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.

The Opening 5:15 Of Doc Shortlisted EXIT THROUGH THE GIFT SHOP

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.

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.

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).

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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“I always thought that once I had lived in Chicago for a while, it would be interesting to do a portrait of the city – but to do it at a significant time. Figuring out when would be the ideal time to do that was the trick. So when this election came around, coupled with the Laquan McDonald trial, it seemed like the ideal time to do the story. Having lived in Chicagoland for thirty-five-plus years and done a number of films here, I’ve always been struck by the vibrancy of the city and its toughness. Its tenderness too. I’ve always been interested in the people at the center of all the stories. This is a different film in that regard, because we’re not following a couple of individuals over the course of the project in the way that a lot of the films I’ve done have, but I still feel like people’s voices and aspirations and hopes are at the center of this series.

It wasn’t easy. We started back in July 2018, it was actually on the Fourth of July – that was our first shoot. It’s like most documentaries in that the further you go along the more involved and obsessed you get, and you just start shooting more and more and more. We threw ourselves into this crazy year in Chicago. We got up every day and tried to figure out if we should be out shooting or not, and what it is we should shoot. We were trying to balance following this massive political story of the mayor’s race and these significant moments like the Laquan McDonald trial with taking the pulse of people in the city that we encounter along the way and getting a sense of their lives and what it means to live here. By election day, Zak Piper, our producer, had something like six cameras out in the field. You could double-check that, it might have been seven. We had this organized team effort to hit all the candidates as they were voting, if they hadn’t already voted. We hit tons of polling places, were at the Board of Elections and then were at the parties for the candidates that we had been able to follow closely. Then of course, we were trying to make sure we were at the parties of the candidates who made it to the runoff. So, yeah, it was kind of a monster.”
~ Steve James On City So Real

“I really want to see The Irishman. I’ve heard it’s big brother Martin Scorsese’s masterpiece. But I really can’t find the time. The promotion schedule is so tight, there’s no opportunity to see a three and a half-hour movie. But I really want to see it. In 2017, right before Okja’s New York premiere, I had the chance to go to Scorsese’s office, which is in the DGA building. There’s a lovely screening room there, too, with film prints that he’s collected. I talked to him for about an hour. There’s no movie he hasn’t seen, even Korean films. We talked about what he’s seen and his past work. It was a glorious day. I’ve loved his work since I was in college. Who doesn’t? Anyone involved with movies must feel the same way.”
~ Bong Joon-ho