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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What do you make of the criticism directed at the film that the biopic genre or format is intrinsically bourgeois? That’s the most crazy criticism. That’s an excuse for not engaging with the content of the movie. Film critics sometimes, you know, can be very lazy.

Come on, formal criticism is valuable too. But I’m amazed when this is the thing they put in front of the discourse. My situation is that I’m dealing with a highly explosive subject, a taboo subject that nobody wants to deal with.

Karl Marx? Yes, this is the first film ever in the Western world about Marx. And I managed to make an almost mainstream film out of it. You want me at the same time to play the artist and do a risky film about the way my camera moves and the way I edit? No, it’s complicated enough! The artistic challenge — and it took me ten years with Pascal to write this story — was the writing. That was the most difficult part. We were making a film about the evolution of an idea, which is impossible. To be able to have political discourse in a scene, and you can follow it, and it’s not simplified, and it’s historically true. This is the accomplishment. So when someone criticizes the formal aspects without seeing that first, for me, it’s laziness or ignorance. There’s an incapacity to deal with what’s on the table. I make political films about today, I’m not making a biopic to make a biopic. I don’t believe in being an artist just to be an artist. And by the way, this film cost $9 million. I dare anyone in the United States to make this film for $9 million.
Raoul Peck on The Young Karl Marx

“The Motion Picture Academy, at considerable expense and with great efficiency, runs all the nominated pictures at its own theater, showing each picture twice, once in the afternoon, once in the evening. A nominated picture is one in connection with which any kind of work is nominated for an award, not necessarily acting, directing, or writing; it may be a purely technical matter such as set-dressing or sound work. This running of pictures has the object of permitting the voters to look at films which they may happen to have missed or to have partly forgotten. It is an attempt to make them realize that pictures released early in the year, and since overlaid with several thicknesses of battered celluloid, are still in the running and that consideration of only those released a short time before the end of the year is not quite just.

“The effort is largely a waste. The people with votes don’t go to these showings. They send their relatives, friends, or servants. They have had enough of looking at pictures, and the voices of destiny are by no means inaudible in the Hollywood air. They have a brassy tone, but they are more than distinct.”All this is good democracy of a sort. We elect Congressmen and Presidents in much the same way, so why not actors, cameramen, writers, and all rest of the people who have to do with the making of pictures? If we permit noise, ballyhoo, and theater to influence us in the selection of the people who are to run the country, why should we object to the same methods in the selection of meritorious achievements in the film business? If we can huckster a President into the White House, why cannot we huckster the agonized Miss Joan Crawford or the hard and beautiful Miss Olivia de Havilland into possession of one of those golden statuettes which express the motion picture industry’s frantic desire to kiss itself on the back of its neck? The only answer I can think of is that the motion picture is an art. I say this with a very small voice. It is an inconsiderable statement and has a hard time not sounding a little ludicrous. Nevertheless it is a fact, not in the least diminished by the further facts that its ethos is so far pretty low and that its techniques are dominated by some pretty awful people.

“If you think most motion pictures are bad, which they are (including the foreign), find out from some initiate how they are made, and you will be astonished that any of them could be good. Making a fine motion picture is like painting “The Laughing Cavalier” in Macy’s basement, with a floorwalker to mix your colors for you. Of course most motion pictures are bad. Why wouldn’t they be?”
~ Raymond Chandler, “Oscar Night In Hollywood,” 1948