Movie City Indie Archive for December, 2010

Calligraphing the new Wong Kar-Wai

So that’s what his swordplay pic’s about.

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Did Anyone Tell Ira Glass?

Was looking for examples of  great poster art from 2010, and found THIS not-so-subtle Italian retitling of the Dave Eggers-Vendela Vida-Sam Mendes Away We Go.

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Let It Snow: A Blizzard Symphony [UPDATED JAN 3]

An overnight drift, saluted by Roger Ebert, explained by filmmaker Jamie Stuart. [Stuart's video went viral after Ebert's oomph; he's added a link to the press his sifty symphony has gotten—print, online and broadcast—here.]

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Terry Gilliam’s 1884 Animation Test

To be produced by Mr. Gilliam and directed by Tim Ollive. [Via Cory Doctorow.]

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SANTA AND THE ICE CREAM BUNNY

This seems… scary. A much more entertaining, exploitation-style newspaper ad from the 1972 release BELOW.

Read the full article »

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Teasing Kevin Smith’s Sundance-Debuting Horror, RED STATE

http://www.youtube.com/watch?v=9K-4aLeGWF4&feature=player_embedded

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WTF FTW: Trailering Hanna

http://www.youtube.com/watch?v=qRUx88vRjIk&feature=player_embedded

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A Fine Sundance-Bound Poster

David Lowery, whose St. Nick is very fine, posts this Sundance-bound poster. Here’s hoping the film is as fine. A story is offered at the link.

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A Conversation With Paul Greengrass

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A Well-Loved Christmas Tradition

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I Know What You Did Last Year At Marienbad

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The Inception of Movie Editing: The Art of D. W. Griffith

A video essay by Michael Joshua Rowin and Kevin B. Lee. Worth it for a glimpse of a tinted Intolerance backed by Hans Zimmer’s Inception score as well as its punchline.  Text. [Via Matt Zoller Seitz (@mattzollerseitz).]

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One Minkey and Many Birdie Num-Nums: Blake Edwards Was 88

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Movie City Indie

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“Almodóvar–the first name is almost unnecessary–is a genius, is a flower, is a guiding light: the last, best son of Buñuel and so much more than that. His screenplays, which he directs with passion and fine care, have taught us about the exteriors of his native land and the interiors of our own hearts. From the early, manic experimental Super-8 work to the breakthrough Women on the Verge of a Nervous Breakdown, his titles are as evocative as most people’s screenplays. Yet for all their antic energy, Almodóvar’s films are deeply spiritual: watching his disturbing, mysterious, heart-rending Talk to Her is to understand, perhaps for the first time, the full meaning of grace. An Almodóvar screenplay is a running leap off a Gaudi balcony, it flips, soars, ascends, careens, tumbles, falls – always landing, astonishingly and astonished, on its feet.”
~ Howard A. Rodman, Announcing Almodóvar’s Jean Renoir Award

“I got a feeling I am going to win in the long run, but I want to be part of the zeitgeist, too. I want to support young girls who are in their 20s now and tell them: You’re not just imagining things. It’s tough. Everything that a guy says once, you have to say five times. Girls now are also faced with different problems. I’ve been guilty of one thing: After being the only girl in bands for 10 years, I learned—the hard way—that if I was going to get my ideas through, I was going to have to pretend that they—men—had the ideas. I became really good at this and I don’t even notice it myself. I don’t really have an ego. I’m not that bothered. I just want the whole thing to be good. And I’m not saying one bad thing about the guys who were with me in the bands, because they’re all amazing and creative, and they’re doing incredible things now. But I come from a generation where that was the only way to get things done. So I have to play stupid and just do everything with five times the amount of energy, and then it will come through.”
~ Björk to Jessica Hopper at Pitchfork