“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
~ James Gray
Movie City Indie Archive for December, 2010
So that’s what his swordplay pic’s about.
[Via Mike Everleth.]
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.
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.]
To be produced by Mr. Gilliam and directed by Tim Ollive. [Via Cory Doctorow.]
This seems… scary. A much more entertaining, exploitation-style newspaper ad from the 1972 release BELOW.
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).]