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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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“I was a brat back when I made Pootie Tang. I was dealing with people every day whose pressures I didn’t understand, and I wasn’t very nice about how I said no to them. I put myself in a position I didn’t have to be in. A lot of what makes this kind of stuff work is empathy. If you’re taking money from somebody, they have a right to look after it. It’s all just trying to be clear about the arrangement. That’s why when I set up ‘Louie,’ I just said, ‘This is what I’m comfortable doing, and if you don’t want to do it, I don’t blame you. But in exchange, I’ll take very little money.’ I was only getting $200,000 per show from them, which is insane, and it goes up just by tiny increments every year. The other part of the arrangement with FX is that if this stops working for them, they should just tell me and we’ll stop doing it. Contractually, FX has a right to demand that the scripts be filtered through them before I shoot them, just like any other show. But from the beginning, they haven’t read anything, and they like the show. If I start turning in shit, then they’re going to start asking to see scripts, and that’s perfectly fair.”
~ Louis C. K.

BOMB: Do you give a lot of direction?

ASSAYAS: I give zero indications. Nothing. To me, it’s all physical. It is all about getting the right actors. They understand the part. They’re not idiots. They’re going to sit down, and they’re going to work. They don’t need my explanations. The problem is that actors listen to directors. They respect them. So, when you say something, it becomes gospel. In a certain way, this limits their imagination. I’d rather say nothing. Then, when we shoot, I fix whatever I don’t like. I channel it as softly as I can in a direction where, maybe, there’s something to gain. But, usually, if you are working with the right people, their instinct will be correct. They will bring something of their own to the character, and to the situation. Ultimately, there will be some kind of human truth to what they are doing.
~ Olivier Assayas on directing

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