Movie City Indie Archive for January, 2011

Sundance past with 2011 to come

Canoeing McBrisbane

Best silent. [Via @DougCoupland.]

Now That’s A CATFISH Poster

[Via Trespass.]

Take The Measure Of The Sartorialist

Watched this last week, but a mention by Sean Farnel reminded me it’s good.

Happy 70?! Faye Dunaway

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

In The Control Room With “Ebert Presents At The Movies”

[Via Vishnevetsky.]

“Paul Haggis is not collaborating on Scientology book”

From e-mail: “Academy Award-winning filmmaker Paul Haggis, who has been the subject of online and media speculation of his involvement in a future  book project about the Church of Scientology to be written by Pulitzer Prize winning journalist Lawrence Wright, is not co-writing or collaborating in any way on the book.  Wanting to clear the air, Haggis asserts that he has absolutely no involvement in the book, as was asserted by select media.

His sole involvement is as the subject of an upcoming New Yorker profile, written by Mr. Wright.

“I am a great admirer of Mr. Wright, but he has not asked me to cooperate with him on any book.   I am certainly not collaborating with him on one. I have no financial or other interest in any book Mr. Wright may or may not choose to write, now or in the future,”  said Haggis.

Wright notes: “Paul cooperated with me on a profile for the New Yorker which includes his involvement with the Church of Scientology. I will expand on that material for the book. Both the article and the eventual book will explore the Haggis family’s experience inside the church and their decision to leave it. Haggis has been extremely helpful and candid, but he is certainly not a collaborator. The reporting and the writing is all my work. Haggis has received no compensation for his time.”

Trailering James-Kotlowitz’s THE INTERRUPTERS

Caution: Language, Violence. Alex Kotlowitz’s New York Times piece that inspired the film is here.

1 Comment »

Leif Garrett And The Idaho Potato Sticks

NSFW “El Guincho: Bombay,” by Nicolás Méndez, Shot by Marc Gómez del Moral

I wish “WTF” were my middle name. After three views and I won’t pretend to make learned comparisons, but I don’t think that Yorgos Lanthimos, Gerardo Naranjo, Azazel Jacobs or Athina Rachel Tsangari would find this glorious melange without interest. A grand unified theory of everything in 5:43, with female nudity and sparklers, cassettes and whitey-white Converse high-tops, guns, tongues, rainbows, feet, and citations of kidnapping and other forms of violence in the modern world.

Holy F—! Cee-Lo’s “F— You” Performed As An ASL Final

Gush of enthused acronyms ensues.

Trent Reznor On Why Elvis Costello Didn’t Suit SOCIAL NETWORK (vid)

http://www.youtube.com/watch?v=whNd1-yUEZQ&feature=player_embedded

Trent Reznor and Jon Pareles talk scoring. A different look at the TSN credit sequence four minutes or so in… [Via TimesTalks.]

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POPULAR PREWAR PRICES

This must be the This is the Jean Hersholt Award that Jean Hersholt got.

Todd Haynes’ Debut Isn’t Legally Available

But somehow Google Video isn’t aware of that.

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Movie City Indie

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch