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

Quote Unquotesee all »

“Would I like to see Wormwood in a theater on a big screen? You betcha. I’d be disingenuous to argue otherwise. But we’re all part of, like it or not, an industry, and what Netflix offers is an opportunity to do different kinds of films in different ways. Maybe part of what is being sacrificed is that they no longer go into theaters. If the choice is between not doing it at all and having it not go to theaters, it’s an easy choice to make.”
~ Errol Morris

“As these stories continue to break, in the weeks since women have said they were harassed and abused by Harvey Weinstein, which was not the birth of a movement but an easy and highly visible shorthand for decades of organizing against sexual harassment that preceded this moment, I hope to gain back my time, my work. Lately, though, I have noticed a drift in the discourse from violated rights to violated feelings: the swelled number of reporters on the beat, the burden on each woman’s story to concern a man “important” enough to report on, the detailed accounting of hotel robes and incriminating texts along with a careful description of what was grabbed, who exposed what, and how many times. What I remember most, from “my story” is how small the sex talk felt, almost dull. I did not feel hurt. I had no pain to confess in public. As more stories come out, I like to think that we would also believe a woman who said, for example, that the sight of the penis of the man who promised her work did not wound her, and that the loss she felt was not some loss of herself but of her time, energy, power.”
~ “The Unsexy Truth About Harassment,” by Melissa Gira Grant