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.]

2 Comments »

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.

4 Comments »

Movie City Indie

Quote Unquotesee all »

What do you make of the criticism directed at the film that the biopic genre or format is intrinsically bourgeois? That’s the most crazy criticism. That’s an excuse for not engaging with the content of the movie. Film critics sometimes, you know, can be very lazy.

Come on, formal criticism is valuable too. But I’m amazed when this is the thing they put in front of the discourse. My situation is that I’m dealing with a highly explosive subject, a taboo subject that nobody wants to deal with.

Karl Marx? Yes, this is the first film ever in the Western world about Marx. And I managed to make an almost mainstream film out of it. You want me at the same time to play the artist and do a risky film about the way my camera moves and the way I edit? No, it’s complicated enough! The artistic challenge — and it took me ten years with Pascal to write this story — was the writing. That was the most difficult part. We were making a film about the evolution of an idea, which is impossible. To be able to have political discourse in a scene, and you can follow it, and it’s not simplified, and it’s historically true. This is the accomplishment. So when someone criticizes the formal aspects without seeing that first, for me, it’s laziness or ignorance. There’s an incapacity to deal with what’s on the table. I make political films about today, I’m not making a biopic to make a biopic. I don’t believe in being an artist just to be an artist. And by the way, this film cost $9 million. I dare anyone in the United States to make this film for $9 million.
Raoul Peck on The Young Karl Marx

“The Motion Picture Academy, at considerable expense and with great efficiency, runs all the nominated pictures at its own theater, showing each picture twice, once in the afternoon, once in the evening. A nominated picture is one in connection with which any kind of work is nominated for an award, not necessarily acting, directing, or writing; it may be a purely technical matter such as set-dressing or sound work. This running of pictures has the object of permitting the voters to look at films which they may happen to have missed or to have partly forgotten. It is an attempt to make them realize that pictures released early in the year, and since overlaid with several thicknesses of battered celluloid, are still in the running and that consideration of only those released a short time before the end of the year is not quite just.

“The effort is largely a waste. The people with votes don’t go to these showings. They send their relatives, friends, or servants. They have had enough of looking at pictures, and the voices of destiny are by no means inaudible in the Hollywood air. They have a brassy tone, but they are more than distinct.”All this is good democracy of a sort. We elect Congressmen and Presidents in much the same way, so why not actors, cameramen, writers, and all rest of the people who have to do with the making of pictures? If we permit noise, ballyhoo, and theater to influence us in the selection of the people who are to run the country, why should we object to the same methods in the selection of meritorious achievements in the film business? If we can huckster a President into the White House, why cannot we huckster the agonized Miss Joan Crawford or the hard and beautiful Miss Olivia de Havilland into possession of one of those golden statuettes which express the motion picture industry’s frantic desire to kiss itself on the back of its neck? The only answer I can think of is that the motion picture is an art. I say this with a very small voice. It is an inconsiderable statement and has a hard time not sounding a little ludicrous. Nevertheless it is a fact, not in the least diminished by the further facts that its ethos is so far pretty low and that its techniques are dominated by some pretty awful people.

“If you think most motion pictures are bad, which they are (including the foreign), find out from some initiate how they are made, and you will be astonished that any of them could be good. Making a fine motion picture is like painting “The Laughing Cavalier” in Macy’s basement, with a floorwalker to mix your colors for you. Of course most motion pictures are bad. Why wouldn’t they be?”
~ Raymond Chandler, “Oscar Night In Hollywood,” 1948