Movie City Indie Archive for February, 2011

The Selected Jane Russell From Howard Hughes’ THE OUTLAW

And from Gentlemen Prefer Blondes
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Annie Girardot in ROCCO AND HIS BROTHERS

http://www.youtube.com/watch?v=BySmN6t5ezs&feature=player_embedded

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Charlie Sheen in FERRIS BUELLER: At The Station For Drugs

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

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Happy 103, Tex Avery

http://www.youtube.com/watch?v=WlgHalJ1-p4&feature=player_embedded

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Banksy’s L.A.test Outdoor Art

[Click for larger. Via.]

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Trailering “Shaun Of The Dead Island”

Nice music! Where’s that from?

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Chris Marker’s TEMPO RISOLUTO

From the “Kosinski”/”Guillaume” YouTube account, montage on revolt in Middle East and Northern Africa.

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Happy 111, Luis Buñuel

“God, death, sex, dry martini, dreams.”

From “My Last Sigh,” Don Luis’ recipe for the very dry Virgin Martini. “To provoke, or sustain, a reverie in a bar, you have to drink English gin, especially in the form of the dry martini. To be frank, given the primordial role played in my life by the dry martini, I think I really ought to give it at least a page. Like all cocktails, the martini, composed essentially of gin and a few drops of Noilly Prat, seems to have been an American invention. Connoisseurs who like their martinis very dry suggest simply allowing a ray of sunlight to shine through a bottle of Noilly Prat before it hits the bottle of gin. At a certain period in America it was said that the making of a dry martini should resemble the Immaculate Conception, for, as Saint Thomas Aquinas once noted, the generative power of the Holy Ghost pierced the Virgin’s hymen “like a ray of sunlight through a window — leaving it unbroken.”

Another crucial recommendation is that the ice be so cold and hard that it won’t melt, since nothing’s worse than a watery martini. For those who are still with me, let me give you my personal recipe, the fruit of long experimentation and guaranteed to produce perfect results. The day before your guests arrive, put all the ingredients — glasses, gin, and shaker — in the refrigerator. Use a thermometer to make sure the ice is about twenty degrees below zero (centigrade). Don’t take anything out until your friends arrive; then pour a few drops of Noilly Prat and half a demitasse spoon of Angostura bitters over the ice. Shake it, then pour it out, keeping only the ice, which retains a faint taste of both. Then pour straight gin over the ice, shake it again, and serve. (During the 1940s, the director of the Museum of Modern Art in New York taught me a curious variation. Instead of Angostura, he used a dash of Pernod. Frankly, it seemed heretical to me, but apparently it was only a fad.)”

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Sofia Directs Natalie For Dior

Via Russian Tatler, with more stills from the shoot of Coppola’s commercial with Portman and photographer Tim Walker at the link.

http://www.youtube.com/watch?v=6yCw6Mvh69A&feature=player_embedded

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Michael Kahn’s A.C.E. Lifetime Achievement Tribute Reel

As shown at Saturday night’s American Cinema Editors awards. Edited by Carsten Kurpanek & Rosanne Colello.  Via Edgar Wright.

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SxSW: Teasing Aussie Ha’penny Indie LBF: A POP-ART FILM

http://vimeo.com/14550093&feature=player_embedded

Based on the 2006 novel, “Life Between Fucks,”  by “Cry Bloxsome,” made over a period of months for under $25,000, according to the makers. A hot Australian summer… [Site.]

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MNSFW: Trailering “Dead Island”

Yes, I now have an idea about the texture and mood of this game. Even beyond the great gushing geyers of grue. Wonder how much story there was to draw on for a terrific trailer like this.

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Radiohead’s “Lotus Flower,” By Garth Jennings

Gosh. I mean, gosh. Goofy goofy beauty. The NME offers inventive explanations for Mr. Yorke’s moves.

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Movie City Indie

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé