Movie City Indie Archive for February, 2011

Trailering Isild Le Besco’s BAS FONDS

Via The Daily Notebook, a trailer for the actress-turned-director’s latest, part of Film Comment Selects: a French Dogtooth? Tiny Furniture with a hobo’s shotgun? Dunno what it is. Curious. [En français.]

Trailering Fred Schepisi’s EYE OF THE STORM

A glimpse of Geoffrey Rush and other ac-tors in the forthcoming flicker from Patrick White’s novel, via Mr. Schepisi.

David Lynch Launches DLF Music

David Lynch follows up his excursion into electronica with “David Lynch Foundation Music,” a scheme to benefit his version of Transcendental Meditation. From the site: “DLF Music brings together the world’s top & emerging recording artists to support the good works of the David Lynch Foundation’s stress-reducing, meditation-based educational programs. Featured artists of our Pledge compilation include: Arrested Development, Au Revoir Simone, Ben Folds, Peter Gabriel, Mary Hopkin, Moby, Maroon 5, Neon Trees, Ozomatli, Heather Nova, Iggy Pop, Carmen Rizzo, Salman Ahmad, Slightly Stoopid, Dave Stewart, Andy Summers and Tom Waits. When you Pledge for the 17-track compilation download, or any of the other unique items and experiences during this 6-week Pledge campaign, you gain access to Pledgers-only updates from participating DLF Music artists. Each week you will receive 2 or 3 of DLFMusic’s featured tracks … PLUS receive exclusive video, photo and blog updates, giving you an insider’s view into the artists lives and experiences.” What’s the kicker? “The David Lynch Foundation (DLF) is a non-profit educational organization which was established in July 2005 to ensure that anyone at-risk for traumatic stress can learn Transcendental Meditation. In the past five years, over 150,000 inner-city youth, veterans with post-traumatic stress disorder, homeless adults and children, American Indians, and inmates and guards in maximum security prisons have learned to meditate. Research on meditating students has found that the technique increases grades and improves test scores, boosts graduation rates while reducing stress, depression, anxiety, dropouts, suspensions, and expulsions.”



The Larsmobile: Buy It Now For A Mere $150,000

Non-flying filmmaker Lars Von Trier’s world-famous Larsmobile, a 1992 Dethleffs Advange with 74,520 miles on it, is on eBay… Alas, he says, he has grown weary of the smell of diesel. (The “US” plates are a nice touch.)

“Hereby and [sic] exceptional offer for every admirer of Top-Director Lars Von Trier. After a great deal of consideration, it has been decided to sell out one of Lars Von Triers most reliable and personal items – his beloved Mobilehome. This Mobilehome has functioned as Lars’ only way of travel for a period of more than 10 years, and must until now, be considered an integral of the VIP-parking at Cannes Film Festival. Some of Lars’ biggest ideas went from idea to script in this vehicle. Also the Mobilehome has provided framework around several meetings between some of the greatest personalities in the history of film,” the item crows. “Looking forward to get rid of the smell of Diesel. Hope a potential buyer likes this smell, as Diesel has been poured over the floor several times.” – Lars Von Trier. Below the fold, a glimpse of the fabled Larsthrone.

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Trailering Bela Tarr’s THE TURIN HORSE

Warning: minimalism.

[Via KinemaSlovakia.]

Trailering Ayn Rand’s ATLAS SHRUGGED PART I

A stealth production? A stealth release?


BYE BYE MUBARAK From Egyptian Filmmaker Ramy Rizkallah

“Feb. 11th 2010. For the first time in 7000 years or more, egyptians peacfully were able to overthrow their Dictator. No one in Egypt could’ve imagined this happening.
I shot this 20 minutes after the VP announced the president’s departure, people are chanting that the army and the people are one hand and the army closed the road to help people celebrate.
I just witnessed history.
I shot this on a high ISO so please excuse the noise in the Video.
Bye Bye Mubarak.”


Raising Kael: What’s In A Title?

PAULINE KAEL is set to join the ranks of the esteemed litterateurs of the Library of America (alongside her peer Manny Farber), and there are new collections of Philip Roth and Kurt Vonnegut in the next batch of releases as well. The volume’s edited by Sanford Schwartz, and coming from the critic who wrote “I Lost It At The Movies,” “Kiss Kiss Bang Bang,” “Going Steady,” “Deeper Into Movies,” “When The Lights Go Down” and “Taking It All In,” what sweetly skeevy double-entendre of a title has the august press arrived at? “The Age of Movies: Selected Writings of Pauline Kael.” Whut? What opportunity has been missed here? “The Tender Age Of Movies”? Nah. “The Underage of Movies”? No. “The Long And Short: Selected Movie Writings By Pauline Kael,” that wouldn’t be half-bad. Why is an appropriately inappropriate title so hard?

Let’s Make Love With A Loaf Of Bread

How A 4-Hour-8-Minute INTERRUPTERS Almost Missed Sundance

Walt Disney’s Centripetal 1943 Production Process Chart

Okay, now that’s an infogasm. Anyone have the Weinstein Company 2011 edition? Larger below the fold. [Via @Issue.]
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Bass Notes: The Film Posters Of Saul Bass

At London’s Kemistry Gallery.

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