Movie City Indie Archive for March, 2011

Jodie Foster’s 5 Favorite Films

The 400 Blows (Francois Truffaut, 1959)
Murmur of the Heart (Louis Malle, 1971)
The Deer Hunter (Michael Cimino, 1978)
Truly Madly Deeply (Anthony Minghella, 1990)
The Piano (Jane Campion, 1993)

~ H’wd Reporter, 25 March 2011

New James M. Cain Covers For Vintage

Noir widescreen? More here.

Four Animated Shorts Inspired By SUCKER PUNCH

An eye-pleasing byproduct of Zack Snyder’s write-about-able feature: The Trenches. Below, Dragons, Distant Planet and Feudal Warriors. All animated by Ben Hibon.
Read the full article »

“Wiem Że”: Polish Disco On A Spaceship, OK?

Picturing Richard Leacock: HotDocs 2008

Ricky Leacock, Hot Docs 2008
Ricky Leacock, Hot Docs 2008
Ricky Leacock, Hot Docs 2008
Ricky Leacock, Hot Docs 2008
Ricky Leacock, Hot Docs 2008
Ricky Leacock, Hot Docs 2008
Ricky Leacock, Hot Docs 2008
Ricky Leacock, Hot Docs 2008
Ricky Leacock, Hot Docs 2008
Ricky Leacock, Hot Docs 2008

In 2008, the HotDocs board of directors’ annual Outstanding Achievement Award went to Ricky Leacock. At the panel “The Feeling Of Being There” on 27 April, he waxed aphoristic in his rich English purr: “Tripods are always in the wrong place”; “All these young filmmakers around, it’s so weird“; and of “fly-on-the-wall” documentary-making, “Flies aren’t very intelligent. You have to know what you’re looking for. You’re looking for the moment.” For a 34-image slideshow including additional images, click here. [Photos: © 2008-11, Ray Pride.]

The Film Cricket Who Sees With His Ears

Reviews at BlindsideReviews.

Richard “Ricky” Leacock Was 89


A nice compendium of the documentary pioneer’s career from Flaherty to Primary and beyond from AJ Schnack here. Leacock’s site.

[Photos © Ray Pride from 2008 Hot Docs masterclass.]

“I’m A Lux Girl,” Says Elizabeth Taylor

“Gettin’ Angry, Baby?”

Liz x 3

“Julian Assange: Houseguest”

With “Get Your War On”‘s David Rees as the titular topher. [Via Melville House.]

Walt Disney On “Our Friend The Atom” (1957)

Chris Ware At Length In Denmark

The Comics Journal prints a long interview by Matthias Wivel with Chris Ware: “This interview was conducted in front of a live audience in May 2010 at, the international Copenhagen comics festival. Ware was an official guest of the festival and his visit coincided with the Danish publication of Jimmy Corrigan: The Smartest Kid on Earth. I concentrated on that book, but also tried to address more general issues in Ware’s work and extended the discussion to his current books.” Quotable: “Fundamentally, it’s an art of composition, the same way that, if you’re a musician or a composer especially, you’re trying to compose something that is coherent and holds together, the same way that our memories are coherent and hold together, but our experiences are not. We take in our experiences and then put them together in a way that makes sense to our personalities and explains our lives and our friends. But the experience itself can be very incoherent and sort of uncomfortable. I guess that sounds pretentious. I should just be telling dumb jokes.”  And: “there’s a quote from Goethe that “architecture is frozen music”, and I think it actually applies to comics more than anything, because you’re taking images, making them still, and they don’t actually come alive until you read through them; it’s sort of like reading sheet music in a way. You asked me earlier about the drawing style, and I don’t want the emotion of the story to be in the expressiveness of the drawing; the emotion should be in the story itself; it should be in either how you feel the story as you’re reading it or how you remember it. It’s just an artistic choice I made.

Downloadable: A PDF of Dae Raeburn’s invaluable “Imp” issue devoted to Ware.

Little White Lies 34

Issue 34 (Mar-Apr ’11) of the ambitious English film magazine Little White Lies is out [blog here] and if you pick it up, please check out my portrait of Duncan Jones (@manmademoon) on page 51. LWL previews: “So what else is in the mag? We’ve gone bonkers for British sci-fi, with an overview of the genre’s forgotten roots and a massive feature that pulls together some of the legends of British science-fiction, including exclusive interviews with Terry Gilliam and Duncan Jones. Our reviews section is also full to bursting, as Doug Liman plays a Fair Game; Jerzy Skolimowski commits an Essential Killing; Jim Loach tastes Oranges and Sunshine; Woody Allen promises You Will Meet a Tall Dark Stranger; Nick Hamm considers Killing Bono; Kevin Macdonald raises The Eagle; Emilio Estevez scouts The Way; Tran Anh Hung hews Norwegian Wood; Werner Herzog explores the Cave of Forgotten Dreams; Richard Ayoade launches Submarine; and Guillaume Canet whispers Little White Lies. Plus there’s interviews with Marion Cotillard, Tran Anh Hung and Richard Ayoade, making LWLies 34 tastier than a Charlie Sheen Tweet.”

Mike Mills Video-Diaries SXSW

“Dear strangers, my tour begins. I’m going to try to do some video diaries and some photo diaries along the way, it actually keeps me sane, and much less passive, to find something creative to do along the way. SXSW was so much fun, to all of you who came to only the 3rd and 4th screenings of the film, thank you, I really really loved doing the Q and A’s with you all. To the 3 lovely volunteers who got on stage with me and pretended to be Ewan McGregor, Melanie Laurent, and Christopher Plummer for me, (boy wasn’t that intimate!) I meant everything I said to you. So, here’s my first video diary where you’ll meet some of the people and places that I visited, including really strange local birds that make sounds like digital recordings, the cutest kid in Texas, and communicating with pepper shaker and some crackers.”

Movie City Indie

Quote Unquotesee all »

“Roger Ebert claimed that the re-editing of The Brown Bunny after Cannes allowed him a difference of opinion so vast that he first called it the worst film in history and eventually gave it a thumbs up. This is both far fetched and an outright lie. The truth is, unlike the many claims that the unfinished film that showed at Cannes was 24 minutes shorter than the finished film, it was only 8 minutes shorter. The running time I filled out on the Cannes submission form was arbitrary. The running time I chose was just a number I liked. I had no idea where in the process I would actually be when I needed to stop cutting to meet the screening deadline. So whatever running time was printed in the program, I promise you, was not the actual running time. And the cuts I made to finish the film after Cannes were not many. I shortened the opening race scene once I was able to do so digitally. After rewatching the last 4 minutes of the film over and over again, somewhere within those 4 minutes, I froze the picture and just ended the film there, cutting out everything after that point, which was about 3 minutes. Originally in the salt flats scene, the motorcycle returned from the white. I removed the return portion of that shot, which seemed too literal. And I cut a scene of me putting on a sweater. That’s pretty much it. Plus the usual frame here, frame there, final tweaks. If you didn’t like the unfinished film at Cannes, you didn’t like the finished film, and vice versa. Roger Ebert made up his story and his premise because after calling my film literally the worst film ever made, he eventually realized it was not in his best interest to be stuck with that mantra. Stuck with a brutal, dismissive review of a film that other, more serious critics eventually felt differently about. He also took attention away from what he actually did at the press screening. It is outrageous that a single critic disrupted a press screening for a film chosen in main competition at such a high profile festival and even more outrageous that Ebert was ever allowed into another screening at Cannes. His ranting, moaning and eventual loud singing happened within the first 20 minutes, completely disrupting and manipulating the press screening of my film. Afterwards, at the first public screening, booing, laughing and hissing started during the open credits, even before the first scene of the film. The public, who had heard and read rumors about the Ebert incident and about me personally, heckled from frame one and never stopped. To make things weirder, I got a record-setting standing ovation from the supporters of the film who were trying to show up the distractors who had been disrupting the film. It was not the cut nor the film itself that drew blood. It was something suspicious about me. Something offensive to certain ideologues.”
~ Vincent Gallo

“I think [technology has[ its made my life faster, it’s made the ability to succeed easier. But has that made my life better? Is it better now than it was in the eighties or seventies? I don’t think we are happier. Maybe because I’m 55, I really am asking these questions… I really want to do meaningful things! This is also the time that I really want to focus on directing. I think that I will act less and less. I’ve been doing it for 52 years. It’s a long time to do one thing and I feel like there are a lot of stories that I got out of my system that I don’t need to tell anymore. I don’t need to ever do The Accused again! That is never going to happen again! You hit these milestones as an actor, and then you say, ‘Now what? Now what do I have to say?'”
~ Jodie Foster