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

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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