Movie City Indie Archive for April, 2011

Animated: “Stanley Kubrick: A Filmography”

Gentle. Bittersweet.

No Comments »

Chuck Jones’ “Crawford” On Marriage

[Via Cartoon Brew.]

No Comments »

Teasing Takashi Miike’s Cannes-Bound 3D HARA-KIRI: DEATH OF A SAMURAI (Ichimei)

http://www.youtube.com/watch?v=EmeMHi1MQAs&feature=player_embedded

No Comments »

Postering “Jane Campion presents SLEEPING BEAUTY”

Julia Leigh on the making of her debut feature. [Click several times for the largest scale.]
Read the full article »

1 Comment »

TRANSFORMERS 3: Great Chicago Fire For The 21st Century?

A Great Chicago Fire for the 21st century? A Chicagoan can only hope.

Beautiful waterfront…

The gorgeous green of the Chicago River…

And with only a couple more weeks of Mayor Daley in office, it’s about time we got rid of the terrible concrete planters choking traffic medians in the more moneyed neighborhoods.

3 Comments »

MIKE MILLS MEETS A LOT OF PEOPLE

He’s Beginnering to blog his festival and press tour for the summer release of Beginners.

No Comments »

Hal Hartley “Blogs” In The Form Of A “Screenplay”





























INTERIOR, BISTRO, LOWER MANHATTAN.

Hal Hartley (early-fifties, laid-back but troubled) sits and frowns at a page deep in the middle of Roberto Bolano’s The Savage Detectives. He turns over a page, finishes a chapter, and removes his reading glasses. He contemplates his double espresso. Meanwhile, to his left three casually well-dressed young executives continue a heated discussion…

CHET: It’s outrageous!

LOLA: Let me see.

Chet holds out his mobile device and shows Lola a text message. Their friend, Kurt, paces nearby, scheming distractedly.

CHET: Why text “would you like to meet for drinks at seven?

KURT (stops and turns): Did he spell “seven” or just use a number?

LOLA: He spells it out!

CHET: Now that’s just verbose.

KURT (his suspicions confirmed): Or worse!

LOLA: “Drinks at numeral seven question mark” is like I guess beneath his dignity? Look, he even spells out “at!”

KURT: (fatigued) This is more complicated than I thought.

Hartley decides it’s probably a good time to evaporate. He leaves some bills on the small table and heads for the door with his book. Lola notices him and grabs Chet’s arm…

LOLA: Hey, is that?

CHET: You mean?

LOLA: The guy who made, oh, you know, what’s it called?

KURT: You mean with the girl and the book and the guy from the television repair shop?

LOLA: Something like that. It’s unimportant, really. I was moved, true. But I was young.

In the doorway, Hartley bumps into his publicists, Emily and Roger.

. . .

With more of the same at the link. There, that was simple enough to finance, wasn’t it? While he’s at it, a couple of double-trucks from “The Heart Is A Muscle,” a new Swedish book of photos from his earlier films, available at the link, signed, for $99.95.

No Comments »

Trailering Hong Sang-Soo’s THE DAY HE ARRIVES

http://www.youtube.com/watch?v=pqR6gr80feI&feature=player_embedded

Just a short part of his new film, 북촌방향, bound for Cannes, or a device throughout? Sweet in a Hong Sang-Soo kind of way…

No Comments »

Trailering Kim Ki-Duk’s Cannes-Bound ARIRANG

http://www.youtube.com/watch?v=rSN3p9uWNK4&feature=player_embedded

O.S.: A quiet “Oh, dear.” Kim Ki-Duk’s movies have crude and strange things in them, but this… it’s a mystery. And apparently a documentary about his life.

His director’s statement:
Arirang is

about Kim Ki-duk
playing 3 roles in 1.
Through Arirang I climb over one hill in life.
Through Arirang I understand human beings, thank the nature, and accept my life as it is now.

We are now…
in the terrestrial world lurking with desires,
in the ghostly world lurking with sorrow
in the imaginary world lurking with dreams,
with no beginning nor end,
slowly going crazy.

What is affection that it still remains all around me decaying?
It’s still stuck to the crown of my head, testing my emotions.
It’s still hiding deep within my heart, testing my sense of compassion.
If I didn’t give my heart, they would be bad people erased from memories but if I gave my heart, I couldn’t let them go till the day that I die as despicable people.
Ah…
Arirang
Alright
Let’s mercilessly kill each other in our hearts till we die.

Even today
I hold back as I get angry
I laugh as I get jealous
I love as I despise
And forgive as I quiver with the urge to kill.
Wait
I will kill
Myself, who remembers you.”

No Comments »

Trailering Cannes’ “Jane Campion Presents SLEEPING BEAUTY” [mnsfw]

http://www.youtube.com/watch?v=yskjRo7RXIw&feature=player_embedded

No Comments »

Raw Tornado Footage From Tuscaloosa And Birmingham

Tuscaloosa “Lord jesus”

Tuscaloosa

Read the full article »

1 Comment »

Elmer Lynn Hauldren, Empire Carpet Pitchman, Was 89-588-2300

How do you know when you’ve lived in the Midwest a long, long time? When the news of this man‘s passing brings a tear. Sun-Times obit. (I’m reminded Chicago’s WGN is on cable and satellite around the world, so Lynn’s more widely known than I realized.) Two more below; lots more on YouTube.
Read the full article »

No Comments »

Benicio Del Toro in Conversation with Japanese Director Kaneto Shindo

[Via @janusfilms.]

No Comments »

David Lynch Sells You His Signature Cup

http://vimeo.com/21939919&feature=player_embedded

No Comments »

Movie City Indie

Quote Unquotesee all »

“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas