Movie City Indie Archive for May, 2011
Chris Borelli writes a lot of swell profiles for the Chicago Tribune. I’m acquainted with cartoonist Ivan Brunetti, the subject of this piece. It’s very good, let’s start by saying that, and I’ll helicopter into the middle of an anecdote:
“Ivan Brunetti is cringing.
He is a Chicago cartoonist and illustrator, swooned over by peers, beloved by his students at Columbia College, revered by a fervent cult of admirers, and coming into his own. At the moment, though, he’s cringing. He’s cringing at this story, at the picture, at what you think of him, at the nice things people say about him. He doesn’t think he deserves to be mentioned in the same breath as his peers: His best friend is the celebrated cartoonist Chris Ware; another good friend is cartoonist Daniel Clowes (“Ghost World”), who, like Brunetti, spent some formative years in Hyde Park. When I mention these guys, he cringes.
“Because I feel like a fraud most of the time,” he said. “I haven’t proven myself the way those guys have. I should feel lucky, right? I don’t. I’m constantly complaining. Most of my problems are caused by myself.”
One day I told him I wasn’t exactly certain when this profile would appear in the Tribune. “It’s a floater,” I said.
“Like a turd,” he replied quietly.”
Watch the full episode.
From an interview on the American Experience website:
Martin Scorsese: We were going to do interviews. And then it seemed like the right idea to go in a different direction.
Kent Jones: There’s a very good film to be made about Kazan as a person, as the man who started with the Group Theatre, who acted in Waiting for Lefty, who went on to revolutionize Broadway, then started the Actors’ Studio, then became a friendly witness before HUAC and suffered the consequences, then made a string of great films, changed the face of acting in theater and movies, suffered through the trauma of his first wife’s death, reinvented himself as a writer, and so on. It would be a real epic. But that felt like someone else’s idea.
Scorsese: The thing was to convey something about the relationship, and by that I mean my relationship to the films, and that meant going back to the way that I received them when I saw them as an adolescent.
Jones: And the distinction between your relationship with the films and your relationship with the man, and the way you saw the films when you were young and the way you see them now.
Jones: I thought that was really interesting, because it doesn’t have anything to do with film aesthetics or official history. Actually, in a sense, it does – it’s the way you receive films when you’re young and wide open to them.
Scorsese: Yes. You don’t know how it’s done or why, you just know that the picture is speaking to you and addressing something that can’t be addressed in your life, by anyone you know, because it’s private, embarrassing. You’re young and figuring out who you are in relation to everyone around you, the adult world around you, but you’re not on the adult wavelength yet.
[Via Mark Romanek and Alex Abramowicz.]
To accompany Memorial Day weekend’s “hacked” trailer for The Girl With The Dragon Tattoo that mysteriously still has yet to be yanked, Lynn Hirchsberg’s February 2011 W magazine preview offers a fistful of Mario Testino photos of Mara Rooney as Über-hacker Lisbeth Salander. Article and images here.
“General director” Jackie Chan. Directed by Zhang Li.
@shelbyfero is funnier on the Twitter. But! Who’s comparing? Where did these two funny persons come from all of a sudden? Hart’s “My Drunk Kitchen” videos are something else: below, Brunch!
Read the full article »
Oh yes. Somewhere on the internet…
ADDED: Okay, if even Time Warner’s Entertainment Weekly is embedding the clip, and YouTube hasn’t been asked to pull it down, here goes: a relatively high quality leak of the trailer for David Fincher’s The Girl With the Dragon Tattoo… with suspiciously clear sound and steady image and still it’s up on YouTube hours later…
REVISED 1 JUNE 2011:
Or, “Nintama Rantoro.”
Bret Easton Ellis daydream. Painter turns to film. Bombastic music FTW. “What fascinates me about Lindsay are not her problems but the way she embodies an eminence on the level of a Bardot or an Ullmann,” Phillips said. “She’s a combination of the fantastic and the real, which is what makes her so magnetic. She can also bring forward an existential presence that speaks to the isolated self.” Both Persona and Contempt, he pointed out, examine those issues, and his brief psychological portrait of Lohan attempts to unite the irreconcilable differences in her divided personality.”
Enhance 224 to 176.
Move in, stop.
Pull out, track right, stop.
Center in, pull back.
Track 45 right.
Center and stop.
Enhance 34 to 36.
Pan right and pull back.
Enhance 34 to 46.
Wait a minute, go right, stop.
Enhance 57 to 19.
Track 45 left.
Enhance 15 to 23.
Give me a hard copy right there.
Here. [Via Richard Metzger.]