Movie City Indie Archive for May, 2011

Teasing Mia Hansen-Løve’s UN AMOUR DE JEUNESSE (nudity)

http://www.youtube.com/watch?v=1HLhW39kE-4&feature=player_embedded

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Christopher Borelli Profiles Cartoonist Ivan Brunetti

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.”

Please read the rest.

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Orson Welles does a magic trick

Just. Because.

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Martin Scorsese’s LETTER TO ELIA

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.

Scorsese: Right.

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.

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Mother… brother…

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Testino On Rooney On Salander

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.

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Teasing Jackie Chan’s 100th Pic

“General director” Jackie Chan. Directed by Zhang Li.

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Harto’s “Advice From the Hart”

@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 »

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Yeeeesh… The Return Of “Salad Fingers”

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TGWTDT: “The Feel Bad Movie For Christmas”

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:

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Trailering Takashi Miike’s NINJA KIDS

http://www.youtube.com/watch?v=R4wHB9JWw5Q&feature=player_embedded

Or, “Nintama Rantoro.”

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Terrence Malick Acts

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“LINDSAY LOHAN – A RICHARD PHILLIPS FILM”

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.”

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Sean Young’s BLADE RUNNER Polaroids




































Enhance 224 to 176.
Enhance.
Stop.
Move in, stop.
Pull out, track right, stop.
Center in, pull back.
Stop.
Track 45 right.
Stop.
Center and stop.
Enhance 34 to 36.
Pan right and pull back.
Stop.
Enhance 34 to 46.
Pull back.
Wait a minute, go right, stop.
Enhance 57 to 19.
Track 45 left.
Stop.
Enhance 15 to 23.

Give me a hard copy right there.

Here. [Via Richard Metzger.]

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Movie City Indie

Quote Unquotesee all »

Dear Irene Cho, I will miss your energy and passion; your optimism and joy; your kindness towards friends, colleagues, strangers, struggling filmmakers, or anyone who randomly crossed your path and needed a hand. My brothers and I have long considered you another sibling in our family. Our holiday photos – both western and eastern – have you among all the cousins, in-laws, and kids… in the snow, sun, opening presents, at large dinner gatherings, playing Monopoly, breaking out pomegranate seeds and teaching us all how to dance Gangnam style. Your friendship and loyalty meant a great deal to me: you were the loudest cheerleader when I experienced victories and you were always ready with sushi when I had disappointments. You had endless crazy ideas which always seemed impossible but you would will them into existence. (Like that time you called me and suggested that we host a brunch for newly elected mayor of LA, Eric Garcetti because “he is going to president one day.” We didn’t have enough time or funding, of course, only your desire to do it. So you did, and I followed.) You created The Daily Buzz from nothing and it survived on your steam in spite of many setbacks because you believed in a platform for emerging filmmakers from all nations. Most of all, you were a wonderful mother to your son, Ethan, a devoted wife to your husband, and a wonderful sibling and daughter to your family. We will all miss how your wonderful smile and energy lit up the room and our lives. Rest in peace, Irene.
~ Rose Kuo Remembers Irene Cho on Facebook

“You know, I was never a critic. I never considered myself as a film critic. I started doing short films, writing screenplays and then for awhile, for a few years I wrote some film theory, including some film criticism because I had to, but I was never… I never had the desire to be a film critic. I never envisioned myself as a film critic, but I did that at a period of my life when I thought I kind of needed to understand things about cinema, understand things about film theory, understand the world map of cinema, and writing about movies gave me that, and also the opportunity to meet filmmakers I admired.

“To me, it was the best possible film school. The way it changed my perspective I suppose is that I believe in this connection between theory and practice. I think that you also make movies with ideas and you need to have ideas about filmmaking to achieve whatever you’re trying to achieve through your movies, but then I started making features in 1986 — a while ago — and I left all that behind.

“For the last three decades I’ve been making movies, I’ve been living, I’ve been observing the world. You become a different person, so basically my perspective on the world in general is very different and I hope that with every movie I make a step forward. I kind of hope I’m a better person, and hopefully a better filmmaker and hopefully try to… It’s very hard for me to go back to a different time when I would have different values in my relationship to filmmaking. I had a stiffer notion of cinema.”
~ Olivier Assayas