Movie City Indie Archive for May, 2011

Carlo Lavagna and Roberto de Paolis’ CHANT D’AMOUR: A DIARY FROM CANNES

The laddies behind the recent Bernardo Bertolucci profile at NOWNESS venture to Cannes to talk to Michel Gondry, watch Spike Jonze climb a 175-foot mast, interrupt Michelle Rodriguez as she deejays and gather up snips to assemble back in their editing bay. The short is here.

Trailering SHARK NIGHT 3D: MF’ing Sharks On A Focal Plane!

Intentional kitsch? Tough gig, but somebody else is doing it: “A sexy summer weekend turns into a blood-soaked nightmare for a group of college students trapped on an island surrounded by voracious underwater predators in Shark Night 3D, a terrifying thrill ride from director David Ellis (The Final Destination, Snakes On a Plane), featuring a red-hot young cast including Sara Paxton (Superhero Movie, Last House on the Left), Dustin Milligan (“90210,” Slither), Chris Carmack (“The O.C.”), Joel David Moore (Avatar), Chris Zylka (The Amazing Spider Man) and Katharine McPhee (The House Bunny). Arriving by boat at her family’s Louisiana lake island cabin, Sara (Sara Paxton) and her friends quickly strip down to their swimsuits for a weekend of fun in the sun. But when star football player Malik (Sinqua Walls) stumbles from the salt-water lake with his arm torn off, the party mood quickly evaporates. Assuming the injury was caused by a freak wake-boarding accident, the group realizes they have to get Malik to a hospital on the other side of the lake, and fast. But as they set out in a tiny speedboat, the college friends discover the lake has been stocked with hundreds of massive, flesh-eating sharks! As they face one grisly death after another, Sara and the others struggle desperately to fend off the sharks, get help and stay alive long enough to reach the safety of dry land.”

Ba-bum. Ba-bum. Ba-bum-ba-bum-ba-bum



That’s conversation about Curtis’ mind-twirling new BBC 2 doc, All Watched Over By Machines Of Loving Grace. (Part I mingles Ayn Rand, Silicon Valley in the 1990s, the Clinton White House and a generous dash of paranoia.) The link to the music and chat is here.

Mike Mills Videos His Road Tour (5’53”)

And toward the end, there’s my notes! I can only make out the swear words in my handwriting.

Where’s Terry?

Terrence Malick

Larger. [Click through for photographer’s Flickr account.]

Behind Kyle Lambert’s “TOY SHINING” Project


[Via IMDB.]

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Baz Announces 2013 “Strictly Ballroom” Musical In Sydney (3’09”)

Harlan Ellison Reminds Us, “Pay The Writer”

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John Lasseter Displays His Hawaiian Shirt Wardrobe (6’31”)

An Excerpt From Panahi’s THIS IS NOT A FILM (6’31”)

Trailering Michael Tolkin’s THE RAPTURE

Hitler Responds To Lars Von Trier’s Cannes Banishment

10 APOCALYPSE NOW Storyboards

Anticipating a Blu-Ray release, the Guardian has 10 Apocalypse Now storyboards. here.

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