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Movie City Indie Archive for June, 2011

Happy 71, Victor Erice

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Trailering Spielberg’s WAR HORSE

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Picturing Rodman Flender

My favorite photograph in a long summer weekend of image research and writing: photographer-editor-director Rodman Flender as spy-on-the-wall for his doc, Conan O’Brien Can’t Stop. Casual geekdom and casual privilege align in a hotel room: photographer photographed. Team Fiji Water! (Do not ask what is wrapped in plastic.)

[Photo Credit: Aaron Bleyaert.]

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Francis Coppola’s Twitter Icon

TRUSTED.

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Peter Falk Über Berlin: From WINGS OF DESIRE

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Review: GENERAL ORDERS No. 9


Robert Persons’ General Orders No. 9 is an essay film at least partly about the urbanization of rural Georgia, reminiscent of Patrick Keiller’s lovingly dyspeptic but visually striking London and Robinson in Space or Terence Davies’ brooding memory musical Distant Voices, Still Lives. It’s more in that school than Terrence Malick’s Tree of Life, the convenient reference point in some reviews of its New York week-long run. (The free-floating character of the narration doesn’t distill itself to the many voices of so-similar inchoate spiritual yearning in the Malick film.) Haunted beauty, a majestic trance: it’s deeply invested in what Greil Marcus called “old, weird America.” Daniel James Scott interviews Persons at Filmmaker. Of overt influences, he tells Scott, “Gosh, I’m sort of all over the place. But there were certainly a lot of films that we used to reference—a lot of Tarkovsky films, Herzog films, Chris Marker, John Grierson docs, the British Film Unit, David Lynch and Harry [Everett] Smith. There were also a number of novels and books. One in particular was this bit of naturalist writing from the 18th century, William Bartram’s Travels. He was a Philadelphia naturalist who travelled through the southeast and was really the first to write about it while drawing pictures of plants and animals. His writing is very effusive, and has a lot of sense of wonder in it. I liked the idea of someone going around recording things. And I saw my film as an updating of that in a sense.”



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R.I.P. Peter Falk

Mikey and Nicky.

“The last time I trusted a dame…”

A Woman Under The Influence.

“Serpentine! Serpentine!”

“For Chrissakes, get me a good hat here.” Wings of Desire.

From Jean Genet’s The Balcony.

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NO REFUNDS ON AUTEUR CINEMA

From Stamford, Connecticut’s Avon Theatre.

[Via Jim Emerson @jeemerson and @nextprojection. The apparent original poster is here.]


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The Further Adventures Of Hannah Hart

Playing dangerous drunken stunts in the confines of her kitchen, comedienne Hannah Hart just got noticed by TIME:

“Do you really get drunk in all of your videos, or are you faking it?
“I really do get that drunk. It takes about an hour to shoot each video, so I’m actually the drunkest after it’s over. For the ice cream one, I was with my sister and her husband, and I really just let myself go. I finished the video and I remember walking over the couch and lying down. I woke up hours later with a plate of chicken nuggets on my chest and my sister leaning over me going, ‘Eat these.’ The sun had already set and everything.”

[Earlier on indie.]

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Previewing Robert Kramer’s Long-Unseen MILESTONES (5’30”)

“Icarus Films, a leading distributor of documentary films since 1978, is proud to have acquired two landmark films by the radical leftist filmmaker Robert Kramer. A founder of the storied 1960s Newsreel collective, Kramer (1939-1999) traveled through Latin America and Vietnam, and later lived for many years in France, where he enjoyed his greatest appreciation as a filmmaker. The subject of 2009 retrospectives at Anthology Film Archives and Harvard Film Archive, Kramer’s concerns about the intersection between the personal and political take viewers to the 1960s and 70s with vivid intimacy.”

MILESTONES (1975, color, 195 minutes, by Robert Kramer and John Douglas) is a lilting, free-associative masterpiece that follows dozens of characters–including hippies, farmers, immigrants, Native Americans, and political activists–as they try to reconcile their ideals with the realities of American life. In intimate discussions of subjects from communal living to parenting, pregnancy to family, Vietnam to Cuba, city life to country life, and the workplace to the bedroom, the film’s diverse protagonists negotiate jealousies, relationships, and the logistical challenges of their rapidly changing world. Shot in vivid color 16mm, using innovative layered sound design and editing techniques as well as slides and archival footage, Milestones tracks its subjects through scripted and unscripted moments. It follows them as they share their emotions and dreams, their idealism and disillusionments, their triumphs and defeats of the past, as well as the possibilities for the future.”

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Trailering QUICK (퀵)

http://www.youtube.com/watch?v=X36QkuVHCuc&feature=player_embedded

The Fast and the Over-reacting.

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Scottish Summer Weather: Chance Of Heil

http://www.youtube.com/watch?v=0LIVt9RFvE4&feature=player_embedded

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Trailering Fred Schepisi’s THE EYE OF THE STORM

It is about time. One of the undersung modern masters of widescreen composition and cutting has almost finished a new film. Let’s hope it’s a corker.

The non-embeddable trailer is here.

Plus: Schepisi on the characters from Patrick White’s epic Aussie novel, played by Geoffrey Rush, Charlotte Rampling, Judy Davis, Colin Friels and Dustin Clare. The release down under is set for September 8.

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Movie City Indie

Quote Unquotesee all »

Tsangari: With my next film, White Knuckles, it comes with a budget — it’s going to be a huge new world for me. As always when I enter into a new thing, don’t you wonder how it’s going to be and how much of yourself you are going to have to sacrifice? The ballet of all of this. I’m already imaging the choreography — not of the camera, but the choreography of actually bringing it to life. It is as fascinating as the shooting itself. I find the producing as exciting as the directing. The one informs the other. There is this producer-director hat that I constantly wear. I’ve been thinking about these early auteurs, like Howard Hawks and John Ford and Preston Sturges—all of these guys basically were hired by the studio, and I doubt they had final cut, and somehow they had films that now we can say they had their signatures.  There are different ways of being creative within the parameters and limitations of production. The only thing you cannot negotiate is stupidity.
Filmmaker: And unfortunately, there is an abundance of that in the world.
Tsangari: This is the only big risk: stupidity. Everything else is completely worked out in the end.
~ Chevalier‘s Rachel Athina Tsangari

“The middle-range movies that I was doing have largely either stopped being made, or they’ve moved to television, now that television is a go-to medium for directors who can’t get work in theatricals, because there are so few theatricals being made. But also with the new miniseries concept, you can tell a long story in detail without having to cram it all into 90 minutes. You don’t have to cut the characters and take out the secondary people. You can actually put them all on a big canvas. And it is a big canvas, because people have bigger screens now, so there’s no aesthetic difference between the way you shoot a movie and the way you shoot a TV show.

“Which is all for the good. But what’s happened in the interim is that theatrical movies being a spectacle business are now either giant blockbuster movies that run three hours—even superhero movies run three hours, they used to run like 58 minutes!—and the others, which are dysfunctional family independent movies or the slob comedy or the kiddie movie, and those are all low-budget. So the middle ground of movies that were about things, they’re just gone. Or else they’re on HBO. Like the Bryan Cranston LBJ movie, which years ago would’ve been made for theaters.

“You’ve got people like Paul Schrader and Walter Hill who can’t get their movies theatrically distributed because there’s no market for it. So they end up going to VOD, and VOD is a model from which no one makes any money, because most of the time, as soon as they get on the site, they’re pirated. So the whole model of the system right now is completely broken. And whether or not anybody’s going to try to fix, or if it even can be fixed, I don’t know. But it’s certainly not the same business that I got into in the ’70s.”
~ Joe Dante

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