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 »

“I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
~ Lauren Milici On “The Final Girl”

“‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
~ Greil Marcus On Michael Jackson