Movie City Indie Archive for September, 2011

DRIVE and Los Angeles (2:07)

Home, Alone: Trailering EXTREMELY LOUD & INCREDIBLY CLOSE


More than the trailer, which seems more emphatic in its uplift than the finished film might dare, there are names other than director Stephen Daldry‘s that pop out: screenwriter Eric Roth (Forrest Gump, Benjamin Button); composer Nico Muhly (The Reader, Margaret), and, not in the credit block, cinematographer Chris Menges (The Reader, The Killing Fields, Local Hero) and editor Claire Simpson (The Reader, The Constant Gardener, Wall Street). There will be vivid widescreen imagery.

Postering the Lars Von Trier Character

In the U.K., Artificial Eye releases character posters for Melancholia. Here’s Lars von Trier’s, with a special stamp in the upper lefthand corner. The production’s website here. [Via Ultra Culture.]

X On the Jerry Lewis Telethon (1982) (2’02”)

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

[Via Dangerous Minds.]

TINTIN German Spot (30sec): DIE ABENTEUER VON TIM UND STRUPPI

Postering Tony Kaye’s DETACHMENT

Postering a disappearing IRON LADY

While it’s not the first horizontal/vertical mix-up on a one-sheet this month (see Janus Film’s reissue poster for Godard’s Weekend), at second glance, this is the most disturbing. Turning topsy-turvy the Houses of Parliament may resemble the streaking of a minor Gerhard Richter painting, but more readily suggest the loss of memory and personality by Thatcher as her Alzheimer’s grows worse. And what streaks away? A mind for all things governmental. Eeeesh.

Halluci-postering Thompson-Robinson’s RUM DIARY

What drugs had our faithful young correspondent Hunter S. ingested by the time of his Puerto Rican reporting days, where he laid his fictional “Rum Diary”? The revisions in the years before publication surely partook of the sort of recreational distraction that this one-sheet genially embraces. Plus: Bruce Robinson. This film must fall within the acceptable bounds of reflecting the writer-director-raconteur’s large and rumbustious personality.

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Four Silent Screams (NYC 2011; Eisenstein 1925; Kent State, 1970)



Photojournalism: a silent scream. “Davidscameracraft” is the byline of the photographer from the “Occupy Wall Street” protests. More of his solid work here, where he discovers the NYPD Deputy Inspector who randomly chose whom to pepper-spray at point blank is named “BOLOGNA.”

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Robert Bresson at 110

http://www.youtube.com/watch?v=DIPiRPk0VzI&feature=player_embedded


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

Francis Coppola’s TIFF TWIXT Presser (31’58”)

Japanese Art For Monte Hellman’s ROAD TO NOWHERE

[Site.]

THE 3 Rs: David Lynch Trailers Viennale 2011 (1’13”)

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Postering Godard’s WEEKEND

[Playdates for Janus Films’ new 35mm print.]

Qwikster Goes For The Classics With First Commercials

And below! Classic Qwikster! From Australia!

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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