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!

Read the full article »

Movie City Indie

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“As these stories continue to break, in the weeks since women have said they were harassed and abused by Harvey Weinstein, which was not the birth of a movement but an easy and highly visible shorthand for decades of organizing against sexual harassment that preceded this moment, I hope to gain back my time, my work. Lately, though, I have noticed a drift in the discourse from violated rights to violated feelings: the swelled number of reporters on the beat, the burden on each woman’s story to concern a man “important” enough to report on, the detailed accounting of hotel robes and incriminating texts along with a careful description of what was grabbed, who exposed what, and how many times. What I remember most, from “my story” is how small the sex talk felt, almost dull. I did not feel hurt. I had no pain to confess in public. As more stories come out, I like to think that we would also believe a woman who said, for example, that the sight of the penis of the man who promised her work did not wound her, and that the loss she felt was not some loss of herself but of her time, energy, power.”
~ “The Unsexy Truth About Harassment,” by Melissa Gira Grant

“To say I knew exactly what I was doing at the outset — what’s that called? I think that would be a lie. Wormwood is something that was figured out as we went along. There was a kind of plan. My sales pitch to Netflix was, ‘I’m going to create the cinematic version of the everything bagel, except no raisins. I don’t like them in bagels. I think raisins are wrong, at least as far as bagels are concerned. But I told them I wanted to do something that combines straight drama, reenactments, archival research, various diverse graphics elements, and on and on and on. It wasn’t going to be documentary business as usual. It was going to be something different. I have suffered for years this idea that interviews aren’t directing and that there’s something really different about real people and actors. Whereas I’ve always believed that it’s really about performance — eliciting a performance, creating a performance on film. That’s true of interviews, it’s true of scripted material, it’s true of reenactments, it’s true of everything. It’s all direction.”
~ Errol Morris