Movie City Indie Archive for September, 2011

DRIVE and Los Angeles (2:07)

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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.

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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.]

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

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

[Via Dangerous Minds.]

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Postering Tony Kaye’s DETACHMENT

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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.

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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

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

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Japanese Art For Monte Hellman’s ROAD TO NOWHERE

[Site.]

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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.]

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Qwikster Goes For The Classics With First Commercials

And below! Classic Qwikster! From Australia!

Read the full article »

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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