Movie City Indie Archive for October, 2011

Wim Wenders Remembers Editor Peter Przygodda

October 2, 2011 Peter Przygodda died.

Peter and I went back for 42 years.
He edited my student film, „Summer in the City“ in 1969
and since then we worked on more than 20 feature films together.

Even after all these years and all this lifetime spent together,
I never detected a system or a method in his work.
Peter didn’t feel that any two films should be edited the same way.
His approach was that of total immersion.
After a while he would know by heart
each second of the material that was shot,
outtakes just as well as selected shots,
and he always ended up knowing the footage better than myself.

He believed that his job was the un-covering of the film
from among everything that was shot.
„It’s hidden in there, I only help finding it“, he said.
„Once you find it, the film edits itself.
My job only consists in cutting more and more away.“
He was a modest man…

The importance of his input into my films is enormous.
I really owe nobody else so much than Peter.
Well, him and Robbie Müller, my long-time cameraman.
These two really helped me
finding my own hand-writing as a filmmaker,
and staying on course.

Peter edited a huge amount of German Cinema for four decades.
He worked with Hans W. Geißendörfer, Volker Schöndorff,
Reinhard Hauff, Thomas Schamoni, Hans-Jürgen Syberberg,
Klaus Lemke, Uli Edel, Peter Handke, Mischka Popp
and Thomas Bergmann and many others.
Peter also taught editing at the Munich film academy.
He had a particular love for the documentary.

Peter was born in Berlin in 1941.
He had memories of nights in bombing shelters,
and then of actively taking part in the black market
as a young boy, after the war.
He had the dry humour of a true Berliner,
and the unique accent that came with it.
More often than Peter I called him „Keule“.
Or „Elvis“ sometimes.

Peter was interested in everything.
He was one of the last universally-read private scholars…

[More at Wenders’ personal site.]

Lubbock, Texas’ Monday Haboob Malfunction (2’19”)

David Puttnam On “Educating for the Digital Society” (28’52”)

“Wisdom has become something of an old-fashioned concept.”

Checking in with WINNEBAGO MAN Jack Rebney (3’37” vid)

Panahi-Rasoulof Appeals Rulings

HRANA News Agency – The Appeals Court of Tehran Province has issued its rulings for Jafar Panahi and Mohammad Rasoulof who were sentenced to prison terms and bans by the lower court. Jafar Panahi and Mohammad Rasoulof are two Iranian filmmakers and directors charged with acting against national security and propaganda against the regime.

According to a report by Iran Newspaper, Jafar Panahi and Mohammad Rasoulof previously appeared in the 26th Branch of the Revolutionary Court with Judge Mir Abbasi presiding over the trial. During the proceedings, a representative of Tehran’s Prosecutor read the charges against the accused and said, “Jafar Panahi and Mohammad Rasoulof have been convicted of acting against national security through social activities and conspiracy to disturb public peace and safety and the crime of propaganda against the regime.”

Jafar Panahi and Mohammad Rasoulof intended to make a film titled “Farda” in order to illustrate the current social and cultural conditions in the Islamic society.

The representative of Tehran’s Prosecutor asked the court to punish the two filmmakers based on sections 500 and 610 of the Islamic Penal Code. Following the prosecutor’s statements, Jafar Panahi and Mohammad Rasoulof presented their written answers to the judge’s questions, and attorneys defended their clients.

At the end, citing all the evidence presented to the court, Judge Mir Abbasi sentenced both defendants to 6 years in prison and banned Jafar Panahi from making or directing any films, writing any movie scripts, conducting any forms of verbal or written interviews with domestic or foreign media and leaving the country for a period of 20 years. According to the court’s ruling, Jafar Panahi is allowed to leave the country for pilgrimage to Mecca or for seeking necessary medical care after posting bail.

Following the defendants’ objections and requests for appeal, their cases were reviewed by the 54th branch of the Appeals Court in Tehran Province. The Appeals Court then issued its final rulings upholding the verdict against Jafar Panahi but reducing Mohammad Rasoulof’s prison sentence to one year. [Via.]

Postering ROCK-‘M’-SOCK-‘M-THE CHAMP in Nippon

[Via IMP Awards.]


[Via designer Sam Smith.]

The “Mermaid” Scene From RUM DIARY

Amid the agreeable badinage, insult and swear…

The Ira Glass Sex Tape



Scorsese On Starting Meditation

Postering HAYWIRE Some More

Click image twice for largest size.

MATRIX Evolutions: Remixing The Wachowskis’ Inspirations

Gerardo Naranjo, MISS BALA, Chicago International Film Festival


Movie City Indie

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“Roger Ebert claimed that the re-editing of The Brown Bunny after Cannes allowed him a difference of opinion so vast that he first called it the worst film in history and eventually gave it a thumbs up. This is both far fetched and an outright lie. The truth is, unlike the many claims that the unfinished film that showed at Cannes was 24 minutes shorter than the finished film, it was only 8 minutes shorter. The running time I filled out on the Cannes submission form was arbitrary. The running time I chose was just a number I liked. I had no idea where in the process I would actually be when I needed to stop cutting to meet the screening deadline. So whatever running time was printed in the program, I promise you, was not the actual running time. And the cuts I made to finish the film after Cannes were not many. I shortened the opening race scene once I was able to do so digitally. After rewatching the last 4 minutes of the film over and over again, somewhere within those 4 minutes, I froze the picture and just ended the film there, cutting out everything after that point, which was about 3 minutes. Originally in the salt flats scene, the motorcycle returned from the white. I removed the return portion of that shot, which seemed too literal. And I cut a scene of me putting on a sweater. That’s pretty much it. Plus the usual frame here, frame there, final tweaks. If you didn’t like the unfinished film at Cannes, you didn’t like the finished film, and vice versa. Roger Ebert made up his story and his premise because after calling my film literally the worst film ever made, he eventually realized it was not in his best interest to be stuck with that mantra. Stuck with a brutal, dismissive review of a film that other, more serious critics eventually felt differently about. He also took attention away from what he actually did at the press screening. It is outrageous that a single critic disrupted a press screening for a film chosen in main competition at such a high profile festival and even more outrageous that Ebert was ever allowed into another screening at Cannes. His ranting, moaning and eventual loud singing happened within the first 20 minutes, completely disrupting and manipulating the press screening of my film. Afterwards, at the first public screening, booing, laughing and hissing started during the open credits, even before the first scene of the film. The public, who had heard and read rumors about the Ebert incident and about me personally, heckled from frame one and never stopped. To make things weirder, I got a record-setting standing ovation from the supporters of the film who were trying to show up the distractors who had been disrupting the film. It was not the cut nor the film itself that drew blood. It was something suspicious about me. Something offensive to certain ideologues.”
~ Vincent Gallo

“I think [technology has[ its made my life faster, it’s made the ability to succeed easier. But has that made my life better? Is it better now than it was in the eighties or seventies? I don’t think we are happier. Maybe because I’m 55, I really am asking these questions… I really want to do meaningful things! This is also the time that I really want to focus on directing. I think that I will act less and less. I’ve been doing it for 52 years. It’s a long time to do one thing and I feel like there are a lot of stories that I got out of my system that I don’t need to tell anymore. I don’t need to ever do The Accused again! That is never going to happen again! You hit these milestones as an actor, and then you say, ‘Now what? Now what do I have to say?'”
~ Jodie Foster