Movie City Indie Archive for November, 2011

Steve Jobs, On The World, In 45 Seconds

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Ken Russell’s Teenage Wasteland

PDF of a review of Mr. Russell’s 1950s teenpix here.

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KEN RUSSELL WAS 84

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Miley Cyrus Lavishes Up Some “Riot Porn”

Dubbed as such by @WilbotOsterman. Cyrus posted the video on her 19th birthday, according to the description here: “The video begins starkly with a message in white font on a black screen: ‘This is dedicated to the thousands of people who are standing up for what they believe in,’ and for the next three minutes comes a rapid-fire montage of scenes of sign-waving protesters and pepper-spraying police as Miley sings, ‘It’s a liberty walk, walk. Say goodbye to the people who tied you up… Free yourself, slam the door, not a prisoner anymore.’”

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Joan Didion: The White Album to Blue Nights (72m vid)

“In conversation with David L. Ulin, book critic, Los Angeles Times. A literary icon for Los Angeles and a cultural visionary for the rest of America, the acclaimed author of The White Album, The Year of Magical Thinking, and most recently, Blue Nights, discusses her current work and life in Los Angeles in the 60s. Part of ‘Pacific Standard Time: Art in LA 1945-1980′.”

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Hitler Disapproves Of A New Meme In Town: Pepper-Spray Cop

Hitler measures appropriate response and USES ALL-CAPS like a practiced commenter.

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Steve Jobs Brainstorms, In Classic LP VHS (21’17″)

An episode of “Entrpreneurs,” a portentously-written but useful glimpse of Jobs at work in the NeXT computer era. Below, Jobs demonstrates how “interpersonal computing” works. [Via TNW, where there are three more videos from that time.]

Read the full article »

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Andrea True Was 68: “More, More, More” (3’01″)

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“The Sound of The Muppets (9’02″)

“In this SoundWorks Collection exclusive we talk with Director James Bobin, Film Editor James Thomas, Supervising Sound Editors Kami Asgar and Sean McCormack, and Sound Re-recording Mixer Kevin O’Connell.”

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W.e.instein Trailering W.E. Anew

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Trailering RAMPART

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Time Code: UC Davis Pepper Spray Footage From 4 Perspectives

Brian DePalma, do you know Mike Figgis? Good. Meet Andy Baio.

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NYFF 49′s Béla Tarr Forum, in full (37’54″)

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Vid: “Raw Meat” for Black Lips with Leo Fitzpatrick

Cop imagery on the black-and-white streets of New York City?

“Directed by Phil Pinto, produced by Rachelyn Remz-Porter. Featuring Leo Fitzpatrick, Janell Shirtcliff, and Tennessee Thomas. ‘Raw Meat’ is from the album Arabia Mountain [Vice Records].”

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Movie City Indie

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“I don’t know, because I don’t know much about those cameras. I know that’s been a complaint, but I wouldn’t know. Film is what worked for this film. I have a fear of the unknown. I’ve spent a long time trying to learn one camera, and to fucking stop and try to learn another one… I would have to stop for 20 years! I’m a slow learner; I’d have to go through the manual, it would be starting over. So there’s that, too. It’s an issue for filmmakers, and it’s on people’s minds, and I have to say that it’s a lot more challenging and difficult just to kind of get somebody to show film or to print film. It’s far more challenging than it should be right now, and we’re just trying to keep it alive a little bit and create a little pocket where it can be shown that way in various places across the country right now.”
~ Paul Thomas Anderson To David Ehrlich On The Prospect Of Switching From Film

“Almodóvar–the first name is almost unnecessary–is a genius, is a flower, is a guiding light: the last, best son of Buñuel and so much more than that. His screenplays, which he directs with passion and fine care, have taught us about the exteriors of his native land and the interiors of our own hearts. From the early, manic experimental Super-8 work to the breakthrough Women on the Verge of a Nervous Breakdown, his titles are as evocative as most people’s screenplays. Yet for all their antic energy, Almodóvar’s films are deeply spiritual: watching his disturbing, mysterious, heart-rending Talk to Her is to understand, perhaps for the first time, the full meaning of grace. An Almodóvar screenplay is a running leap off a Gaudi balcony, it flips, soars, ascends, careens, tumbles, falls – always landing, astonishingly and astonished, on its feet.”
~ Howard A. Rodman, Announcing Almodóvar’s Jean Renoir Award