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Movie City Indie Archive for December, 2011

Trailering Tony Gatlif’s INDIGNADOS

http://vimeo.com/34377474

Premiering Berlinale 2012: Gatlif shot both a fiction and documentary version of his observation of the European “Indignados,” predecessors to the “Occupy” protests around the world. Reports Cineuropa: “According to Gatlif, Indignados “plunges into the dense and palpable reality of a Europe in revolt just to be able to live, through the gaze and illusions of Betty (Mamebetty Honoré Diallo), a young African illegal immigrant.” Travelling along the edge of the borders of a Europe on the verge of collapse in terms of its social cohesion, Betty confronts this reality and the absurd situations it creates… At the same time, Gatlif has directed the documentary Indignez-vous! for Arte.” Gatlif: “This is urgent. The disorder of financial capitalism is throwing the world and its population into a crisis that is increasingly tough for millions of people, reduced to unemployment and plunged into poverty. These dark times in which we live may lead to worse still, a surge in xenophobic and racist violence, a war of civilisation, pitting nations against other nations in the name of God, the incompatibility of cultures, or quite simply hatred of the other. Cinema, like literature, music and the other arts, must fight against this terrible outcome.”

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“Cry Me A River,” from DREILEBEN

Oh my. So good. From Dreileben. Wonder which of the three films? The Petzold? [Via Dennis Lim.]

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Inside The Stanford Apple Archives (2’24″)

[Associated Press.]

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Postering THE PAPERBOY

[Millennium Films.]

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Harvey Korman’s CARVING MAGIC (10’28″)

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John Roecker’s “They’re All Out Without You,” A Green Day “Punk Opera” (29’35″)

From the Vimeo link: “Based on the Characters from Green Day’s Grammy Award Winning Album American Idiot. John Roecker who directed the soon to be released documentary “Heart Like a Hand Grenade” (“HLAHG”) about the making of Green Day’s best selling album to date—”American Idiot”—brings you his take on the characters as originally visualized from AI, what many consider to be the first true “punk rock” opera. John’s longtime friendship with Billie Joe Armstrong, (the lead singer and guitarist of Green Day) gave him insight into the band’s creative vision, and put John at ground zero… in the recording studio along with the band. John’s task seemed simply really, to document the creative process as it unfolded – honest, uncensored, and real. What emerged The American Idiot Album, now considered by many to be Green Day’s greatest musical achievement. As John continued to document the layers of creativity behind the music of AI, he started to visualize who the characters were, and what they were truly meant to be.

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Orphaned Polar Bear Cub. That Is All.

http://www.youtube.com/watch?feature=player_embedded&v=jwKwbuW2GdA

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19 “For Your Consideration” 2011 Scripts Now Include MARGARET, WAR HORSE

These are PDF downloads. Streaming the Contagion score makes for a nice background. (Paramount has scripts, but only upon request and if qualified.)

Margaret

War Horse

The Artist

Beginners

Bridesmaids

Coriolanus

The Debt

The Descendants

Hanna

The Help

The Iron Lady

Jane Eyre

Martha Marcy May Marlene

My Week With Marilyn

Pariah

Shame

Tinker, Tailor, Soldier, Spy

Warrior

Win Win

 

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Terry Gilliam’s “Happy Christmas Wishes” (1968, 2:45)

Terry Gilliam Socks

Photo: Ray Pride, Marrakech, December 2011.

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Ladies & Gentlemen… Julianne Moore (:52)

http://www.youtube.com/watch?feature=player_embedded&v=V4YlDkCIoIs

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Woodkid’s BORN TO DIE for Lana Del Rey

About the director: “The Evolution Of Woodkid.”

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Clipping Tony Kaye’s DETACHMENT (language NSFW)

“I used to be very angry.” February 24th on VOD; theatrical in March. More at the film’s website.

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Tex Avery Drinks The Kool-Aid (1’00)

[Via CartoonBrew.]

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CONTAGION II

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Trailering Guy Maddin’s KEYHOLE

Post-production diary here.

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Movie City Indie

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“Chad Harbach spent ten years writing his novel. It was his avocation, for which he was paid nothing, with no guarantee he’d ever be paid anything, while he supported himself doing freelance work, for which I don’t think he ever made $30,000 a year. I sold his book for an advance that equated to $65,000 a year—before taxes and commission—for each of the years of work he’d put in. The law schools in this country churn out first-year associates at white-shoe firms that pay them $250,000 a year, when they’re twenty-five years of age, to sit at a desk doing meaningless bullshit to grease the wheels of the corporatocracy, and people get upset about an excellent author getting $65,000 a year? Give me a fucking break.”
~ Book Agent Chris Parris-Lamb On The State Of The Publishing Industry

INTERVIEWER
Do you think this anxiety of yours has something to do with being a woman? Do you have to work harder than a male writer, just to create work that isn’t dismissed as being “for women”? Is there a difference between male and female writing?

FERRANTE
I’ll answer with my own story. As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me. That phase ended after a couple of years. At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them. I devoured books at that age, and there’s no getting around it, my models were masculine. So even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men. I didn’t want to write like Madame de La Fayette or Jane Austen or the Brontës—at the time I knew very little about contemporary literature—but like Defoe or Fielding or Flaubert or Tolstoy or Dostoyevsky or even Hugo. While the models offered by women novelists were few and seemed to me for the most part thin, those of male novelists were numerous and almost always dazzling. That phase lasted a long time, until I was in my early twenties, and it left profound effects.
~ Elena Ferrante, Paris Review Art Of Fiction No. 228

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