“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
~ James Gray
Movie City Indie Archive for December, 2011
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.”
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.
War Horse The Artist Coriolanus The Descendants The Help The Iron Lady Martha Marcy May Marlene
My Week With Marilyn
Shame Win Win
Photo: Ray Pride, Marrakech, December 2011.
About the director: “The Evolution Of Woodkid.”
“I used to be very angry.” February 24th on VOD; theatrical in March. More at the film’s website.