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

Quote Unquotesee all »

“To be a critic is to be a workaholic. Workaholism is socially conditioned: viewed favourably by exploiters, it’s generally ruinous to a worker’s mental health. When T.S. Eliot said criticism was as inevitable as breathing, he failed to mention that, respiratory problems notwithstanding, breathing is easy. Criticism is reflexive before reflective: to formalise/industrialise an involuntary instinct requires time, effort and discipline. The reason we seek remuneration, as opposed to the self-hatred of being a scab, is because all labour should be waged…

“Criticism, so the cliché by now goes, is dying. None of the panel discussions on its death agony, however—including those in which I’ve formally participated—come at it from the wider perspective that the problem surely needs. They defend the ways in which criticism functions in relation to the industry and to the public, but they fail to contextualise these relationships as defined by ultimately rotten and self-harming imperatives.

“Criticism was a noble profession so long as only a few could practice it for money; when the field expands, as it has with a so-called ‘democratisation’ of our practice, those few lose their political power. Competition grows and markets are undercut: publications are naturally going to start paying less. Precarity is both cause and effect of a surplus workforce: the reason you’re only as good as your last article is because there are plenty of other folks who can write the next one in your place. The daily grind is: pitch, or perish.

B”ut criticism, so a counter-cliché goes, is not dying. An irony: this is an elite sport that is no longer elite in terms of who is able to practice it, but in economic terms it’s clutching to a perverse and outmoded hierarchical structure. It’s more meritocratic than ever, now: which is to say it isn’t meritocratic at all. That’s a paradox in bad need of a resolution…”

~ Michael Pattison Manifestoes Film Criticism

“It’s easy to forget when you’re reading a critic every single week or multiple times a week, that most of us who do this job, and have been doing it for a long time, understand that this is basically a parasitic profession. I don’t mean in the sense that we’re evil bloodsucking creatures, but we couldn’t exist if we didn’t have something to analyze. And I’m always conscious of that. So whether I like or don’t like a particular thing you do, my point of view is always that of an appreciator. I just like to be in the world that you create.”
~ Matt Zoller Seitz To Sam Esmail

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