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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“I’m an ardent consumer of Fassbinder. Years ago, when I heard that he was a big admirer of Douglas Sirk, I went straight to the source — to the buffet Fassbinder dined out on — and found that there was plenty more. And what palettes! I love the look of Fassbinder movies. Some of them are also hideous in a way that’s really exciting. When you go to Sirk, it’s more standardized. The movies produced by Ross Hunter — those really lush, Technicolor ones. I know Sirk was a painter and considered himself a painter first for a long time. He really knew how to work his palettes and worked closely with whatever art director he had. I was a guest speaker for the Technicolor series at TIFF Bell Lightbox and we screened Magnificent Obsession. To prepare for that, I watched the movie with a pen and paper. I wroteto down the names of the palettes. Soon, I realized those general color terms weren’t good enough. I used to be a house painter and I remembered the great names of the 10,000 different colors you could get in a paint chip book. So, I started to try to name the colors. Sirk used 100 different off-whites, especially in the surgery scenes in Magnificent Obsession!”
~ Guy Maddin On Sirk And Fassbinder

“I’ve never been lumped in with other female directors. If anything, I’ve been compared way too much to male filmmakers whom I have little to nothing in common with except visual style. It’s true that women’s filmmaking is incredibly diverse, but I am personally interested in how female consciousness might shape artwork differently, especially in the way female characters are constructed. So I actually would encourage people to try to group women’s films together to see if there are any threads that connect them, and to try to create a sort of canon of women’s films that critics can talk about as women’s films. One reason I want to be thought of as a female filmmaker is that my work can only be understood in that context. So many critics want to see my work as a pastiche of films that men have created. When they do that, they deny the fact that I am creating my own world, something completely original. Women are so often thought of as being unable to make meaning. So they are allowed to copy what men make—to make a pastiche out of what men have created—but not to create original work. My work comes from a place of being female, and rewrites film genres from that place. So it’s essential for me to be placed into a history of female-feminist art-making practice, otherwise it’s taking the work completely out of context.”
~ Love Witch Writer-Designer-Director Anna Biller