Movie City Indie Archive for February, 2012

Teasing Robert Byington’s SXSW 2012 SOMEBODY UP THERE LIKES ME

“I’m… sixteen.”

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Postering EXTREMELY LOUD… In Holland

[Via IMP Awards.]

Coppola And Savides Shoot In Moneyed Marrakech For H+M

http://www.youtube.com/watch?v=9wK-CgE8mdI

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BBC: “The Making Of John Cassavetes’ HUSBANDS” (46’35”)

http://www.youtube.com/watch?feature=player_embedded&v=ya_6NnVo4LY

Trailering PINK RIBBONS, INC (2’09”)

Coming from the National Film Board of Canada, based on the book by Samantha King: “Billions of dollars have been raised through the tireless efforts of women and men devoted to putting an end to breast cancer. Yet, breast cancer rates in North America have risen to 1 in 8. “What’s going on?” asks Barbara Brenner in Pink Ribbons, Inc. This feature documentary visits some of the massive fundraising runs and questions where the money goes and asks ‘who really profits from pink ribbon campaigns?’ (The moment when the elderly inventor of the ribbon describes its hijacking…)

Director Léa Pool, below:

19 Minutes With William Gibson

From CBC’s “The Hour.”

Movie City Indie

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch