Movie City Indie Archive for March, 2012

1984

[Via Annapurna Pictures.]

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1983 “HBO Feature Presentation” Intro (1’14”)

http://www.youtube.com/watch?v=oF0Pw8tiJBA

Man, is that long. [Via @PanosCosmatos.]

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Shooting TOUCH OF EVIL’s Opening (in color)

PHOTO COURTESY AMPAS

Among 70,000 production stills from the Bison Archives, the Academy acquired eight color images of the shooting of the opening of Touch of Evil.

ADDED 3/30: A map of the locations in Venice Beach.

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“The Writer’s Job Is To Get Naked”: RIP Harry Crews (9’41”)

http://www.youtube.com/watch?v=xPswt7HKBQ8

And: “Stories was everything and everything was stories“: Harry Crews in Searching For The Wrong-Eyed Jesus.

And: the trailer for Survival Is Triumph Enough.

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“The Sound of The Hunger Games”

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Fred Astaire: HIPSTER

“Tequila!” ‘n shit.

[Via Brechtian]

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5 Images From Woody’s TO ROME WITH LOVE





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Trailering Xavier Dolan’s LAURENCE ANYWAYS (2’58”)

So that’s what Xavier Dolan‘s been up to… Not necessarily to be expected from the director of How I Killed My Mother and Les amours imaginaires, but… “C’est especial.”

“I didn’t see you coming this morning. Is this a revolt?”
“No sir, it’s a revolution.”

Cannes-bound, per David Hudson at Daily MUBI.

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Girl Talk’s “Girl Walk//All Day” Part 1 (of 12) (8’05”)

In 12 chapters, a runaway Kickstarter success. The site, here. “A 71-minute dance music video of epic proportions, set to the tune of Girl Talk’s All Day. The idea behind Girl Walk // All Day emerged from our desire to expand the boundaries around the idea of the traditional music video, which usually spans the length of a single track. This album-length piece will feature a talented group of dancers across a range of public and private spaces around New York City, turning the city’s sidewalks and obstacles into part of an evolving improvisational dance routine.”

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RIP Tonino Guerra (videos)

A trailer for a documentary in the making. Guerra looks so… calm. Centered. Down-to-earth. Nice.

I once had a random conversation with Guerra at a film festival about his poetry, which I had discovered only a couple weeks earlier. He seemed pleased to be able to talk about that writing more than about the many directors he’d written screenplays with, including Angelopoulos, smoking a cigarette and glaring at the other end of a couch. (The poetry is written in his native dialect and much of it is scabrous.)

Below, “Cooking Up Ideas” with Tarkovsky, from Voyage In Time.

Photo of Tarkovsky, Antonioni, Guerra: Letter To Jane.

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DVD Distrib Lets Customers Know The Fake DRAGON TATTOO DVD Markings Are… Real

“We would like to address some confusion caused by the DVD version of The Girl with the Dragon Tattoo. Upon opening the case, librarians and patrons will find what looks to be a burned DVD-R with the movie’s title scrawled across it with a marker…” (Preview copies of Monte Hellman’s Road To Nowhere used the same effect last year, aping the opening shot of the movie.) [Via BoingBoing.]

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Albert Brooks’ DRIVE monologue auf Deutsch (1’08”)

The polymath is multilingual!

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Doug Trumbull on 70mm Filmmaking (1’45” vid)

Ever the romantic.

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Movie City Indie

Quote Unquotesee all »

“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