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 »

“Any time a movie causes a country to threaten nuclear retaliation, the higher-ups wanna get in a room with you… In terms of getting the word out about the movie, it’s not bad. If they actually make good on it, it would be bad for the world—but luckily that doesn’t seem like their style… We’ll make a movie that maybe for two seconds will make some 18-year-old think about North Korea in a way he never would have otherwise. Or who knows? We were told one of the reasons they’re so against the movie is that they’re afraid it’ll actually get into North Korea. They do have bootlegs and stuff. Maybe the tapes will make their way to North Korea and cause a fucking revolution. At best, it will cause a country to be free, and at worst, it will cause a nuclear war. Big margin with this movie.”
~ Seth Rogen In Rolling Stone 1224

“Yes, good movies sprout up, inevitably, in the cracks and seams between the tectonic plates on which all of these franchises stay balanced, and we are reassured of their hardiness. But we don’t see what we don’t see; we don’t see the effort, or the cost of the effort, or the movies of which we’re deprived because of the cost of the effort. Paul Thomas Anderson’s Inherent Vice may have come from a studio, but it still required a substantial chunk of outside financing, and at $35 million, it’s not even that expensive. No studio could find the $8.5 million it cost Dan Gilroy to make Nightcrawler. Birdman cost a mere $18 million and still had to scrape that together at the last minute. Imagine American movie culture for the last few years without Her or Foxcatcher or American Hustle or The Master or Zero Dark Thirty and it suddenly looks markedly more frail—and those movies exist only because of the fairy godmothership of independent producer Megan Ellison. The grace of billionaires is not a great business model on which to hang the hopes of an art form.”
~ Mark Harris On The State Of The Movies