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 »

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé

A Haunted House 2 is not a movie. It is a nervous breakdown. Directed by Michael Tiddes but largely the handiwork of star, producer, and co-writer Marlon Wayans, the film is being billed as yet another Wayans-ized spoof of the horror movie genre, à la the first Haunted House movie and the wildly successful Scary Movie series. (Keenen Ivory Wayans and his brothers were responsible for the first two Scary Movie films; they have since left that franchise, which may explain why a new one was needed.) And there are some familiar digs at recent horror flicks: This time, the creepy doll and the closet from The Conjuring, the family-murdering demon from Sinister, and the dybbuk box from The Possession all make appearances. But this new film is mostly an excuse for star Marlon Wayans to have extended freak-outs in response to the horrors visited upon him—shrieking, screaming, crying, cowering, and occasionally hate-fucking for minutes on end. Yes, you read that last bit right. A Haunted House 2 puts the satyriasis back in satire.”
Ebiri On A Haunted House 2