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Movie City Indie Archive for April, 2012

George Lucas Expands At The Milken Institute (43’03”)

Michael Milken and George Lucas do the celebrity panel thing together. Body language is not everything, but it’s a damn bonus.

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This makes me cry. RIP Amos Vogel

Tender, true.

[Via Nellie Killian.]

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“All Your Light (Times Like These)” by Portugal The Man (NSFW) (5’24”)

http://www.youtube.com/watch?v=ZonfGts68Y4

Shot by Michael Ragen, also cinematographer on Jack White’s “Sixteen Saltines” and Spiritualized’s “Hey Jane.” That’s one way to tell a story.

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Postering IFC Midnight’s ROOM 237

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YOU AIN’T SEEN NOTHING YET: Postering Resnais at 89

Cannes-bound.

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SPIKE LEE: THE DOLLY SHOT (2’54”)

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Wes Anderson for Clark’s Wallabees

[Via @KeithCalder.]

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Trailering COSMOPOLIS

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Postering Neil Jordan’s BYZANTIUM

[Via WestEnd Films’ Facebook.]

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Welles On CITIZEN KANE and Gregg Toland DELETED

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Trailering “Dogme 40: Donald Duck”

Crazy Icelanders.

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David Lynch’s Amusingly Skeptical Interview With VICE (13’46”)

Click twice for largest image of the Sage Of Missoula.

[Below the fold, the “Crazy Clown Time” video.]

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Movie City Indie

Quote Unquotesee all »

“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

“I was having issues with my script for It’s All About Love, so I called Ingmar Bergman and we ended up talking about everything but the script. He said, “Well, Festen is a masterpiece, so what are you going to do now?” At that point, I had not decided if I was going to make It’s All About Love, so I answered, “Hmmm, I don’t know. Maybe this, maybe that.” There was just a long pause, and then he said, “You’re fucked.” I said, “Well, how can you know?” “Well, Thomas, you always have to decide your next movie before the movie you’re doing presently opens.” And I said, “Why is that?” “Well, two things can happen. One thing is that you fail, and then you’ll feel scared and humiliated. It’ll get into your head. Second, and even worse, you have success, and then you’ll want more of it, or you’ll want to maintain it. But if you decide on your next film while you’re in the middle of editing, it becomes a very nonchalant choice. And then it’s shorter from the heart to the hand.”
~ Thomas Vinterberg

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