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Movie City Indie Archive for May, 2012

Beasts of the Southern Apprenticeship: Benh Zeitlin’s First Film, GLORY AT SEA (25’48″)

While the short’s been online for over three years, advancing publicity for the summer release of Beasts of the Southern Wild make Glory At Sea worth a second (or first!) look.  [Via Wholphin.]

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A Single-Take Steadicam Shot Behind Scenes Of HUGO

Steadicam by Larry McConkey, who also shot the club sequence in Goodfellas.

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Paul Schrader posts on his Bret Easton Ellis project, THE CANYONS

THE CANYONS. “The material is classic BEE. Character driven, dialogue driven, explicit in word if not action. Two visual poles are emerging in the low budget world: on one side, Wong Kar-Wai’s Fallen Angels. On the other Xavier Dolan’s Heartbeats. Both styles mix approaches, use hand held, work economically. Both are composed as opposed to faux vérité. You could distinquish them by saying Fallen Angels aspires to the characters’ POV, Heartbeat to the director’s. A third path? Better examples from the microbudget world?”

John DeFazio will be the DP for The Canyons. John and I are now discussing possible approaches. Many things are possible on a microbudget. Some things are not. For example, you have to plug in for power rather than bring a generator. That limits the amount of artifical light you can use. Which means in turn that post-prod color effects may be more practical than onset gels. And so on. “Undoing” is just one style of cinematography we are dicussing. Any thoughts what the “look” of Canyons should be. Hard or soft? Back or front? Hand held or tripod? There are no longer any rules in cinematography, only choices.” (The project has 11 days left in its Kickstarter campaign, but is already 50% over its funding goal.)

 

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Clipping ON THE ROAD: Kirsten Dances; Kristen Drives

 

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Lurhmann’s Eckleburg

[Click twice.]

And his “Zeigfeld.”

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Holy HOLY MOTORS!! 9 images, video, press kit extracts

  The tweets after the first screening: c’est incroyable!

Epigraph to the press kit: “History adds that before or after dying he found himself in the presence of God and told Him: “I who have been so many men in vain want to be one and myself.” The voice of the Lord answered from a whirlwind: “Neither am I anyone; I have dreamt the world as you dreamt your work, my Shakespeare, and among the forms in my dream are you, who like myself are many and no one.”

— Jorge Luis Borges, “Everything and Nothing”

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Teasing THE MASTER

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Trailering Bond 23: Hello Roger Deakins!

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56 Seconds Of THE SOUNDS OF ARONOFSKY

[Kottke.]

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Aaron Sorkin’s Syracuse Commencement Speech (16’27″)

“Thank you very much. Madam Chancellor, members of the Board of Trustees, members of the faculty and administration, parents and friends, honored guests and graduates, thank you for inviting me to speak today at this magnificent Commencement ceremony.

There’s a story about a man and a woman who have been married for forty years. One evening at dinner the woman turns to her husband and says, “You know, forty years ago on our wedding day you told me that you loved me and you haven’t said those words since.” They sit in silence for a long moment before the husband says “If I change my mind, I’ll let you know.”

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Movie City Indie

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“Oh it was just hellish. This is the worst thing that ever happened to me. It would be stupid for me to say that I didn’t know what I was getting into. It has taken me five years to decide on a first film and I always held out for something like this. The lesson to be learned is that you can’t take on an enterprise of this size and scope if you don’t have a movie like The Terminator or Jaws behind you. Because when everybody’s wringing their handkerchiefs and sweating and puking blood over the money, it’s very nice to be able to say, ‘This is the guy who directed the biggest grossing movie of all time, sit down, shut up and feel lucky that you’ve got him.’ It’s another thing when you are there and you’re going ‘Trust me, this is really what I believe in,’ and they turn round and say ‘Well, who the hell is this guy?’ If I make ten shitty movies, I’ll deserve the flak and if I go on to make 10 great ones, this’ll probably be looked upon as my first bungled masterpiece.”
~ David Fincher, 1992

 

“I was a brat back when I made Pootie Tang. I was dealing with people every day whose pressures I didn’t understand, and I wasn’t very nice about how I said no to them. I put myself in a position I didn’t have to be in. A lot of what makes this kind of stuff work is empathy. If you’re taking money from somebody, they have a right to look after it. It’s all just trying to be clear about the arrangement. That’s why when I set up ‘Louie,’ I just said, ‘This is what I’m comfortable doing, and if you don’t want to do it, I don’t blame you. But in exchange, I’ll take very little money.’ I was only getting $200,000 per show from them, which is insane, and it goes up just by tiny increments every year. The other part of the arrangement with FX is that if this stops working for them, they should just tell me and we’ll stop doing it. Contractually, FX has a right to demand that the scripts be filtered through them before I shoot them, just like any other show. But from the beginning, they haven’t read anything, and they like the show. If I start turning in shit, then they’re going to start asking to see scripts, and that’s perfectly fair.”
~ Louis C. K.

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