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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Fey: How are we going to proceed with any kind of dignity in an increasingly ugly world? And I actually was thinking — because I’ve got to write something for when I get the award — to use Sherry Lansing as an inspiration because she was a lady who worked in a very, very ugly business and always managed to be quite dignified. But in a world where the president makes fun of handicapped people and fat people, how do we proceed with dignity? I want to tell people, “If you do two things this year, watch Idiocracy by Mike Judge and read Leni Riefenstahl’s 800-page autobiography and then call it a year.”
Letterman: Wait a minute. Tell me about Leni Riefenstahl.
Fey: She grew up in Germany. She was in many ways a brilliant pioneer. She pioneered sports photography as we know it. She’s the one who had the idea to dig a trench next to the track for the Olympics and put a camera on a dolly. But she also rolled with the punches and said, “Well, he’s the führer. He’s my president. I’ll make films for him.” She did some terrible, terrible things. And I remember reading 20 years ago, thinking, “This is a real lesson, to be an artist who doesn’t roll with what your leader is doing just because he’s your leader.”
Letterman: My impression of this woman is that she was the sister of Satan.
Fey: She was in many ways. But what she claimed in the book was, “He was the president, so what was I supposed to do?” And I feel a lot of people are going to start rolling that way.
~ Tina Fey And David Letterman Are Anxious

“I love it! Shia’s crazy and he’s great. It’s a good combination for me. I don’t know if he’s going to jump up and attack me, or the camera, or the actor, and I kind of enjoy that. He brings something unexpected, all the time. A little frightening, a little grey, so I really enjoy that kind of madness. I think he takes this work very serious, really serious, and sometimes maybe that comes across arrogant or annoying, and I understand that. But it’s nice when someone cares so much. I don’t know how easy it is to be a big movie star, I’ll never understand that world, but to show up and care that much, to me, is a nice deal and I’ll take it. With all the craziness.”
~ Dito Montiel On Shia Labeouf