Movie City Indie Archive for July, 2012


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KTQ Labs Spring Showcase (5’20”): Works-in-Progress From Kartemquin Films

“A recap of the 2012 #KTQLabs Spring Showcase at the Gene Siskel Film Center, showing new works-in-progress from Kartemquin. Featured films were Living Revolution, Almost There, The Trials of Muhammad Ali, and Unbroken Glass.”

Andy Warhol Eats A Whopper (With Heinz) By Jørgen Leth (4’28”)

[Via Bon Appetit via Lucky Peach.]

Trailering TIFF 2012 (1’51”)

“8 Degrees Of MARGARET”

Hover over stars for more… stuff.

Nathan Johnson Previews Score To LOOPER (5’09”)

[Via AICN.]

Jeff Krulik’s ERNEST BORGNINE ON THE BUS (50’28”)

Ernest Borgnine in GATTACA (3’54”)

Solondz In Karlovy Vary: “It’s really the saddest of all of my comedies”

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[Via Ted Hope.]

Picturing CHICAGOANS: A Photography Show

Five 20″ x 30″ photographs by Ray Pride.

Alex Gibney’s SONGS AGAINST DRILLING (6’32”)

NYT Op-Doc: “With a blend of interviews and concert footage, the filmmaker Alex Gibney covers an anti-hydraulic fracturing rally and accompanying benefit concert featuring Natalie Merchant and Mark Ruffalo.”

Movie City Indie

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch