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Movie City Indie Archive for August, 2012

Michael Cimino Introduces HEAVEN’S GATE in Venice [pic only]


“My first reaction was: ‘I don’t want to revisit Heaven’s Gate‘. I’ve had enough rejection for 33 years. Being infamous is not fun. It becomes a weird occupation in and of itself.Because of the digital technology that did not exist at the time, I was able to make editorial changes, colour changes…. Seeing it through the digital equipment, it was like a new movie.” A professional flash photo, from Agence France Presse, with quotes (like the above) that sound translated and re-translated, is here.

[Via Le Monde.]

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Clint Eastwood addresses the empty chair (11’15”)

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TIFF12 Trailering THE ACT OF KILLING, presented by Herzog & Morris (3’08’)

Killers are invited to act out their memories of murder in Indonesia: “In this chilling and provocative documentary, executive-produced by Errol Morris and Werner Herzog (who said he’d “not seen a film as powerful and frightening in at least a decade”), a collection of unrepentant, genocidal thugs are given the chance to re-enact some of their many crimes—in lurid Hollywood style. When the Indonesian government was overthrown in 1965, small-time gangster Anwar Congo and his friends went from selling movie tickets on the black-market to leading anti-communist death squads in the mass murder of over a million people. Anwar boasts of killing hundreds with his own hands, but he’s lived in his country as a hero ever since, never forced by history to accept that he had perpetrated crimes against humanity. When approached to make a film about their role in the genocide, Anwar and his friends eagerly comply—but their idea of being in a movie is not to provide reflective testimony but to dance their way through musical numbers, twist arms in film noir gangster scenes, and gallop across the prairies as yodeling cowboys. A surreal cinematic journey, THE ACT OF KILLING presents a gripping conflict between moral imagination and moral catastrophe.”

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Neil Armstrong Interviewed in March, 2012 (video)

In March, Neil Armstrong gave one of his few interviews to Alex Malley, head of the Certified Practicing Accountants of Australia. The complete interview is here.



And: Armstrong responds to conspiracy theories.

These small pieces were chopped by The Daily Beast, source of the embeds.

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TIFF12 Trailering: Klip (MNSFW)

“Serbia!” “Jasna is a beautiful girl in her mid-teens, leading a crude life in postwar Serbia. With a terminally ill father and dispirited mother, she is disillusioned and angry with everyone and everything, including herself. Having a huge crush on a boy from school, she goes on a spree of sex, drugs and partying, constantly filming with her mobile phone. Still, in that very harsh environment – love and tenderness emerge. Starring Isidora Simijonovic, Vukašin Jasnic, Sanja Mikitišin, Jovo Makisc and Monja Savic.”

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TIFF12 Trailering: BOY EATING THE BIRD’S FOOD

So what’s up in Greek filmmaking? This. “A 22-year-old boy in Athens has no job, no money, no girlfriend and no food to eat. He has only a canary bird and a beautiful singing voice. When he finds himself without a home, he must seek shelter for his bird. Starring Yiannis Papadopoulos.”
Read the full article »

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Teasing McAdams-Rapace-DePalma’s PASSION (1’05”)

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Movie City Indie

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“The core fear is what can happen to you, personally. Your body. That’s what horror films deal with, precisely. We are a very thin skin wrapped around a pumping heart and guts. At any given moment it can come down to that, be it diseases, or somebody’s assault, or war, or a car wreck. You could be reduced to the simple laws of physics and your body’s vulnerability. The edged weapon is the penultimate weapon to disclose that reality to you.”
~ Wes Craven, 1996, promoting Scream

MAMET
Well, that, to me, is always the trick of dramaturgy; theoretically, perfectly, what one wants to do is put the protagonist and the audience in exactly the same position. The main question in drama, the way I was taught, is always what does the protagonist want. That’s what drama is. It comes down to that. It’s not about theme, it’s not about ideas, it’s not about setting, but what the protagonist wants. What gives rise to the drama, what is the precipitating event, and how, at the end of the play, do we see that event culminated? Do we see the protagonist’s wishes fulfilled or absolutely frustrated? That’s the structure of drama. You break it down into three acts.

INTERVIEWER
Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

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