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

Quote Unquotesee all »

A statement from David Chase’s representative, Leslee Dart:

A journalist for Vox misconstrued what David Chase said in their interview. To simply quote David as saying,“ Tony Soprano is not dead,” is inaccurate. There is a much larger context for that statement and as such, it is not true. As David Chase has said numerous times on the record, “Whether Tony Soprano is alive or dead is not the point.” To continue to search for this answer is fruitless. The final scene of THE SOPRANOS raises a spiritual question that has no right or wrong answer.
~ David Chase Refutes Vox Writer

“By the time the sounds of the Von Trapp children warbling ‘Silent Night’ drift through The Giver, you may find yourself wondering what fresh movie hell this is. In truth, the enervating hash of dystopian dread, vague religiosity and commercial advertising-style uplift is nothing if not stale. Adapted from Lois Lowry’s book for young readers, the story involves an isolated society that, with its cubistic dwellings, mindless smiles, monochromatic environs and nebulous communitarianism, seem modeled on a Scandinavian country or an old Mentos commercial.”
~ Manohla Dargis’ Deadly Lede For Review Of The Giver