“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
~ James Gray
Movie City Indie Archive for August, 2012
“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.]
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.”
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.
“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.”
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.”
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