Movie City Indie Archive for October, 2012

2012 FYC Screenplay Season Starts With Universal Pictures

Four screenplays from Universal Pictures’ 2012 slate are available for download: The Lorax; Snow White And The Hunter;  Ted, and prematurely, Judd Apatow‘s This Is 40.

Trailering HOLY MOTORS (2’33”) (U.S.)

That’s a trailer. (And “completely bonkers.”)

TIFF’s “VOD Killed The DVD Star” (1’03″04)

An “Industry Dialogue” with IFC Films’ Jonathan Sehring, Winnie Lau (VP Sales and Acquisitions, Fortissimo Films), Edward Burns, Tom Quinn (RADius-TWC) and Philip Knatchbull (Curzon Artificial Eye). From TIFF’s catalog description: “The last year has seen numerous independent films gross just as much or more through video on demand as through theatrical release. With independent filmmakers such as Edward Burns releasing films exclusively through VoD, and distributors such as Magnolia Pictures and the Weinstein Company’s Radius increasingly moving to multi-platform strategies, VoD seems poised to replace DVD and theatrical as the main distribution channel for independent films. Join Radius-TWC Co-President Tom Quinn, independent filmmaker Edward Burns and other industry experts for a discussion on how to properly position your film in the marketplace and maximize the potential of this burgeoning platform.”

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TIFF Moguls: Producer Jeremy Thomas (59’33”)

Rian Johnson’s “Clip-o-Matic” Reel For LOOPER (1’39”)

Looper clip-o-matic trailer from rcjohnso on Vimeo.

“This is a strange curiosity I thought might be interesting,” writes Johnson. “Just after I finished the script for Looper but before we began preproduction, I asked Joe to record some voiceover, and with help from my friend Ronen Verbit constructed this “fake trailer” using clips from other movies. This is a fairly common thing to do when you’re trying to get a movie off the ground, but it was the first time I tried it. It was meant to show more some of the film’s tone, and to show how the odd concept could be presented in a clear and compelling way in the marketing. Zach Johnson did the sketches. Note that we hadn’t begun the casting process yet, and the clips were chosen just based on their visuals and not by who is in them.”

Apichatpong Weerasethakul’s CACTUS RIVER (Khong Lang Nam) (10’08”)

Of his new film, Apichatpong Weerasethakul writes: “Since she appeared in my film in 2009, Jenjira Pongpas has changed her name. Like many Thais, she is convinced that the new name will bring her good luck. So Jenjira has become Nach, which means water. Not long after, she was drifting online and encountered a retired soldier, Frank, from Cuba, New Mexico, USA. A few months later they got married and she has officially become Mrs. Nach Widner.

“The newlyweds found a house near the Mekong River where Nach had grown up. She spends most of her day crocheting baby socks for sale, while he enjoys gardening and watching television (sometimes without the sound because most of the programs are in Thai).

Cactus River is a diary of the time I visited the couple—of the various temperaments of the water and the wind. The flow of the two rivers—Nach and the Mekong, activates my memories of the place where I shot several films. Over many years, this woman whose name was once Jenjira has introduced me to this river, her life, its history, and to her belief about its imminent future. She is certain that soon there will be no water in the river due to the upstream constructions of dams in China and Laos. I noticed too, that Jenjira was no more.”

Scorsese’s NYFF Memories, from the 1960s to now (4’14”)

ZERO DARK THIRTY trailer 2: two frames

“Her confidence.” All the implications of that shot with the reflection against a tattered stars-and-stripes under glass; the post-credit nightvision POV toward the house… cr.. cr.. unch. [Trailer #2.]

Savides on set of ELEPHANT (14’13”)

Rolling Through Time from Felix Andrew on Vimeo.

2xHarris Savides (RIP) (4’43″/2’48”)

Steve James On HOOP DREAMS (37’21”) at TIFF Lightbox

Trailiering HITCHCOCK: The Wrong And The Good (2’37”)

Really, Anthony Hopkins doesn’t look or sound like Hitchcock, but like a burlesque of the man’s self-advertisement, but a bon-bon of a burlesque it is. The sense of humor is wickedly… right. Then Helen Mirren’s Alma Reville asserting herself to bits and bobs of music by Woodkid? Mischief is afoot.

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“Would I like to see Wormwood in a theater on a big screen? You betcha. I’d be disingenuous to argue otherwise. But we’re all part of, like it or not, an industry, and what Netflix offers is an opportunity to do different kinds of films in different ways. Maybe part of what is being sacrificed is that they no longer go into theaters. If the choice is between not doing it at all and having it not go to theaters, it’s an easy choice to make.”
~ Errol Morris

“As these stories continue to break, in the weeks since women have said they were harassed and abused by Harvey Weinstein, which was not the birth of a movement but an easy and highly visible shorthand for decades of organizing against sexual harassment that preceded this moment, I hope to gain back my time, my work. Lately, though, I have noticed a drift in the discourse from violated rights to violated feelings: the swelled number of reporters on the beat, the burden on each woman’s story to concern a man “important” enough to report on, the detailed accounting of hotel robes and incriminating texts along with a careful description of what was grabbed, who exposed what, and how many times. What I remember most, from “my story” is how small the sex talk felt, almost dull. I did not feel hurt. I had no pain to confess in public. As more stories come out, I like to think that we would also believe a woman who said, for example, that the sight of the penis of the man who promised her work did not wound her, and that the loss she felt was not some loss of herself but of her time, energy, power.”
~ “The Unsexy Truth About Harassment,” by Melissa Gira Grant