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Movie City Indie Archive for December, 2012

Stream QT’s Copious Commentary On The DJANGO UNCHAINED Soundtrack (1’26″06′)


UPDATE 4 January 2013: While Soundcloud has deleted this track (for good?), you can find a few more listenables from the soundtrack here.

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Two Scenes From Paulo Rocha’s OS VERDES ANOS (1963)


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Dr. King McTeague (from GREED)

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The Making Of THE DEEP (3’42”)

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Tom Hooper’s SEGA-Right Said Fred Musical Video (1994) (4’37”)

Wow. It’s Les Misérables 18 years avant la lettre. “Well, it was a very surreal moment. I was doing an extended essay at Oxford University on James Joyce’s ‘Ulysses’ and ‘Finnegans Wake.’ I’ve got a 12,000 word essay and bunking off without telling people to direct a commercial staring Right Said Fred and some dancing fat grannies for Sega, the games company. And I just thought that never again in my life will I have the strongest disjunct between high and low culture. But the short answer is: Right Said Fred is extremely nice. And disappointingly uneccentric.”

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Quincy Explores Punk x 2


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sigur rós’ Christmas Card

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Postering Soderbergh’s SIDE EFFECTS

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Trailering THE GREAT BAZBY, Take Two (2’34”)

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Euro-Trailering Malick’s TO THE WONDER (1’41”)


Makes it look like a heart-breaking wonderment. (But festival viewing mileage may vary.)

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Movie City Indie

Quote Unquotesee all »

“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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