Movie City Indie Archive for March, 2013

“Sprang Braaake” Ringtone


[Via Matt Zoller Seitz.]

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Only 9,811,125 Views For Ilya Naishuller’s “Biting Elbows: Bad MF”? (NSFW)

MTV’s report: “The first scenes were shot in January 2012 and include the alpine skiing sequence, followed by several days of shooting in an office, for a total of eight days over the course of a year. “I just wanted it to be a fun ride,” he said of the filming, which took place with a mostly volunteer crew of friends on a handheld… GoPro action video camera. “I knew right away it would have massive appeal because I enjoyed the hell out of it and I was surprised nobody had shot anything like this before.” Professing to be a huge fan of video games and Prodigy’s 1997 video landmark “Smack My B—- Up,” which offers a similar look at debauched first-person action, Naishuller said his biggest influence was actually the legendary opening POV robbery scene in Oscar-winning director Kathryn Bigelow’s 1995 cyberpunk thriller Strange Days.”

Russia Today interviews Naishuller.

Nashuller’s VK page.

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Bruce Sterling SxSW Keynote (53’27” audio)

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True/False And The Tradition Of The March March

Come rain, shine or snow—sometimes all three at once—the True/False film festival christens its long-end-of February-start-of-March weekend with a March March through the streets of Columbia, Missouri on March 1, led by costumed locals of all ages and levels of creative investment. In 2008, the March was led by Chicago’s punk marching band, Mucca Pazza, who didn’t take to the streets this year, but to the stage of the Missouri Theater soon after. Still, there were goofy and inscrutable costumes that may or may not relate to any nonfiction films, as well as a few hundred happy faces, drumming, and snowflakes making everything more brisk. Plus bicycle wheels held aloft in flames.

March 0000

And a polar bear shall guide the way.

March 00

Dozens more gathered at the Boone County Courthouse. A surly young guard shouted at anyone framing their friends against the building. “You can’t photograph the building! Stop taking pictures of the building! It is NOT allowed!”

March 000

Handmade flags of the ten-year-old T/F logo dotted the parade route.

Pre-March March from Ray Pride on Vimeo.

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Scorsese on Restoring COLONEL BLIMP (4’51”)

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Trailering Assayas’ SOMETHING IN THE AIR (2’27”)

Deeply personal, tactile, dreamy memory piece from Olivier Assayas, aka “How I Didn’t Know I Was Becoming a Filmmaker.” Très, très bon.

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DVD: Smashed, This Must Be The Place, Hipsters

There’s this thing called state-dependent recall: you fall in love drunk in a bar, you better be prepared to stay drunk to stay in love. That tavern truism sings through James Ponsoldt’s Smashed, a light-on-its-feet drama of a star-crossed Los Angeles couple next door, happily married yet boozily adrift, until one day she realizes she’s crossed a line. Tactile and breezy and specific and funny nonjudgmental, it’s a small-budget film with the largest of hearts. Part of that is Mary Elizabeth Winstead as Kate, a exuberant partier and schoolteacher of small children, twentysomething, dressed in an Angelino uniform of long dresses and bare legs and flip-flops in eternal, infernal California climatic temperance. (In a moment of clarity, she describes smashed Kate: “I would piss my pants and would still be cute.”)

“We say a lot of times that it’s a love story and a coming-of-age story, it’s a portrait of a marriage seen through the eyes and experience through the eyes of the wife,” Ponsoldt told me in October at the time of the film’s theatrical release. “They’re closer to 30 than they are to 20 but they’re emotionally stunted because of the drinking. For a long time, their emotional growth stopped.” Read the full article »

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Excerpting ¡VIVAN LAS ANTÍPODAS! (6’02″; 2’13”)

VIVAN LAS ANTIPODAS! (2011) Official Excerpt from Richard Lormand on Vimeo.

Why isn’t this on a big screen in the U S of A?
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DVD Interview: Ang Lee On Water

A couple days after its first exposure in New York City to outside audiences, Ang Lee traveled to several cities to introduce and talk about Life Of Pi. Down the stream would be his second Oscar for Best Director and, as of March 11, a $599,162,614 theatrical gross (80% of which would come from outside of the United States). We talked in October 24, 2012 at the Chicago Waldorf-Astoria, largely about images, water and weather.

PRIDE: How dare you! You’re not supposed to make a film that’s beautiful in every frame. The eyes need some rest.

LEE [laughs]: Thank you. It’s very challenging.

PRIDE: There are so many kinds of physical beauty in the film. Nothing looks ordinary. Each setting, from a childhood his Pondicherry, India, to the many, many days on the water, even the grown-up Pi’s apartment in Montréal, have only as many specifics as a storybook.

LEE: I’m glad you say that. That wasn’t actually my goal; I can’t make a visual film. It never occurred to me. People say about the visual thing… I think: it has to be a movie about ocean, about India, so just naturally… I’m not even a visually trained person, I’m dramatically trained. Visually, I rehearse the scene before I decide how to shoot it.

PRIDE: Not only storyboards, but pre-viz, a pre-visualization in motion?

LEE: Yes. Maybe because I visualized it—because I had to—because it’s so expensive. I animated the whole ocean part before I make the movie, to raise the money. It’s totally different from every other movie I’ve made, maybe that’s why, because I forced myself to pre-visualize them. But people are saying to me that it’s beautiful, it never occurred to me. I was just making it!

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Movie City Indie

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“The worst thing that we have in today’s movie culture is Rotten Tomatoes. It’s the destruction of our business. I have such respect and admiration for film criticism. When I was growing up film criticism was a real art. And there was intellect that went into that. And you would read Pauline’s Kael’s reviews, or some others, and that doesn’t exist anymore. Now it’s about a number. A compounded number of how many positives vs. negatives. Now it’s about, ‘What’s your Rotten Tomatoes score?’ And that’s sad, because the Rotten Tomatoes score was so low on Batman v Superman I think it put a cloud over a movie that was incredibly successful. People don’t realize what goes into making a movie like that. It’s mind-blowing. It’s just insane, it’s hurting the business, it’s getting people to not see a movie. In Middle America it’s, ‘Oh, it’s a low Rotten Tomatoes score so I’m not going to go see it because it must suck.’ But that number is an aggregate and one that nobody can figure out exactly what it means, and it’s not always correct. I’ve seen some great movies with really abysmal Rotten Tomatoes scores. What’s sad is film criticism has disappeared. It’s really sad.”
~ Brett Ratner Has A Sad

“The loss of a local newspaper critic is a real loss. People who know the local audience and know the local cultural scene are very important resources. You can’t just substitute the stuff that comes in from nowhere through syndication or the wire. I think at the same time, some of the newer outlets have really beefed up and improved their coverage and made room for criticism. The real problem is in the more specialized art forms — fine arts, classical music, dance and jazz, say. There is a real slowing of critical voices, partly because those art forms have smaller audiences. Newspapers and magazines can say that doesn’t get enough traffic, so we don’t have room for that. To me, that’s especially worrisome. This is the opposite of what newspapers are supposed to do, which is not to try to figure out what people are already interested in and recite that back to them, but to hopefully guide them to something that they should be interested in, connecting potential audiences with more interesting work.

“Then again, not everyone needs a critic. People have been going to movies for more than 100 years now, and probably the vast majority of those people have not read movie reviews or cared what critics thought. But there has always been an important subset that wants to know more, that wants to think about what they’ve seen and what they’re going to see, and wants someone to think along with. I think critics are important, not just as dispensers of consumer advice — though that’s certainly part of it, too — but as trusted voices and companions for people to argue with in your head when you’re going to movies or afterwards.”
~ A. O. Scott