Movie City Indie Archive for March, 2013

“Sprang Braaake” Ringtone


[Via Matt Zoller Seitz.]

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.

Bruce Sterling SxSW Keynote (53’27” audio)

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.

Read the full article »

Scorsese on Restoring COLONEL BLIMP (4’51”)

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.

A Clip From WE HAVE A POPE (“Conclave”) (1’07”)

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 »

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?
Read the full article »

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!

Read the full article »

Movie City Indie

Quote Unquotesee all »

“When books become a thing, they can no longer be fine.

“Literary people get mad at Knausgård the same way they get mad at Jonathan Franzen, a writer who, if I’m being honest, might be fine. I’m rarely honest about Jonathan Franzen. He’s an extremely annoying manI have only read bits and pieces of his novels, and while I’ve stopped reading many novels even though they were pretty good or great, I have always stopped reading Jonathan Franzen’s novels because I thought they were aggressively boring and dumb and smug. But why do I think this? I didn’t read him when he was a new interesting writer who wrote a couple of weird books and then hit it big with ‘The Corrections,’ a moment in which I might have picked him up with curiosity and read with an open mind; I only noticed him once, after David Foster Wallace had died, he became the heir apparent for the Great American Novelist position, once he had had that thing with Oprah and started giving interviews in which he said all manner of dumb shit; I only noticed him well after I had been told he was An Important Writer.

“So I can’t and shouldn’t pretend that I am unmoved by the lazily-satisfied gentle arrogance he projects or when he is given license to project it by the has-the-whole-world-gone-crazy development of him being constantly crowned and re-crowned as Is He The Great American Writer. What I really object to is this, and if there’s anything to his writing beyond it, I can’t see it and can’t be bothered. Others read him and tell me he’s actually a good writer—people whose critical instincts I have learned to respect—so I feel sure that he’s probably a perfectly fine, that his books are fine, and that probably even his stupid goddamned bird essays are probably also fine.

“But it’s too late. He has become a thing; he can’t be fine.”
~ Aaron Bady

“You know how in postproduction you are supposed to color-correct the picture so everything is smooth and even? Jean-Luc wants the opposite. He wants the rupture. Color and then black and white, or different intensities of color. Or how in this film, sometimes you see the ratio of the frame change after the image begins. That happens when he records from his TV onto his old DVCAM analog machine, which is so old we can’t even find parts when it needs to be repaired. The TV takes time to recognize and adjust to the format on the DVD or the Blu-ray. Whether it’s 1:33 or 1:85. And one of the TVs he uses is slower than the other. He wants to keep all that. I could correct it, but he doesn’t want me to. See, here’s an image from War and Peace. He did the overlays of color—red, white, and blue—using an old analog video effects machine. That’s why you have the blur. When I tried to redo it in digital, I couldn’t. The edges were too sharp. And why the image jitters—I don’t know how he did that. Playing with the cable maybe. Handmade. He wants to see that. It’s a gift from his old machine.”
~ Fabrice Aragno