Movie City Indie Archive for March, 2013

DVD Interview: Benh Zeitlin on Water

Benh Zeitlin and I talked about Beasts of the Southern Wild, water, humidity, Hushpuppy as superhero of her own life, walls of music, coming to film from music and animation, and the influence Emir Kusturica and Bob Fosse on June 11, 2012 at the Palomar Hotel in Chicago.

PRIDE: We can start on water. Discuss!

ZEITLIN: Shooting on the water or the water in Louisiana?

PRIDE: Water, big. It’s like New Orleans water makes it what it is. Water brings the life, water brings the death.

ZEITLIN: Yeah, yeah, absolutely. It’s a place, it’s so viscerally connected to the water. There’s a real humility that comes from this sort of feeling when you are there, that New Orleans is very close to death in this way. It’s a presence in a way that I have never experienced anywhere else before, and it is all about… Every time it rains, water has this reminder of what it can do, and that your existence is this precarious thing that can be taken anyway at any moment by the water. Then at the same time it’s also where all the best food comes from! It’s an endlessly fascinating relationship and when I started making this film, I saw this. You look at a map, and you see this place where the water and the land are sewn together, where there is no clear border. And I wanted to explore what was at the frontlines of that place. So I would drive as far as I could go out into the marsh on all these different roads, and at the end of one of these roads was the town that became the film.

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Teasing BLUE CAPRICE (0’34”)

Terence Davies Revealing Ealing (7’48”)

Co-Producer agnes b. Teams With SPRING BREAKERS For Merch

Plus, les inrocks calls the movie “Godard boosted by Red Bull.” French trailer below [Via agnès b, les inrocks, allocine.]

Postering TABU in Australia

[Via @Palacefilms; Click 3 times for largest size.]

Chris Burden’s 1970s Late Night TV Commercials (8’47”)



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Trailering Gerwig-Baumbach’s FRANCES HA (1’55”)


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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch