Movie City Indie Archive for April, 2013

On Collaboration: Leigh Whannel & James Wan

“The writer and director of the original SAW and 2011’s INSIDIOUS talk about how they collaborate Chicago, Park Hyatt Hotel, 8 March 2011.”

No Comments »

Tribeca FF’s “Film & Content Distribution Panel” (55’58”)

Joshua Topolsky of The Verge moderated Tribeca’s April 22 Future of Film Live series panel “The Big Picture: Film Distribution Today” with Richard Wellerstein (AT&T U-Verse), Mike Imbesi (Comcast), Avner Ronen (Boxee) and Kristin Jones (Vuguru).

No Comments »

“State of Cinema: Steven Soderbergh” (39’35”)

After successful viral increments, Mr. Soderbergh has allowed the “archival” recording of his speech to be published on the SF Film Society blog, along with a rush transcript: “A few months ago I was on this Jet Blue coming from New York to Burbank, and I like Jet Blue not because of the prices, but they have this terminal at JFK that’s really nice. I think it may be the nicest terminal in the country although I have to say of this country, if you want to see some great airports you have to go to a major city in another part of the world—they have amazing, amazing airports, they’re incredible and they’re quiet. You’re not being assaulted by music all the time. I don’t know when it was decided that we all need a soundtrack everywhere we go. I was just in the bathroom upstairs and there was a soundtrack, accompanying me at the urinal, I don’t understand Anyways, I’m getting comfortable in my seat—I spent the extra 60 bucks for the legroom so we’re hitting altitude and I’m getting a little comfortable—and there’s this guy who is in the other side of the aisle in front of me and he pulls out his iPad; he’s about to start watching stuff. I’m curious as to what he’s going to watch. He’s a white guy in his mid-30s and what he’s done is he’s loaded in half-a-dozen, sort of, “action extravaganzas” and he’s watching each of the action sequences. He’s skipping over all the dialogue and the narrative. So this guy’s flight is just going to be five-and-a-half hours of mayhem…” [Transcript continues here.]

No Comments »

Todd Wagner Talks Future Of Film At Tribeca FF (55’33”)

A conversation with Todd Wagner, co-owner of 2929 Entertainment, which owns Landmark Theaters, Magnolia Pictures, and HDNet Films. Recorded before a live audience on April 25, 2013 at the Tribeca Film Festival.

No Comments »

Steven Spielberg’s “Obama” (1’57”)

No Comments »

Teasing Wong Kar-wai’s THE GRANDMASTER (1’10”)

No Comments »

Trailering DIRTY WARS (2’20”)

No Comments »

Trailering THE BLING RING (1’24”)

No Comments »

Noam Chomsky On How To Talk To Women (1’28”)

1 Comment »

RIP Jonathan Winters (6’02”)

1 Comment »

Movie City Indie

Quote Unquotesee all »

“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch