Movie City Indie Archive for July, 2013

Trailering THE TRIALS OF MUHAMMAD ALI (2’04”)

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Postering LEE DANIELS’ THE BUTLER

LDBUTLER_GLOVE
LDBUTLER_WINDOW[1]

Will any theater put these side-by-side? Since it’s a Lee Daniels film, I would expect the finished film to reflect the iconography of both posters.

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A Few F—in’ Words From Dennis Farina (5 vids)





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Guillermo Del Toro on GODZILLA (1’41”)

[Criterion.]

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Teasing THE CANYONS (1’15”)

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“Downtown” for Calvin Klein, By David Fincher, With Rooney Mara (1’03”)

The glimmering of inconsequence… Angles on cafe to compare with Girl With The Dragon Tattoo; Rooney Mara walking same cadence as cyclist in zebra crossing; sugar crystals in coffee instead of Godardian cream; cuttingly crisp and creased white blouse under fitted form of lightest black leather blouson of highest odor; taffeta dress knee-length as girl-kick of high-arched feet; whoosh that takes a page and a cloth book ribbon aloft as she watches with sleepy interest; sad eyes, cruel bangs; puppy!; smile of adult confidence and mature satisfaction; long fingers, fingertips gently flex at lower corner of frame to the slight sound of distant siren. A near-waking dream to a song on earbuds, turning in space, the slightest turn of body, profile, eyelids, eyelashes, feet, fingers… That’s… gorgeous.

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Movie City Indie

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“I don’t really believe in guilty pleasures. I like to subscribe to Susan Sontag’s thought of no highs and lows. I think dismissing popular culture and popular films can be really dangerous because they may seem innocuous, but some are works of art and even when they’re not they can say so much about the culture that they’re reflecting. This also gets into the idea of canon. What is good and isn’t good? Lately, I’ve been thinking a lot about that. Specifically, who writes these canons? Mainly, straight white guys — which basically rigs the system. So, if you have a knowledge of female filmmakers, queer filmmakers, African or Asian filmmakers, some people won’t give them the same culture capital. They’ll say, “Oh, that’s nice niche knowledge.” No, it’s not. You’re just seeing it through the prism of something white and male. Like Shonda Rhimes’ ‘Scandal.’ I love that show, but is it a guilty pleasure because it’s a soap on TV? No. I think it has incredible writing, incredible thought and characters, so we should take it seriously. That’s a long-winded answer to say, “Yes, I love Titanic.” I was 10 years old when it came out and my mom took me to see it three times. I was so obsessed with it. A big thanks to my mom who’ll never get those nine hours of her life back.”
~ Toronto Int’l Programmer and Critic Kiva Reardon

“A lot of us felt blindsided,” Van Vliet told me. In the seventies, Van Vliet was drafted out of film school by Industrial Light & Magic, where he worked on The Empire Strikes Back and Raiders of the Lost Ark. Now 62 and semi-retired, he said, “Once you get into your fifties, you’re pretty disposable.” Van Vliet was in the middle of reviewing DVD screeners before casting his Oscar votes, a process he estimated would take a hundred and twenty hours. “The Academy is essentially asking us to give them three weeks of labor, and then they’re going to take our results, put them into a ceremony, and sell it,” he said, referring to the seventy-five million dollars that the organization earns from the television broadcast. “Then they’re turning around and kicking us in the teeth.”
~ “Shakeup At The Oscars”