Movie City Indie Archive for August, 2013

Pegg & Frost Get Lucky (1’17”)

Teasing AIN’T THEM BODIES SAINTS (0’51”)

10 Questions For Elmore Leonard (2010) (6’34”)

Interview: A Few Choice Details From Lee Daniels on THE BUTLER

LEE DANIELS' THE BUTLER

Lee Daniels is almost as entertaining an interview subject as he is as a filmmaker. We first talked about Precious, and a few weeks ago about The Butler. We spoke at the Waldorf-Astoria Chicago on July 30, 2013. Earlier in the day, Forest Whitaker told me that Daniels’ attention had extended to a special detail on one of the film’s three posters: the butler’s upraised, Black Power-like salute still wears a white glove. We talk about details like that, Presidential cameos, father-son issues, his love for John Waters, the importance of dirty jokes in the movie, the racial slur that the butler hears throughout the film, the first alternate title that came to Daniels’ mind and more. (Plot details are discussed.)

The previous interviewer had told Daniels about having admired his bold, eccentric work all the way back to 2006’s Shadowboxer.

DANIELS: You put your heart, your soul, your guts, your everything into your films and sometimes it’s embraced, and sometimes it’s not embraced, and so… I remember that my directorial debut was not embraced. And for him to say that… Helen told me, Mirren told me, she said, Lee, people will appreciate this in many years, I promise. And I said, ooooo-kay, well… I’ll living in the now! (A big laugh.) I’m living now! Anyway.

PRIDE: The film very quickly announced itself as a Lee Daniels film. There’s no public profile of the film right now, what the film is [at the end of July]. Nobody’s talked about it, because almost no one has seen it. Some people are predicting it’s going to be docile. It’s going to be very uplifting. [Daniels cackles, then breaks out in huge laughter.] What is it, five or six shots in before you see the shot of the two lynched men hanging from a branch, the American flag behind them, no breeze, draped down dead weight, just like them? I was, okay, we’re in for the ride.

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AIN’T THEM BODIES SAINTS Making-of By The Ross Brothers (13’29”)

These guys continue to be so, so good. [Via Film.com.]

LOCKS (2009), from Ryan Coogler (6’11”)

A sweetly unexpected mix.

Jer Answers THE DAY THE CLOWN CRIED Question (1’34”)

I get a little teary hearing him say “Bad… Bad… Bad.” But! The punchline.

Woody Allen Is A Pimp… For John Turturro (2’21”)

WALTER MITTY In A Box

2013-08-12 15.47.38Five images from Ben Stiller’s The Secret Life Of Walter Mitty, in a 2MB thumb drive. ˙

mitty longboard
The always-poignant image of a 50-year-old man with a skateboard.

 

The_Secret_Life_of_Walter_Mitty_5

The always-poignant image of a 50-year-old man with prepared food on a plastic plate under plastic wrap.

“My wish is that we made a movie that people have a hard time categorizing,” Ben Stiller writers in “Some Thoughts.” “I hope it is funny and serious, epic and intimate, realistic while also being sort of a fantasy, too. Mainly I hope it connexts with the idea that we all have something inside of us waiting to get out, and all it takes it the courage to stop dreaming and start living.” Pleasant omens: the adaptation is by Steve Conrad (The Pursuit of Happyness, The Promotion); photographed by Stuart Dryburgh (The Piano, Lone Star, “Boardwalk Empire”).

 

Werner Herzog’s FROM ONE SECOND TO THE NEXT Doc for Sprint, Verizon, AT&T (34’56”)

Heart-tugging, tear-jerking genuinely Herzog film: that last line is quietly spoken and ever so loudly Herzog. “I knew I could do it because it has to do with catastrophic events invading a family, In one second, entire lives are either wiped out or changed forever. That kind of emotional resonance is something that I knew I could cover. What AT&T proposed immediately clicked and connected inside of me. There’s a completely new culture out there. I’m not a participant of texting and driving—or texting at all—but I see there’s something going on in civilization which is coming with great vehemence at us.” (Via Sprint.)

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Ben Wheatley makes his first video: “Formaldehyde” for The Editors (4’13”)

“A lot of directors come up through making pop promos: I didn’t,” Wheatley says. “My route in was through advertising, internet and television. The pop promo is something I’ve always been interested in. Music plays a big part in my film work and I’ve always admired the work of Michel Gondry, Chris Cunningham, David Wilson and Dougal Wilson to name but a few. I was very flattered to be asked.” [From. Via @keyframedaily.]

Movie City Indie

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“BATTLE OF THE SEXES: Politics and queerness as spectacle/spectacle as politics and queerness. Pretty delightful, lovely, erotic. A-

“Not since EASY A and CABARET have I seen Emma Stone give a real sense of her range. Here, she has pathos and interiority and desire. I love the cinematography and the ways in which the images of the tennis icons are refracted and manipulated via various surfaces/mediators. Also, wild how a haircut is one of the most erotic scenes in cinema this year. Spine tinglingly tactile that feels refreshing. Proof that *cough* you don’t need to be ~graphic/explicit~ to be erotic *cough*. Also, it made me want to get into tennis. Watching it, at least.

“There are interesting touches and intimations as to the cinematic nature of sports, & unpacking the formal approach of broadcasting sports.Also, I was here for Sarah Silverman smoking. And also, hi Mickey Sumner!! It’s a really interesting film about the ways in which public spectacle is never apolitical, and how spectacle is prone to assignation.

“There’s this one other scene from BATTLE OF THE SEXES that I love, and it’s the one in the bar. You see Billie looking after Marilyn as she dances. Through a crowd. There’s a paradoxical closeness and distance between them. In the purple light, and the kitschy decor, everything is distorted. But Billie catches a glance and you can feel the nervous swell inside.”
~ Kyle Turner

“Our business is complicated because intimacy is part and parcel of our profession; as actors we are paid to do very intimate things in public. That’s why someone can have the audacity to invite you to their home or hotel and you show up. Precisely because of this we must stay vigilant and ensure that the professional intimacy is not abused. I hope we are in a pivotal moment where a sisterhood — and brotherhood of allies — is being formed in our industry. I hope we can form a community where a woman can speak up about abuse and not suffer another abuse by not being believed and instead being ridiculed. That’s why we don’t speak up — for fear of suffering twice, and for fear of being labeled and characterized by our moment of powerlessness. Though we may have endured powerlessness at the hands of Harvey Weinstein, by speaking up, speaking out and speaking together, we regain that power. And we hopefully ensure that this kind of rampant predatory behavior as an accepted feature of our industry dies here and now. Now that we are speaking, let us never shut up about this kind of thing. I speak up to make certain that this is not the kind of misconduct that deserves a second chance. I speak up to contribute to the end of the conspiracy of silence.”
Lupita Nyong’o