Movie City Indie Archive for September, 2013

Godard Featured in Trailer For “LA ROCHE SUR YON 2013″ Festival (1’04”)

[Via David Hudson.]

Spielberg interviewed on Japanese TV (1982) (1″57’32”)

[Via @thesheik1976.]

Shirin Neshat’s Viennale Trailer, With Natalie Portman (2’11”)

And shot by Darius Khondji.

RIP Michel Brault: LA LUTTE (24″01″) Wrestling Doc

Trailering BLUE IS THE WARMEST COLOR (1’44”)

Pride’s Friday 5, 20 September 2013

1. Prisoners

PRISONERS

2. After Tiller
(NYC)

“As shot in a monochrome palette by the great Roger Deakins (Skyfall, so many Coen brothers films), the rain brings its own grey-blue gloom to the pallid faces fearful for the fate of the two children. It’s doomy and luscious, and a wondrous example of what a gifted director of photography can do with today’s digital capture instead of shooting on film. Menacing, heavy rain. A world of overcast, a world of pain. The images say more than words. A world with no escape. “There was a gas station in the background, with mercury vapor lights,” Deakins says in the press kit of the technical means. “The police cars have blue flashing lights, and you don’t want to overpower them, so you tend to work wide and open. We were basically shooting the action with the high-powered flashlights in the hands of the actors so we could get a decent beam and a good, hot image out of them.” This kind of immediacy, and low-light luminosity, suffuses Prisoners.” [More here.]

 2. After Tiller
(NYC)

Read the full article »

Red-Band Trailering CONCUSSION (2’03”)

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

Still sturdy stuff.

TIFF’s “City To City: Athens” Press Conference (43’53”)

TIFF13’s 12 YEARS A SLAVE Press Conference (43’54”)

Miyazaki Retirement Press Conference (6’26”)

TIFF’s Opening Night Tribute To Roger Ebert (3’56”)

Movie City Indie

Quote Unquotesee all »

“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima