Movie City Indie Archive for February, 2014

Steven Soderbergh on KING OF THE HILL (2’27”)

[Via Criterion.]

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Teasing ENEMY (NSFW) (0’49”)

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Harold Ramis’ Advice On Filmmaking (8’32”)

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INT. PHIL’S ROOM – DAWN

INT. PHIL'S ROOM - DAWN

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Why Harold Ramis Loves The Library (2010) (0’28”)

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Noam Chomsky On “Zombies And Apocalypse” (6’00”)

“My guess is that it’s a reflection of fear and desperation. The United States is an unusually frightened country, and in such circumstances, people concoct, maybe for escape or relief, [narratives] in which terrible things happen. Fear in the United States is actually a pretty interesting phenomenon. It actually goes back to the colonies — there’s a very interesting book by a literary critic, Bruce Franklin, called War Stars. It’s a study of popular literature…from the earliest days to the present, and there are a couple of themes that run through it that are pretty striking. For one thing, one major theme in popular literature is that we’re about to face destruction from some terrible, awesome enemy, and at the last moment we’re saved by a superhero, or a super-weapon — or, in recent years, high school kids going to the hills to chase away the Russians. There’s a sub-theme: it turns out this enemy, this horrible enemy that’s going to destroy us, is someone we’re oppressing. So you go back to the early years, the terrible enemy was the Indians.”

Transcript.

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Agnès B. on Marilyn Monroe and Glamor (2’47”)

[Video by Jaime Wolf.]

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Trailering Arnaud Desplechin’s JIMMY P (1’55”)

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An Hour With Bill Murray On “Charlie Rose”

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RIP Maggie Estep: “Hey Baby” (2’20”)

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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”