Movie City Indie Archive for February, 2014

RIP Gabriel Axel: Sampling BABETTE’S FEAST (1’00”)

Trailering UNDER THE SKIN (2’05”)

A Tribute To Ann Carter In CURSE OF THE CAT PEOPLE (4’11”)

Trailering ENEMY (2’11”)

Let Toronto be Toronto.

MSNFW: Hungarian Filmmakers Go “O” For NYMPHOMANIAC

MNSFW Hungarian Film Critics Go 0-Face For NYMPHOMANIAC

[Via MUOSZ. Click for larger, largest.]

Picturing Sundance 14: Awards Night

Middle of the week, familiar faces aren’t recurring so often, Sundance theaters are mostly full, but not completely. But the traffic. The traffic never stops. Sundance 2014 was the first festival I’ve been to where what would once have been a workable schedule of screenings went to hell repeatedly because of traffic standstills all around Park City. The good thing about that is three or four films I would never have seen, but saw because they were the next option, half an hour forward, an hour forward, and they were good. I Pollyanna’ed that idea day and night long. Sundance: wherever you are, you’re where you were meant to be. And here are some people who stayed through to the sunshiny end, until Saturday’s awards ceremony. Screens are a theme, it seems. [For more from the night, including Nick Offerman’s manly full-length fur coat, click here.]

Icy

Last movie before the awards ceremony on a supershuttle across the city. You have been warned.

Screened

A picture of a picture of a backdrop that will be torn down in a few hours.

Offerman

Mr. Nick Offerman officiated with the help of his “Legal Property,” Megan Mullaly. They sang a forgettable ditty about how movies get to Sundance, called “Pussy and Weed.”

Sponsors

Guides wave placards to facilitate seating in the pre-show cocktail crush.

Beards

Beards. Beards examining beards. Many beards.

Macy

William Macy will remember this until the last of his memory card.
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“We’re all hurtling toward death.” (1’19”)



“Uncool” (1’42”)

“We are uncool. While women will always be a problem for us, most of the great art in the world is about that very same problem. Good-looking people don’t have any spine. Their art never lasts. They get the girls, but we’re smarter Great art is about conflict and pain and guilt and longing and love disguised as sex, and sex disguised as love. The only true currency in this bankrupt world is what we share with someone else when we’re uncool.”

PSH On The Red Carpet, Sundance 2014 (10’01”)

PSH: “Gonna Light The Cigarette” from HARD EIGHT (3’12”)

FULL METAL JACKET Behind-The-Scenes B-Roll (4’57”)

Movie City Indie

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch