Movie City Indie Archive for April, 2014

Screen Acting: Bob Hoskins in the final scene of THE LONG GOOD FRIDAY (2’12”)

And he was, of course, a dancer. From Shane Meadows’ 24/7:


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The Unseen Seen: VFX Reel For ONLY GOD FORGIVES (NSFW) (4’49”)

Only God Forgives VFX Showreel from Nordisk Film ShortCut – CPH on Vimeo.

“Task: Remove all blinks… Make blood… more bloody!”

[Via @tinch.]

Trailering Soderbergh’s “The Knick” Season 1 (0’30”)

Gah!

Trailering BOYHOOD (12 years in 1’45”)

That’s a rush: the sensation of the whole movie coming back. What does it look like to people who haven’t seen Boyhood yet?

Trailering SUPERMENSCH: THE LEGEND OF SHEP GORDON (2’27”)

Mike Myers’ personal testimonial to his subject in the trailer of Mike Myers’ film at 1’43”, directly before the Dalai Lama.

Good Dr. Bordwell On Dreyer’s MASTER OF THE HOUSE (2’53”)

RIP Michael Glawogger

Michael Glawogger © 2014 Ray Pride

  Michael Glawogger © 2014 Ray Pride

Trailering Gillian Robespierre’s OBVIOUS CHILD (2’30”)

Trailering Clint Eastwood’s JERSEY BOYS (2’05”)

A little bit of Christopher Walken and an awful lot of Marshall Brickman…

Trailering Cannes-Bound THE ROVER (2’21”)

MNSFW Trailering Cronenberg’s MAPS TO THE STARS (2’15”)

[REMOVED BY eONE]

There will be driving.

Mel Brooks On BLAZING SADDLES Not Getting Buried (4’01”)

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“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