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”)

Movie City Indie

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“With any character, the way I think about it is, you have the role on the page, you have the vision of the director and you have your life experience… I thought it was one of the foundations of the role for John Wick. I love his grief. For the character and in life, it’s about the love of the person you’re grieving for, and any time you can keep company with that fire, it is warm. I absolutely relate to that, and I don’t think you ever work through it. Grief and loss, those are things that don’t ever go away. They stay with you.”
~ Keanu Reeves

“I was checking through stuff the other day for technical reasons. I came across The Duellists on Netflix and I was absolutely stunned to see that it was exquisitely graded. So, while I rarely look up my old stuff, I stopped to give it ten minutes. Bugger me, I was there for two hours. I was really fucking pleased with what it was and how the engine still worked within the equation and that engine was the insanity and stupidity of war. War between two men, in that case, who fight on thought they both eventually can’t remember the reason why. It was great, yeah. The great thing about these platforms now is that, one way or another, they’ll seek out and then put out the best possible form and the long form. Frequently, films get cut down because of that curse in which the studio felt or feels that they have to preview. And there’s nothing worse than a preview to diminish the original intent.Oh, yeah, how about every fucking time? And I’ve stewed about films later even more because when you tell the same joke 20 times the joke’s no longer funny. When you tell a bad joke once or twice? It’s fine. But come on, now. Here’s the key on the way I feel when I approach the movie: I try to keep myself as withdrawn from the project as possible once I’ve filmed it. And – this is all key on this – then getting a really excellent editor so I never have to sit in on editing. What happens if you sit in is you become stale and every passage or joke, metaphorically speaking, gets more and more tired. You start cutting it all back because of fatigue. So what you have to do is keep your distance and therefore, in a funny kind of way, you, as the director, should be the preview and that’s it.”
~ Sir Ridley Scott