Movie City Indie Archive for October, 2014

The Late George Sluizer on THE VANISHING (2013, 1’50”)

A Compendium Of Conversations With Laura Poitras And Edward Snowden About CITIZENFOUR

Edward Snowden introduces CITIZENFOUR at Leipzig Doc.

Laura Poitras: “I began documenting something in an observational way and then got pulled into the history that I was documenting. That certainly happened when I was put on a watch list by the U.S. government and began to be detained at borders. But it wasn’t just because I was put on a watch list that I was interested in surveillance. Over the course of my films, I’ve shifted from thinking that the pendulum swung in one direction after 9/11 and would swing back, to being less naive about the choices that were made. Surveillance is one of the ways the national-security state expanded after 9/11. I always thought that, after doing the Guantanamo film, I wanted to do something to bring the story home, and surveillance is set in the U.S. But it seemed like a tough theme to approach in a documentary because it’s hidden.” Conor Friedersdorf talks to Laura Poitras

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Laura Poitras’ Post-CITIZENFOUR Columbia, MO Q&A (32’19”)

Does this matter? This matters.

WIRED On The Science Of Interstellar (3’38”)

Red-Band Trailering THE GAMBLER Remake

Trailering Laura Poitras’ CITIZENFOUR (1’27”)

Chilling. Thrilling? Debuts tonight at NYFF.

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