Movie City Indie Archive for April, 2017

PTA’s “Right Now” Video For Haim (4’31”)

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Jonathan Demme in the Modern World: On MANCHURIAN CANDIDATE (2004)

Unlike his actors, Demme saw John Frankenheimer’s film on its first release. “I saw the original when I was a teenager,” he tells me. “I was an avid moviegoer, I saw everything,” he says, hardly taking a breath.

DEMME: Everything, everything. I was really hooked on movies at a very young age. The Manchurian Candidate, along with Seven Days in May, Fail-Safe and Dr. Strangelove [were] this quartet of anarchistic black-and-white American movies, each of which did things that you just didn’t do in American movies, especially in the realm of irreverence toward politics and government institutions and the Army. I was what, 16, it was shocking, it was thrilling and interestingly, it predated my exposure to the French New Wave, so in away, this was the American, a certain kind of new wave in American movies. So Manchurian Candidate was a trailblazer, it was a shocker, it was a great picture and it altered the way I thought about movies! [Demme caps the rush of words with a pleased whooshing sound.]

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Trailering Sofia Coppola’s THE BEGUILED (2’22”)

Terrence Malick, Man In The Hat… But Not Always

Terrence-Malick

Now that Terrence Malick has shown his face and sounded his voice in public spaces for Song To Song and Voyage of Time, how many clandestine cameos have been hiding in plain sight?

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The Complete Cast Of “Twin Peaks,” Season Three

TP Cast 1 TP Cast 2

Debuted 27 years ago today. Returns a mere six weeks from now…

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“As these stories continue to break, in the weeks since women have said they were harassed and abused by Harvey Weinstein, which was not the birth of a movement but an easy and highly visible shorthand for decades of organizing against sexual harassment that preceded this moment, I hope to gain back my time, my work. Lately, though, I have noticed a drift in the discourse from violated rights to violated feelings: the swelled number of reporters on the beat, the burden on each woman’s story to concern a man “important” enough to report on, the detailed accounting of hotel robes and incriminating texts along with a careful description of what was grabbed, who exposed what, and how many times. What I remember most, from “my story” is how small the sex talk felt, almost dull. I did not feel hurt. I had no pain to confess in public. As more stories come out, I like to think that we would also believe a woman who said, for example, that the sight of the penis of the man who promised her work did not wound her, and that the loss she felt was not some loss of herself but of her time, energy, power.”
~ “The Unsexy Truth About Harassment,” by Melissa Gira Grant

“To say I knew exactly what I was doing at the outset — what’s that called? I think that would be a lie. Wormwood is something that was figured out as we went along. There was a kind of plan. My sales pitch to Netflix was, ‘I’m going to create the cinematic version of the everything bagel, except no raisins. I don’t like them in bagels. I think raisins are wrong, at least as far as bagels are concerned. But I told them I wanted to do something that combines straight drama, reenactments, archival research, various diverse graphics elements, and on and on and on. It wasn’t going to be documentary business as usual. It was going to be something different. I have suffered for years this idea that interviews aren’t directing and that there’s something really different about real people and actors. Whereas I’ve always believed that it’s really about performance — eliciting a performance, creating a performance on film. That’s true of interviews, it’s true of scripted material, it’s true of reenactments, it’s true of everything. It’s all direction.”
~ Errol Morris