Movie City Indie Archive for November, 2017

Craft Summit 2017: The Art of Editing with Walter Murch (58 min)

19 For Your Consideration Screenplays Await

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PDF downloads, for at least the duration of the 2017 awards season.

Battle of the Sexes, written by Simon Beaufoy

Beauty and the Beast, screenplay by Stephen Chbosky and Evan Spiliotopoulos; based on 1991 animated film written by Linda Woolvert

The Beguiled, Written by Sofia Coppola, based on the novel by Thomas Cullinan

The Big Sick, Written by Kumail Nanjiani & Emily V. Gordon

Brad’s Status, Written by Mike White

Breathe, Written by William Nicholson

First They Killed My Father, Screenplay by Loung Ung & Angelina Jolie; Based on the Book “First They Killed My Father: A Daughter of Cambodia Remembers” by Loung Ung

Guardians of the Galaxy V. 2. Written by James Gunn.

I, Tonya, Written by Steven Rogers

Last Flag Flying, by Richard Linklater & Darryl Ponicsan

Logan, Story by James Mangold. Screenplay by Scott Frank & James Mangold and Michael Green

The Lost City of Z, Screenplay by James Gray; Based on the Book by David Grann

The Man Who Invented Christmas, Screenplay by Susan Coyne; Based on the Book by Les Standiford

The Meyerowitz Stories (New and Selected), Written by Noah Baumbach

mother!, Written by Darren Aronofsky

Mudbound, Screenplay by Virgil Williams and Dee Rees; Based on the Novel by Hillary Jordan

Okja, Written by Bong Joon Ho and Jon Ronson

The Shape of Water, Written by Guillermo del Toro & Vanessa Taylor [withdrawn]

Three Billboards Outside Ebbing, Missouri, Written by Martin McDonagh

Wonderstruck, Written by Brian Selznick

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What do you make of the criticism directed at the film that the biopic genre or format is intrinsically bourgeois? That’s the most crazy criticism. That’s an excuse for not engaging with the content of the movie. Film critics sometimes, you know, can be very lazy.

Come on, formal criticism is valuable too. But I’m amazed when this is the thing they put in front of the discourse. My situation is that I’m dealing with a highly explosive subject, a taboo subject that nobody wants to deal with.

Karl Marx? Yes, this is the first film ever in the Western world about Marx. And I managed to make an almost mainstream film out of it. You want me at the same time to play the artist and do a risky film about the way my camera moves and the way I edit? No, it’s complicated enough! The artistic challenge — and it took me ten years with Pascal to write this story — was the writing. That was the most difficult part. We were making a film about the evolution of an idea, which is impossible. To be able to have political discourse in a scene, and you can follow it, and it’s not simplified, and it’s historically true. This is the accomplishment. So when someone criticizes the formal aspects without seeing that first, for me, it’s laziness or ignorance. There’s an incapacity to deal with what’s on the table. I make political films about today, I’m not making a biopic to make a biopic. I don’t believe in being an artist just to be an artist. And by the way, this film cost $9 million. I dare anyone in the United States to make this film for $9 million.
Raoul Peck on The Young Karl Marx

“The Motion Picture Academy, at considerable expense and with great efficiency, runs all the nominated pictures at its own theater, showing each picture twice, once in the afternoon, once in the evening. A nominated picture is one in connection with which any kind of work is nominated for an award, not necessarily acting, directing, or writing; it may be a purely technical matter such as set-dressing or sound work. This running of pictures has the object of permitting the voters to look at films which they may happen to have missed or to have partly forgotten. It is an attempt to make them realize that pictures released early in the year, and since overlaid with several thicknesses of battered celluloid, are still in the running and that consideration of only those released a short time before the end of the year is not quite just.

“The effort is largely a waste. The people with votes don’t go to these showings. They send their relatives, friends, or servants. They have had enough of looking at pictures, and the voices of destiny are by no means inaudible in the Hollywood air. They have a brassy tone, but they are more than distinct.”All this is good democracy of a sort. We elect Congressmen and Presidents in much the same way, so why not actors, cameramen, writers, and all rest of the people who have to do with the making of pictures? If we permit noise, ballyhoo, and theater to influence us in the selection of the people who are to run the country, why should we object to the same methods in the selection of meritorious achievements in the film business? If we can huckster a President into the White House, why cannot we huckster the agonized Miss Joan Crawford or the hard and beautiful Miss Olivia de Havilland into possession of one of those golden statuettes which express the motion picture industry’s frantic desire to kiss itself on the back of its neck? The only answer I can think of is that the motion picture is an art. I say this with a very small voice. It is an inconsiderable statement and has a hard time not sounding a little ludicrous. Nevertheless it is a fact, not in the least diminished by the further facts that its ethos is so far pretty low and that its techniques are dominated by some pretty awful people.

“If you think most motion pictures are bad, which they are (including the foreign), find out from some initiate how they are made, and you will be astonished that any of them could be good. Making a fine motion picture is like painting “The Laughing Cavalier” in Macy’s basement, with a floorwalker to mix your colors for you. Of course most motion pictures are bad. Why wouldn’t they be?”
~ Raymond Chandler, “Oscar Night In Hollywood,” 1948