Movie City Indie

Trailer Noah Baumbach’s WHEN WE’RE YOUNG (2’33″)

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Clipping Egoyan’s THE CAPTIVE (1’51″)

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Dr. Uwe Boll Goes-a-Crowdfunding

RAMPAGE 2

From: uwe boll
Subject: Re: Uwe Boll starts INDIEGOGO campaign for RAMPAGE 3 ….. 
Date: November 25, 2014 at 1:23:01 PM PST

Behind this campaign!

Hello, my name is Uwe Boll and I directed , wrote and produced over 30 movies with stars like Ben Kingsley, Jason Statham, Ray Liotta and Ron Perlman.

The RAMPAGE series is really close to my heart. RAMPAGE 1 and 2  together with my movies DARFUR, AUSCHWITZ, ASSAULT ON WALLSTREET, STOIC and POSTAL are the most important movies of my career.  RAMPAGE nails the cynical world we are living in and now I need your help to finance RAMPAGE 3. Although Rampage 2 has been a huge success it did not make enough to get the financing of RAMPAGE 3.

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Steve James on LIFE ITSELF at DOC NYC (12’43″)

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“It’s not groovy to be insane”: A UK Glimpse Of INHERENT VICE (0’37″)

From Paul Thomas Anderson’s Al Rose Productions YouTube channel.

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“The Seamless Look of BIRDMAN” 3’43″

Fascinating, even if the narrator calls it “totally unique.”

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Building a 70mm print of INTERSTELLAR (1’05″ timelapse)

At The Bullock Texas State History Museum. “Chief IMAX Projectionist David Ripper assembled 49 reels of film measuring over 10 miles and weighing nearly 600 pounds. Watch this video to see a 6 hour process condensed to just over one minute.”

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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

Read the full article »

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

Does this matter? This matters.

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

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Red-Band Trailering THE GAMBLER Remake

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Movie City Indie

Quote Unquotesee all »

“I don’t know, because I don’t know much about those cameras. I know that’s been a complaint, but I wouldn’t know. Film is what worked for this film. I have a fear of the unknown. I’ve spent a long time trying to learn one camera, and to fucking stop and try to learn another one… I would have to stop for 20 years! I’m a slow learner; I’d have to go through the manual, it would be starting over. So there’s that, too. It’s an issue for filmmakers, and it’s on people’s minds, and I have to say that it’s a lot more challenging and difficult just to kind of get somebody to show film or to print film. It’s far more challenging than it should be right now, and we’re just trying to keep it alive a little bit and create a little pocket where it can be shown that way in various places across the country right now.”
~ Paul Thomas Anderson To David Ehrlich On The Prospect Of Switching From Film

“Almodóvar–the first name is almost unnecessary–is a genius, is a flower, is a guiding light: the last, best son of Buñuel and so much more than that. His screenplays, which he directs with passion and fine care, have taught us about the exteriors of his native land and the interiors of our own hearts. From the early, manic experimental Super-8 work to the breakthrough Women on the Verge of a Nervous Breakdown, his titles are as evocative as most people’s screenplays. Yet for all their antic energy, Almodóvar’s films are deeply spiritual: watching his disturbing, mysterious, heart-rending Talk to Her is to understand, perhaps for the first time, the full meaning of grace. An Almodóvar screenplay is a running leap off a Gaudi balcony, it flips, soars, ascends, careens, tumbles, falls – always landing, astonishingly and astonished, on its feet.”
~ Howard A. Rodman, Announcing Almodóvar’s Jean Renoir Award