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Movie City Indie

Remembering Ebertfest 2014 (14’55″)

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“THE INTERVIEW: In Franco & Rogen We Trust” (0’33″)

Published today: “Only one movie has the whole world talking. In Rogen and Franco we trust.”

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Mike Leigh In The Criterion DVD Cupboard (7’24″)

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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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Movie City Indie

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“Chad Harbach spent ten years writing his novel. It was his avocation, for which he was paid nothing, with no guarantee he’d ever be paid anything, while he supported himself doing freelance work, for which I don’t think he ever made $30,000 a year. I sold his book for an advance that equated to $65,000 a year—before taxes and commission—for each of the years of work he’d put in. The law schools in this country churn out first-year associates at white-shoe firms that pay them $250,000 a year, when they’re twenty-five years of age, to sit at a desk doing meaningless bullshit to grease the wheels of the corporatocracy, and people get upset about an excellent author getting $65,000 a year? Give me a fucking break.”
~ Book Agent Chris Parris-Lamb On The State Of The Publishing Industry

INTERVIEWER
Do you think this anxiety of yours has something to do with being a woman? Do you have to work harder than a male writer, just to create work that isn’t dismissed as being “for women”? Is there a difference between male and female writing?

FERRANTE
I’ll answer with my own story. As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me. That phase ended after a couple of years. At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them. I devoured books at that age, and there’s no getting around it, my models were masculine. So even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men. I didn’t want to write like Madame de La Fayette or Jane Austen or the Brontës—at the time I knew very little about contemporary literature—but like Defoe or Fielding or Flaubert or Tolstoy or Dostoyevsky or even Hugo. While the models offered by women novelists were few and seemed to me for the most part thin, those of male novelists were numerous and almost always dazzling. That phase lasted a long time, until I was in my early twenties, and it left profound effects.
~ Elena Ferrante, Paris Review Art Of Fiction No. 228

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