Movie City News Archive for December, 2011

DP/30 in 2011: More Than 100 Hours Of Conversation About Movies With The People Who Make Them

1. When We Leave, director Feo Aladag 2. Essential Killing, director Jerzy Skolimowski 3. The Human Resources Manager, director Eran Riklis 4. Precious Life, director Shlomi Eldar 5. Piper Perabo, Covert Affairs (Jan 2011) 6. Animal Kingdom, actor Jacki Weaver 7-11. The List: Paul Mazursky, Parts 1 -5 12. Every Day, wr/dir Richard Levine, actors…

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Tilda! Talks Career

Tilda! Talks Career

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Wilmington on Movies: The Adventures of Tintin

    The Adventures of Tintin (Three Stars) U.S.: Steven Spielberg, 2011 The Adventures of Tintin — Steven Spielberg‘s second new film in release this season (the other was War Horse, and both of them came out last week) — shows us again to what extent he‘s still a kid at heart and maybe always will…

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Spain Passes Its First Anti-Download Law

Spain Passes Its First Anti-Download Law

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Mazursky Offers Streep Warm Tongue Bath Of Praise

Mazursky Offers Streep Warm Tongue Bath Of Praise

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Meet Dan Wallin, Mission: Impossible — Ghost Protocol’s 84-Year-Old Sound Designer

Meet Dan Wallin, Mission: Impossible — Ghost Protocol‘s 84-Year-Old Sound Designer

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Severson On The Spot At Chimp Cheetah’s Memorial Service

Severson On The Spot At Chimp Cheetah’s Memorial Service

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Olsen Talks Miss Bala With Director Naranjo

Olsen Talks Miss Bala With Director Naranjo

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Lim And Pitt Have Their Waldorf Moment

Lim And Pitt Have Their Waldorf Moment

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Gina Carano Kicks It

“We had this normal conversation. He was feeling me out. And I didn’t have any preconceived notions of him because I didn’t really know what a director really was.” Gina Carano Kicks It

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Kenneth Branagh Is Ready For His Long, Reflective Walk And “Pondering”

Kenneth Branagh Is Ready For His Long, Reflective Walk And “Pondering”

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The Making Of A Separation

“It’s not portraying the poor people and the desert camels.” The Making Of A Separation

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Behind Alexandre Desplat’s Last-Second Score For Extremely Incredibly

Behind Alexandre Desplat’s Last-Second Score For Extremely Incredibly

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Music Box Films Claims $10 Million Theatrical With 2009 Girl With The Dragon Tattoo And “The Equivalent” Of $30-40 Million In DVD, Rentals, Etc.

Music Box Films Claims $10 Million Theatrical With 2009 Girl With The Dragon Tattoo And “The Equivalent” Of $30-40 Million In DVD, Rentals, Etc.

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Academy Exercises Option To Possibly Move Oscar From The Kodak After 2013

Academy Exercises Option To Possibly Move Oscar From The Kodak After 2013

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Thomas Horn, Extremely Incredibly 14

Thomas Horn, Extremely Incredibly 14

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Friday Estimates: Dec 30, 2011

Cruise’s newest mission continues to lead the pack, probably passing the earlier-released Sherlock Holmes: Let’s Not Call It “2” today or tomorrow. Steven Spielberg’s two films are running side by side on the chart, as are the Zoo and the Tattoo.

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Apple Chief Designer Jonny Ive Is Now Sir Jonathan

Apple Chief Designer Jonny Ive Is Now Sir Jonathan

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It’s Cieply’s Turn To Surmise How The Academy’s Going To Push Paper This Year

It’s Cieply‘s Turn To Surmise How The Academy’s Going To Push Paper This Year

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Museum Of The Modern Image’s Must-Soak “Moments Of 2011″

Museum Of The Modern Image’s Must-Soak Moments Of 2011 Part One Draws 25 Writers, Programmers, Observers And –  Part Two Offers A Further 24 Diverse Thinkums

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Movie City News

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima