Movie City News Archive for October, 2013

Suschitzky On How Cronenberg Composes His Shots

Suschitzky On How Cronenberg Composes His Shots

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Laurie Anderson On Lou Reed’s Last Days

Laurie Anderson On Lou Reed’s Last Days

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Kohn Sez Ender’s Game Is About Edward Snowden, Avant La Lettre

Kohn Sez Ender’s Game Is About Edward Snowden, Avant La Lettre

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20W2O: Choking On The Tea Leaves

In the last week, there have been a series of attacks on the box office potential of 12 Years A Slave, which is “dirty tricks”-speak for “there is something less than great about this movie about the black people you have no responsibility for to which They are trying to force you to give a Best Picture Oscar.” These two stories ran, by the way, on the front page of the Los Angeles Times, the day before the film’s first expansion to 123 screens, and then in the New York Times, two days after the film’s first expansion.

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Semley On Cronenberg As “Idea” In TIFF Lightbox Life Exhibition

Semley On Cronenberg As “Idea” In TIFF Lightbox Life Exhibition

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Woody Allen Open-Letters Awards-Givers For Casting Director Juliet Taylor

Woody Allen Open-Letters Awards-Givers For Casting Director Juliet Taylor

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Jodorowsky, At Length

Jodorowsky, At Length

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Wikipedia’s Slow Decline

Wikipedia’s Slow Decline

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Murdoch Lectures: Aussie Media Must Become “Disruptive” To Survive

Murdoch Lectures: Aussie Media Must Become “Disruptive” To Survive with vid

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T-Bone Burnett On Analog And Taking To Silicon Valley With “Pitchforks And Torches”

T-Bone Burnett On Analog And Taking To Silicon Valley With “Pitchforks And Torches”

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Uh-oh, Billy Friedkin’s Done It Again

“The new footage significantly deepens the film’s misogyny. Though that misogyny was already front and center in the original cut of The Exorcist, the new footage gives a much more comprehensive view of the film’s politics, and its particular take on patriarchal hegemony.” Uh-oh, Billy Friedkin’s Done It Again

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Jonnie Rosenbaum On The Life’s Work Of Near-Unknown Filmmaker Peter Thompson

Jonnie Rosenbaum On The Life’s Work Of Near-Unknown Filmmaker Peter Thompson

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“Why Do Film Festivals Reject Good Films?”

“Why Do Film Festivals Reject Good Films?”

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20 Years On, “What We Lost When We Lost River Phoenix”

20 Years On, “What We Lost When We Lost River Phoenix”

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Olivia Wilde On How Drinking Buddies Seems To Have Changed Her Career

Olivia Wilde On How Drinking Buddies Seems To Have Changed Her Career

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Gopnik On How We Look At The JFK Assassination 50 Years On

Gopnik On How We Look At The JFK Assassination 50 Years On

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Torrid Brit Newsroom: News Of The World Phone Hacking Trial Brings Sexual Affairs To Fore Before Actual Crimes

Torrid Brit Newsroom: News Of The World Phone Hacking Trial Brings Sexual Affairs To Fore Before Actual Crimes

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VOICE Sheds Last Vet Journo

VOICE Sheds Last Vet Journo

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Los Angeles TV Protest Group Protests NYC’s IFC Theater Letting Teens Into Blue Is The Warmest Color; It’s What They Do

“We are not setting policy for theaters across the country. We are one theater in the West Village, and we have adopted this policy for this one film.” Los Angeles TV Protest Group Protests NYC’s IFC Theater Letting Teens Into Blue Is The Warmest Color; It’s What They Do

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DVD Geek: Pacific Rim

The 62 minutes of excellent production featurettes that accompany the film reveal how incredibly thorough del Toro was in overseeing the movie’s creation, which is why, boxoffice shortcomings or not, the film is going to be around for a very long time to come. As he explains, “This movie was made by people who love giant monsters and robots, for people who love giant monsters and robots.”

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Movie City News

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“I remember very much the iconography and the images and the statues in church were very emotional for me. Just the power of that, and even still — just seeing prayer card, what that image can evoke. I have a lot of friends that are involved in the esoteric, and I know some girls in New York that are also into the supernatural. I don’t feel that I have that gift. But I am leaning towards mysticism… Maybe men are more practical, maybe they don’t give into that as much… And then also, they don’t convene in the same way that women do. But I don’t know, I am not a man, I don’t want to speak for men. For me, I tend to gravitate towards people who are open to those kinds of things. And the idea for my film, White Echo, I guess stemmed from that — I find that the girls in New York are more credible. What is it about the way that they communicate their ideas with the supernatural that I find more credible? And that is where it began. All the characters are also based on friends of mine. I worked with Refinery29 on that film, and found that they really invest in you which is so rare in this industry.”
Chloë Sevigny

“The word I have fallen in love with lately is ‘Hellenic.’ Greek in its mythology. So while everyone is skewing towards the YouTube generation, here we are making two-and-a-half-hour movies and trying to buck the system. It’s become clear to me that we are never going to be a perfect fit with Hollywood; we will always be the renegade Texans running around trying to stir the pot. Really it’s not provocation for the sake of being provocative, but trying to make something that people fall in love with and has staying power. I think people are going to remember Dragged Across Concrete and these other movies decades from now. I do not believe that they will remember some of the stuff that big Hollywood has put out in the last couple of years. You’ve got to look at the independent space to find the movies that have been really special recently. Even though I don’t share the same world-view as some of my colleagues, I certainly respect the hell out of their movies which are way more fascinating than the stuff coming out of the studio system.”
~ Dallas Sonnier