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

“When we add it all up, what is it costing the industry just to take care of its top-20 producers? What is that total price tag going to look like once all their shows are in production? With 7,000 shows sloshing around in the streaming jungle, all trying to get attention, what is the guarantee that the Next Giant Thing, or the Next 10 Giant Things, will come out of this group? TV breakthroughs, as often as not, don’t come from seasoned workshops, but from newish upstarts, breaking out with something no one thought of before. Who the hell were Benioff and Weiss before ‘GoT’? Would anyone have given them a $250 million overall deal?”

MZS on Indie Theaters

Harvey Has An Excuse

“I guess it’s talking about the fear of intimacy, you know? When I was young, and you’re a musician, it took me a long time to get to a certain place where I felt comfortable with family and loving somebody and being loved,” Bruce Springsteen says. “Really, that’s what’s the film is about. The film takes you on that journey. Like I say, there are two parts to the American character: one is very isolated and one is in search of community. So how do you make your peace with both of those things? That’s really what the picture is about.”

Jamie Leigh

Midwest FurFest Bars Rightwing Agitator Milo Yiannopoulos and His Newly-Doffed Snow Leopard Fursona

Saturday Night Live Rescinds Proffer To Shane Gillis As History of Racist And Homophobic Slurs Expand; Search On For A Replacement Reprobate?

TIFF Audience Award Goes Jojo Rabbit, With Marriage Story And Parasite Close Behind

“A New Era of the Strips, With Gary Larson Drawing, Is Returning”

James Murdoch Talks To Jane Mayer After Disney Buy

Quote Unquotesee all »

“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