Movie City Indie Archive for September, 2008

Une catastrophe par Jean-Luc Godard [2008, ****]


J-LG’s trailer for the Viennale, or, as the YouTube poster puts it, “Bande-annonce de la Viennale et opus godardien impénétrable.”

CREDITS: "My Favorite Martian"

Manoj Shyamalan's "Sixth Sense Chihuahua"

Jeff Dowd's new ditty: spaceman and the dude, revolutions


well, it is political, dude.

El Metro de Madrid

Michael Langan's Doxology


Animation!

Ninja cat

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50 Polish film posters

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As advertised.

Atchoo!

DeNiro and Pacino's first interview together

Northern composure: Forsaking fiction in a world of mad fact

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12:30pm, 11 September 2001
Pure joy, pure bliss: I saw a movie called Amelie on Monday night that seemed to have made my movie year.
Little tears sting my eyes throughout. I join friends from New York at a party for a film set in Los Angeles. We talk about what we have seen. I think of questions to ask the director of Amelie today.
I sleep on it. I wake a little after 10 on Tuesday to the words of my roommate at the Toronto International Film Festival. I’m supposed to interview David Lynch in a couple of hours, talk about the psycho-mayhem of Mulholland Drive, a movie of glittering absurdity.
But CNN is on in the living room. My colleague, S—, and I watch the footage from New York. We’re kibitzing in a void, not really listening to each other, just commenting and theorizing so gravity does not pin us to the ground. Toronto local lines work, I can get on-line. Cell phone, forget about it. I have to assume my friends are fine. None of them live or work near the World Trade Center.
S— and I watch the footage, ash-covered emergency vehicles slaloming between pedestrians, spilled into the street, faces mostly blank, some bloodied, all urgently getting away: from danger, from cameras, from mad fact.
The philosopher George Steiner has a new book out. He continues his argument of many years that language is no longer possible, and has not been in the time that has spun out since the Holocaust. I can’t follow all his reasoning. But fiction I am concerned about today. Yesterday, audiences were shaken by Tim Blake Nelson’s Holocaust narrative, The Grey Zone. I decided to wait. I wanted joy, not gloom. Distraction, craft, the diversion of art: not the diversion of tragedy to fiction.

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Away, new photographs

"Away," a new photo show


If you’re in Chicago in the next five weeks, a new selection of six large-scale photographs entitled Away will be shown at Atomix, near the intersection of Chicago and Damen. Please stop by…

Home Movie Day PSA


[Via Boing-Boing.]

Nagi Noda, 35, noted Japanese director, designer

NODAPHOTOweb.jpgCreativity’s Ann-Christine Diaz reports the death of Nagi Noda, “the Japanese artist/designer/director behind groundbreaking music videos and spots passed away on Sunday, September 7. She was 35. Noda had experienced ongoing complications related to a bad car accident last year that resulted in chronic pain. The exact cause of death was not specified. “Beyond being a brilliant artist and wonderful talent, Nagi was one of the most incredibly unique spirits that I have known,” says Sheila Stepanek, CEO/EP Partizan US, which represented Noda. “Our thoughts and prayers are with her family and friends.” Stepanek says that Noda passed “in her Mark Ryden dress, Chanel boots, perfect make-up with Viktor & Rolf lace black eye lashes.” Noda was best known in the ad industry for her fantastic “Sentimental Journey” clip for Japanese pop star Yuki, which featured multiple “analog” clones of the singer and was featured in Saatchi’s 2006 New Directors Showcase.” More at the link, including two samples of her work, plus a link to her “Hearts on Fire” video for Cut/Copy as well as for “She’s My Man” for Scissor Sisters. (Embedding is not allowed for these.) And: a truly lovely 2006 video, “TIGA (far from) Home.”



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Movie City Indie

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon