Movie City Indie Archive for October, 2008

American Airlines: "The Producer"

An ad that’s been running on ESPN and other channels recently with a loose-limbed attitude. The video and its audio roll right after you go to the jump.

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Bravefont, directed by Bauer Bodoni


BraveFont from ilovetypography.com on Vimeo.


You’ll kern like never before…

Last night, economy being what it is, I had this dream



But Michelangelo Antonioni got to Zabriskie Point before I did.

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"MGMT The Youth," directed by Eric Wareheim


Bite into this, Sparkle Motion. All tween the lines. Hi-res here.

The single take: McCain supporters mad as hell at Socialist America


When the fist bursts into the air, blocking the camera’s view… Ouch. (There are cuts in the piece to other inflammatory remarks afterwards.)

Paris Hilton gets presidential with Jed Bartlet

Baz Luhrmann's "cool, deep billabong"

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Monkey exploitation in Japanese restaurant!


I’ll take that hot towel now.

Crawford is Hulu's first online debut

"Take On Me": the literal video


But then of course, there’s the strangely great cover, live-performed here by the then-teenage Cap’n Jazz, fronted by Tim Kinsella. This pip of Norwegian pop was not meant to be taken this way by young punks: sincerity and sensation somehow rise above the potential for speedy irony.


Charlie Rose by Sam Beckett


I like this more each time I see it.

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Indie is on the run

bb

Quote: Björk on Iceland's founding as Iceland flounders

Skype


In a terrifying Observer piece about the collapse of the Icelandic economy this week, a note from Björk. “Blame it on the Vikings. Icelanders like to hark back to their ancestors, the rebel Vikings who, as the nation’s most revered daughter Björk once explained, ‘couldn’t deal with authority in Norway. So they flew off in this mad ocean in a wooden boat which is pretty hardcore, North Atlantic in the year 800. And they found this island full of snow … yeeeah!’


Brennivin

My bloody cellphone


Sometimes it’s good to work with crayons. My Bloody Valentine’s closing number, Aragon Theatre, Chicago, 27 September.


Someone else got a better camera into the house.


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Movie City Indie

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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