Movie City Indie Archive for April, 2009

The sound of Antwerp

Indie is recuperating


No comment: Where film criticism belongs

The randomness that is the internets provides this student emanation on “Where Film Criticism Belongs by Sam Watermeier of the Carmel High School HiLite, Indiana. Sounds like the run-of-the-mill blog to me: “Film critics rarely if ever actually make a significant impact on any one film or filmmaker. People need to realize this. Like I was saying earlier, people try too hard to attach a sense of purpose to film criticism. Film hatefilmcritics.jpgcriticism is not supposed to change or influence film. It’s not even really supposed to influence readers because it is not the critic’s job to market films. A lot of critics don’t realize this. Like Peter Travers, they think they are supposed to “sell” films to their readers. Film criticism should be viewed as simply another form of personal expression like poetry or painting. It is ideally meant to be an extremely personal, uncompromising, intimate form of art, yet many critics try too hard to form a relationship with their audience and take on a conversational stlye [sic]. They care too much about other people’s movie tastes and focus on what the audience may or may not like. They don’t own their opinion and these days, their reviews are not introspective enough. Now, I’m not saying I hate film critics. They are my heroes. There are many I admire: Roger Ebert of course, Owen Gleiberman from Entertainment Weekly, Adam Kempenaar and Matty Robinson from the radio show, Filmspotting. However, they are the only critics that really say something with their reviews. They are the kinds of critics I can only dream of being. I worry though that with all these shallow critics around these days and their unfortunately pedestrian views, the field of work I dream of being involved in may be slowly fading away and losing the integrity it once had.”

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Forebears: who's Seth Rogen channeling in Observe and Report?


Tetro times 2: Gallo on fathers; Coppola on boys

Francis calls in the rocking chair.

Fox's statement about the Wolverine situation

“Last night, a stolen, incomplete and early version of X-Men Origins: Wolverine was posted illegally on a website. It was without many effects, had missing and unedited scenes and temporary sound and music. We immediately xx242-x-men_wolverine_007.jpgcontacted the appropriate legal authorities and had it removed. We forensically mark our content so we can identify sources that make it available or download it. The source of the initial leak and any subsequent postings will be prosecuted to the fullest extent of the law – the courts have handed down significant criminal sentences for such acts in the past. The FBI and the MPAA also are actively investigating this crime. We are encouraged by the support of fansites condemning this illegal posting and pointing out that such theft undermines the enormous efforts of the filmmakers and actors, and above all, hurts the fans of the film.”

Fifth Third Ballpark Burger ought to be a hoax; isn't

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