Movie City Indie Archive for November, 2009

A deep thought from graphic novelist Warren Ellis…

sezwarrenellis_6967.png


From the writer of “Crooked Little Vein,” a print-on-demand experiment with seven years of random scraps, bits and bobs, entitled “Shivering Sands.”

The Matrix, a film by Charlie Chaplin


Russian television satirists imagine a silent-era Matrix. Via Boing-Boing.

OnePiece: Richard Curtis on happiness


A one minute summa from writer-director Richard Curtis on why his films, including Love Actually Pirate Radio, don’t shy from happiness.

[PR] Sheffield Doc/Fest Awards 2009

docfestimage002.jpg
The Sheffield Doc/Fest, one of the premiere confabs for documentarians to meet, announce the 2009 Award winners: “Hosted by filmmakers Roger Graef OBE and AJ Schnack, six awards were presented: the Sheffield Green Award, the Wallflower Press Student Doc Award, the Sheffield Innovation Award, the Sheffield Youth Jury Award, the new Special Jury Award and also, presented for the first time, the Sheffield Doc/Fest Inspiration award, which went to filmmaker Adam Curtis. The Sheffield Green Award honours the documentary from the Doc/Fest programme which best addresses major environmental challenges, such as global warming. The award went to The Blood of the Rose, directed by Henry Singer. The film investigates the life of filmmaker and conservationalist Joan Root.
The Sheffield Innovation Award honours a documentary which exhibits originality in approach to form and delivery of its story. The award went to LoopLoop, directed by Patrick Bergeron. The film combines images, sounds and encounters captured on a train journey through Vietnam. An Innovation Special Mention went to The Big Issue, directed by Olivia Colo and Samuel Bollendorff. The Big Issue invites users to confront the multiple factors causing the modern obesity epidemic.

Read the full article »

When Lars von Trier met Max Fischer…

Antichrist078122071_6cd19337ef.jpg

A doodle by designer and drummer Sam Smith. His giant-cat motif in this poster for the Japanese film House is actually inspired; he’s been doing it a while for Nashville’s arthouse, The Belcourt.

Bruno's scissored La Toya Jackson scene


Posted as a promo for the upcoming homevideo release.

Jason Reitman

Jason Reitman


Jason Reitman, Peninsula Hotel, Chicago, 3 November 2009.

#unseenprequels: another Twitter meme

_44968458_twitter.gifI’m amazed when Twitter memes break out overnight and it’s late late late on some coast and a flurry of a dozen or more rush from the fingertips of a single writer. Although I was tempted by #unseenprequels to suggest “Jason Reitman’s Stalled On The Tarmac,” “The Blastocysts Karamazov” and “When Harry Stared At Sally’s Neck.”

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