Movie City Indie Archive for April, 2010

A personable Robert Towne vs. eccentric interviewer

Sometimes you don’t want to see how the other guy does it. I think the interview is supposed to be about screenwriting. Note: the interview was not done for Set Design magazine.

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Ash land: Sigur Rós' "Untitled #1 (Vaka)"

1970s Icelandic volcanic eruption footage

… and what became of a small village, in 3:25.

RED introduces its Epic and Scarlet cameras

Well. Goodness. That is attractive.

"The Endless Night: A Valentine to Film Noir"

Six minutes. By Ruby Tuesday 717.

Previewing Alex Gibney's untitled Eliot Spitzer doc

"Kubrick before Kubrick" in Milan

Kubrick shoeshine boy.jpg
El Pais has four photos from a show of about 300 early Kubrick photographs. The slideshow is here. The article’s in Spanish, but here’s the Google translation. The show is at Palazzo della Ragione, 16 April-4 July. 20 photos here, if you click on the small photo top left.

Bill Forsyth saunters through his career

He’ll be talking Housekeeping at Film Forum Thursday night. Below: BBC’s Mark Kermode and Forsyth take a spin ’round Local Hero.

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Trailering Mr. Brainwash's Life Remote Control

Rough draft for Banksy’s Exit Through The Gift Shop? Just another flavor in the blender… [Via @erickohn.]

"Florida is being attacked by giant fish with teeth": trailering Mega-Pirahna

About time they did. From the notorious knock-off artistes, The Asylum.

Alexandre Desplat on working with Terrence Malick on Tree of Life

Malick’s latest feature is almost certain to premiere at Cannes. From November’s Thessaloniki International Film Festival’s 50th edition, composer Alexandre Desplat talks about working with him.

Trailering The Kids Are All Right

Releases July 2010.

3 films by Jeremy Blake

Here. Wiki: “A graduate of the California Institute of the Arts, he was selected for the Whitney Biennial in 2000, 2002 and 2004. His “Winchester” series, inspired by the story of Sarah Winchester and the Winchester Mystery House, was shown at the San Francisco Museum of Modern Art in 2005. Blake also created the painted abstract hallucination scenes in the 2002 Paul Thomas Anderson film Punch Drunk Love, and contributed artwork and video for Beck’s album Sea Change. Blake was also involved in creating and commissioning a soundtrack album called The Forty Million Dollar Beatnik with Neil Landstrumm and Mike Fellows in 2000 on Scandinavia Records and Pork Salad Press to accompany an LA drawings/script show by Blake of the same title.”

Fassbinder on the future

From Wenders’ Chambre 666.

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