Movie City Indie Archive for April, 2010

A dance to Spring… via Stanley Kubrick

Malcolm McLaren was 64

[RIP] Malcom McLaren.jpg
Carol Brennan’s thorough bio of McLaren. His “Madame Butterfly”:

Below: A television interview with McLaren. “What is your job, actually?” “That’s a very good question… sleeping with the media.” Also: Bow Wow Wow, doing “C30 C60 C90” and “Do You Wanna Hold Me” live.

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Pixellating Manhattan


More information and better resolution at Patrick’s Jean’s DailyMotion page.

Kim Morgan reassures her readers that she is not forgetting to eat


Sunset Gun blogger Kim Morgan writes that she often forgets to eat while on deadline. In this case, her hero is Clifton’s Cafeteria.

The opening of Banksy's Exit… in 5-minute reel

Guerilla filmmaking tips from Raindance

raindance_1.jpgThree quick reads, on basics of cell-phone filmmaking; drugstore quick fixes during a shoot; and 10 things a filmmaker needs every day

An indie theater explains how they book films

tiny tropic_y07u.jpgVia Ira Deutchman, the Tropic Cinema in Key West explains how they wind up booking the titles they book.

Getting indie trailers onto iTunes

itunes_Icon_50.jpgMarketing and publicity consultant Sheri Candler looks at Apple’s rules.

agnès films, an initiative for female documentary makers

agnesvarda_is_tiny.jpgPurdue student Alexandra Hildalgo is co-founder of agnès films. From the link: “We would like to help women not trained in cinematic techniques be able to tell stories in this powerful medium. We seek to shed light on the work of talented and committed female filmmakers working today, who like Varda don’t have the visibility they merit.” [More.]

A social network for starting screenwriters

fadein_56789.jpgIt’s a joint called Circalit. They Twitter. Moviemaker interviews the players.

"Is permission needed to retweet hot news?"

arst_67.jpgAt Ars Technica, Nate Anderson considers the issues. “When an aggregator like Google News publishes newspaper headlines, is the company treading on thin ice? What about aggregators that publish headlines and a one-line excerpt? What about those that simply rewrite the facts contained in the story and publish a new account in their own words? Newspapers have long objected to these practices, arguing that they dilute the value of their own work…” [More.]

The iPad: Will It Blend?


Commenter: “Don’t you have anything better to do?” Blendtec: “Not really.”

Kubrick's iPad

Kubrick's 2001 iPad
Wouldn’t you know there’d be one in 2001? That makes two monoliths.

Trailering Love Exposure: Kick-Ass meets Hausu?


Site.

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