Movie City Indie Archive for May, 2010

Dennis Hopper shoots

Untitled 1991 Polaroid.jpg
Selma, Alabama (Full Employment), 1965.jpg
[RIP] Dennis Hopper, Photographer.jpg
hopper_fringeshollywood.jpg

1 Comment »

Dennis Hopper was 74: sweet glimpses

“I mean, what are they going to say, man, when he’s gone? Huh? ‘Cos he dies, when it dies, man… when it dies, he dies, what are they going to say about him? What, are they gonna say he was a kind man, he was a wise man, he had plans, he had wisdom, bullshit man, am I gonna be the one that’s gonna set him straight, look at me! Wrong! You.”




Someday this world’s gonna end.
Below: A scene from Wenders’ The American Friend and Hopper at the opening of his recent Taos show.

Read the full article »

1 Comment »

Oh, fern!! Trailering Winnebago Man


And it’s sweet…

IRON BABY

At the inception of (500) Days Of Fatal Attraction: a teaser


Oh show me the way to the next karaoke bar… or surely we must die, surely we must die.

Trailering Bruce McDonald's This Movie Is Broken


Written by Don McKellar and featuring Broken Social Scene; shot entirely across one Toronto day. Details.

Teasering Assayas' Carlos


En français. May roll-out with an ad. Nudity.

Toby Talbott on the New Yorker Theater at The New School


An older video, but new to me.

Sounds familiar….

Twitter parade, from Japan

harch_667.jpgA typo! A link that didn’t work! But now a parade: a way for Twitter users to immediately visualize how many spam accounts are marching in their wake. Insert your Twitter name here. Play loud?

Recreating The Shining elevator of blood in CGI just for fun

David Lynch's Lady Blue Shanghai


Marion Cotillard stars in David Lynch’s Shanghai-set contribution to Dior’s ongoing auteur-driven internet promo shorts. The FT’s Nicola Copping writes, “They called me up and said, ‘Would you like to make a short film for the internet? You can do anything you want, you just need to show the handbag, the Pearl Tower and some old Shanghai.’” For Lynch, it is clear the lines will continue to blur. “This falls between a regular film and a commercial. I liked that idea. There are ads and people get hit hard, and then there is this, where it is like coming at it from a different angle.” … It’s the third “Lady Dior” noir shorts, which all feature Cottilard, and began in May 2009 with Lady Noire, directed by La Vie en Rose‘s Olivier Dahan. “Lynch’s Lady Blue is twelve, enigmatic, weird but wonderful minutes crammed with Lynchian leitmotifs – flashing lights, flashbacks and a haunting soundtrack.”

Chris Markergrams

Markergram.jpg
One of Chris Marker’s latest projects is breaking Article 9 of the Civil Code by taking taking photographs of other passengers on the Paris Metro. David Thomson says he got The New Republic’s seven-picture portfolio via a mutual friend. “[H]e has been a photographer all his life, and in the last few years he has found a new subject—people on the Paris Metro—shot with a secret camera.” Like Marker’s other photo work dealing with faces and crowds, there’s an empathetic gaze and attention to the found moment; the means raises other questions. Thomson: “When he first started the project, [he] was an elderly gentleman, but still nimble and fit—so he was not often noticed. He may have been 89; he could not always remember… So he used to spend part of his days and nights on the metro. And he had noticed that an elderly gentleman on the metro could sit there with an empty look in his eyes, and under that cover he could gaze upon people and observe them without being detected, or reported as a spy or a Don Juan… [T]he metro… was all silent purpose and bored crusade. These people were all going somewhere. They had a mission, and their loveliness—he thought everyone was lovely in the metro’s white light—was their purpose…” [More prose and six other shots at the link.]

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