Movie City Indie Archive for August, 2010

A less elfin, more Lisbeth role from Rooney Mara

From Samuel Bayer’s ultra-artsy Nightmare on Elm Street retake. Rooney, meet Noomi; Noomi, Rooney.

A forthcoming title…

On sound and music in Animal Kingdom

Australian writer-director David Mich

Trailering Enter The Void for IFC's U.S. release

[PR] Wenders 3D Video Installation Premieres At 12th Venice Architectural Biennale

“At the invitation of Kazuyo Sejima + Ryue Nishizawa / SANAA, Wim Wenders has created a 3D video installation for this year

Terry Gilliam's goofy Arcade Fire webcast preshow (10m)

Sometimes what directors do is not see what other directors do

From the Independent, theater and opera director Jonathan Miller, who began as a member of Beyond The Fringe, says he hasn’t seen a West End show in 10 years: “One might assume that Jonathan Miller, the revered theatre and opera director, who made his own name on stage, would have become a familiar face at preview nights for these stage gems to keep abreast of fresh new talent. But no. Yesterday, Miller confessed he had seen none of the most significant productions of our time because he had not been to the theatre for “nearly 10 years”. Miller, 76, confessed he had no idea about the state of contemporary theatre because he preferred to give it all a miss.”I don’t bother,” he said. “I’m not interested in theatre, I never was. I don’t want to go to the West End; I hate travelling, I prefer to be at home with my grandchildren, and just go to Marks & Spencer.” [More at the link.]

A filmmaker on "turning things down"

“The other week, I got a call from an agent wondering if I’d be interested in directing a feature in Los Angeles this fall. He had a script, and a producer, and a lump sum sitting in a bank account waiting to be spent on it. All that was required was a director to head up the casting process and then make the film, and he was wondering if I would be interested in filling that position…” [Story here.]

Tony Scott’s Runaway Speed

I hope to see Christoph Huber and Mark Peranson make the case that Tony Scott’s movies are more and more the movie equivalent of Don DeLillo novels. Really. I mean it. That would be as entertaining as this trailer makes Unstoppable look. The airborne toxic event is not only the smell of popcorn topping. Here’s the opening of the linked Huber/Peranson take on D

Passion across the sea: one critic-distributor’s exodus

Might want to crack a window for a late summer breeze before heading over to Filmbrain’s new place, as he cogently lays out the reasons, as a lifelong New Yorker, he’s made tracks to Berlin. “[C]ritics have been spending way too much time bashing other critics’ opinions (or simply the critics themselves) and second-guessing why it is that their peers don’t share their views. It stifles rather than encourages discussion, and it’s fucking depressing if you must know the truth,” Andrew Grant writes. “As a distributor, things haven’t fared much better. Indie film is certainly alive and well, but… we’re seeing a seemingly endless stream of repetitive and pointless panels at film festivals, blog posts by self-proclaimed “experts” who preach profitability over artistic integrity, and the emphasis on new and clever ways to market yourself instead of, you know, actually making a good film… [M]y passion for film has diminished to practically nil. I barely watch things anymore. Even my prized pile of rare, grey-market finds that I’ve been dying to dip into remains untouched. Losing interest in the thing I’ve loved since childhood…i t’s a suitable cause for concern.” [More at the link, including source of photo.]

Countdown to William Gibson's Zero History

They won’t find the edge, they won’t find the new, and worse, they’ll trample on it, inadvertently crushing it beneath a certain mediocrity inherent in professional competence.
On sale September 7; more information here.

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