Movie City Indie Archive for March, 2011

Selling Shamrock Shakes In 1980 And 1983

The running of the Green…

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“Happy Birthday,” Clare Grogan (49)

Plus: the trailer to Bill Forsyth’s Gregory’s Girl.
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Split-Screen: How 6 Japanese Networks Reacted To The Earthquake

10 Iconic Don DeLillo covers

Picador issues new paperbacks from 30 years of Don DeLillo’s novels with iconic illustrations by Noma Bar. Via @HariKunzru. [Eight more here.] CORRECTED LINK

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“A Brief History of Title Design”

Presentation video for the SXSW “Excellence in Title Design” competition screening. [Via Art Of The Title Sequence.]

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INCEPTION as Victorian Woodcut Animation

Australia’s “At The Movies” Hosts On Bad Films & Good Critics

“David and Margaret,” (Stratton and Pomeranz) from the Adelaide Film Festival. Below: On the general neglect of Australian film.  [Via Encore Australia.]
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Postering Mike Mills’ BEGINNERS

THEY WERE THERE…IBM’s Centennial Film by Errol Morris

(30’42”)

A Key Quote From The Now-Yanked Tree Of Life VFX Interview

Brit film mag Little White Lies published a blog entry with a little too much information about Terrence Malick’s Tree Of Life and it’s quietly been retired to farther corners of the internet. In that light, the most fitting passage may be this one: “Special effects supervisor Dan Glass states, “It’s a very powerful movie about memories, emotions, and our place in the world.” As to what he thought Tree of Life was going to look like, he confesses, “I don’t know in some ways what I was expecting it to be… I think the thing that was constant throughout the experience of working with Terry was that you know not to expect anything. There’s always something mysterious to be found.”

Is This The Michelob Ad Stanley Kubrick Liked So Much?

There’s a reference in 1987’s very long Rolling Stone interview with Tim Cahill. Is this it in all its VHS glory?  [H/t Jamie Stuart.]

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16-Year-Old Nicole Kidman Promotes BMX BANDITS

[H/t DVD distributor Severin Films.]

Cyndi Lauper Takes Advantage Of Buenos Aires Flight Delay

36 Hitchcock Death Scenes Climax At Once

ThreeFrames GIFs REPULSION

[Via ThreeFrames.]

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