Movie City Indie Archive for April, 2011

The Late Tim Hetherington’s DIARY (20m vid)

Diary is a highly personal and experimental film that expresses the subjective experience of my work, and was made as an attempt to locate myself after ten years of reporting. It’s a kaleidoscope of images that link our western reality to the seemingly distant worlds we see in the media.”

Below: Sebastian Junger on making of Restrepo.

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Morgan Spurlock’s “Greatest TED Talk Ever Sold” (20m)

From The Atelier Criterion: Guy Maddin Brings A Bag

AKA “Supermarket Sweepstakes For Sublime Auteurs.” And if you have eight minutes, and haven’t seen Heart of the World… Holy heck!
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Darren Aronofsky For “La Nuit de l’Homme par Yves Saint Laurent”

[H/t “b.”]

The Kremlin’s Yuri Gagarin/Cosmonaut Day Gala Dance Highlights And Military Choir Finale

[Via @xenijardin and milesobrien.com.]

A Taste Of Michael Mann’s Pilot For David Milch’s LUCK

http://www.youtube.com/watch?v=p8yOQJ288GQ&feature=player_embedded

Mann talks about the David Milch-penned HBO project in the FT.

Shredding Birdsong

What Talk Was: Aldous Huxley and Mike Wallace on freedom, drugs, television

Aldous Huxley and Mike Wallace talk about threats to freedom, overpopulation, propaganda, drugs, advertising and television. Seems awfully bizarre set beside today’s self-satisfied Sunday shows with their parade of the usual faces.

Part 2 and 3 below.

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Spike Jonze Presents Lil Buck And Yo Yo Ma

A couple days old, but…

Sorrentino’s Moving Camera, Sean Penn’s Robert Smith Hair: THIS MUST BE THE PLACE Outtakes

http://www.youtube.com/watch?v=YDOanG394A8&feature=player_embedded

Picturing Lynn Ramsay’s WE NEED TO TALK ABOUT KEVIN

More here; text en español.

When Kissing Bandit Donald Trump Met Rudy Giuliani In Drag

Nightmares that last four hours or more should be referred to a mental health professional.  [Via David Weigel.]

Sigh…

Looks all official-like… When’s it coming out? From Alex Godfrey’s “6 things to do with Stanley Kubrick’s ‘Napoleon,'” over at writer Dennis Cooper’s blog.

Trailering Will Ferrell In CASA DE MI PADRE

http://www.youtube.com/watch?v=5GU6wBafvv8&feature=player_embedded

… And it cuts to black in abrupt embarrassment and stays there…

The Mods Musical World Of French Director Serge Bozon

Two more clips from Mods (2002) below.
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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