Movie City Indie Archive for May, 2011

Carlo Lavagna and Roberto de Paolis’ CHANT D’AMOUR: A DIARY FROM CANNES

The laddies behind the recent Bernardo Bertolucci profile at NOWNESS venture to Cannes to talk to Michel Gondry, watch Spike Jonze climb a 175-foot mast, interrupt Michelle Rodriguez as she deejays and gather up snips to assemble back in their editing bay. The short is here.

Trailering SHARK NIGHT 3D: MF’ing Sharks On A Focal Plane!

Intentional kitsch? Tough gig, but somebody else is doing it: “A sexy summer weekend turns into a blood-soaked nightmare for a group of college students trapped on an island surrounded by voracious underwater predators in Shark Night 3D, a terrifying thrill ride from director David Ellis (The Final Destination, Snakes On a Plane), featuring a red-hot young cast including Sara Paxton (Superhero Movie, Last House on the Left), Dustin Milligan (“90210,” Slither), Chris Carmack (“The O.C.”), Joel David Moore (Avatar), Chris Zylka (The Amazing Spider Man) and Katharine McPhee (The House Bunny). Arriving by boat at her family’s Louisiana lake island cabin, Sara (Sara Paxton) and her friends quickly strip down to their swimsuits for a weekend of fun in the sun. But when star football player Malik (Sinqua Walls) stumbles from the salt-water lake with his arm torn off, the party mood quickly evaporates. Assuming the injury was caused by a freak wake-boarding accident, the group realizes they have to get Malik to a hospital on the other side of the lake, and fast. But as they set out in a tiny speedboat, the college friends discover the lake has been stocked with hundreds of massive, flesh-eating sharks! As they face one grisly death after another, Sara and the others struggle desperately to fend off the sharks, get help and stay alive long enough to reach the safety of dry land.”

Ba-bum. Ba-bum. Ba-bum-ba-bum-ba-bum



That’s conversation about Curtis’ mind-twirling new BBC 2 doc, All Watched Over By Machines Of Loving Grace. (Part I mingles Ayn Rand, Silicon Valley in the 1990s, the Clinton White House and a generous dash of paranoia.) The link to the music and chat is here.

Mike Mills Videos His Road Tour (5’53”)

And toward the end, there’s my notes! I can only make out the swear words in my handwriting.

Where’s Terry?

Terrence Malick

Larger. [Click through for photographer’s Flickr account.]

Behind Kyle Lambert’s “TOY SHINING” Project


[Via IMDB.]

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Baz Announces 2013 “Strictly Ballroom” Musical In Sydney (3’09”)

Harlan Ellison Reminds Us, “Pay The Writer”

1 Comment »

John Lasseter Displays His Hawaiian Shirt Wardrobe (6’31”)

An Excerpt From Panahi’s THIS IS NOT A FILM (6’31”)

Trailering Michael Tolkin’s THE RAPTURE

Hitler Responds To Lars Von Trier’s Cannes Banishment

10 APOCALYPSE NOW Storyboards

Anticipating a Blu-Ray release, the Guardian has 10 Apocalypse Now storyboards. 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