Movie City Indie Archive for May, 2011

John Lithgow’s Reading Of Newt Gingrich’s Purple Press Release

http://www.youtube.com/watch?v=gJlL2vfXnJg&feature=player_embedded

Sunset Strip, 1964 (1’31”)

[Thanks, f.]

Teasing Nicolas Winding Refn’s DRIVE

Yow?

“The Unspeakable Chilly Gonzales’ Video Medley”

What? Writes Scott Thill at WIRED: “The prodigal pianist has been weirding the pop game since the late 90s, from fronting the alt-rock band Son… to collaborating with Peaches, Jane Birkin and Feist. Now he’s spitting gonzo game as a Jewish emcee with mad brains and madder rhymes. Inspired by Ennio Morricone and Sergei [Prokofiev],  The Unspeakable Chilly Gonzales’ swelling arrangements were produced by Beck’s brother Christophe Beck… composer for…”Buffy the Vampire Slayer” and “Angel” as well as… The Hangover and Percy Jackson & the Olympians.”

Speechless: “The Seduction Of Ingmar Bergman,” By Guy Maddin And Sparks

June 25. LA Film Fest. Ford Amphitheatre. Tickets.

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Doing The Kaurismäki Shuffle At Cannes

Delightfully inconsequential.

Just A Few Of The Movies QT Referenced In KILL BILL

Trier Understands Hitler?

The best angle on Lars’ latest proclamation, especially for Kirsten Dunst’s sustained, shocked reaction.

Five unobstructed excerpts from Melancholia:

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Tintin, World, No Longer Flat

[Via Empire online.]

“Love Is Strange”: Malick in 40 seconds

Alexandre Desplat on scoring THE TREE OF LIFE (vid)

From a masterclass at the November 2009 Thessaloniki International Film Festival. Below, Desplat on “Crap And Exaltation” as the film composer’s life and “Light, Color and Vermeer.”

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CANNES: Teasing Rasoulof’s GOOD-BYE


Below, three excerpts from imprisoned filmmaker Mohammed Rasoulof’s late addition to the Cannes line-up, a story of limits placed on its female protagonist.  Writes Wesley Morris, “The movie’s stillness and quiet are close to funereal. Rasoulof limits himself to a handful of camera angles. Every closed door bring a thunderous rumble. And, in the most cruelly ironic of production choices, the terrace of his heroine’s home, overlooks an airport runway. It’s a stinging work of art and an allegory of a nightmare: Everyone’s in a prison.” [Via David Hudson.]

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CANNES: Trailering THE ARTIST, A WeinsteinCo Oscar Bid

Karl Lagerfeld’s TALE OF A FAIRY (25’30”)

On “the ill-advised use of money” (not on acting coaches). With Anna Mouglalis, Amanda Harlech, Kristen McMenamy, Freja Beha, Bianca Balti, Baptiste Giabiconi, Brad Koening, Jake Davies, Mark Vanderloo, Oriol Elcacho, Sebastien Jondeau, Seth Kuhlmann.

A Workprint Of ELECTION’s Original Ending

http://www.youtube.com/watch?v=3WqgLbFCmzo&feature=player_embedded

Claims the YouTube poster, “This scene is from the ‘working print’ of the film – it was found on an unlabeled VHS tape at a local flea market. It was NOT included on the DVD!” [Thanks, reader mlp.]

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