Movie City Indie Archive for August, 2011

Anxiety On Mare Street, London (3’59”)

Video by Sam Hunt & Murat Gökmen.

Rioters Attack Police In Woolwich (2’02”)

Insert Oscar Telecast Joke Here

Lucille Ball On “What’s My Line?” (5’44”)

Documenting Chris Burden’s “Metropolis II”

Banksy On Phone-Hacking

[From Banksy’s site.]

TIFF11: Seven Minutes From Not-Jafar Panahi’s THIS IS NOT A FILM

Cinema Scope’s Mark Peranson says This Is Not A Film was just about the only Cannes entry worthy of being called “cinema.” “The work feels completely effortless, but my money says it’s an elaborate sound and image construction: though it claims to be a day in the life of Panahi, [MojtabaMirtahmasb explained in interviews that the film was shot over four days. The only conceivable excuse the festival had for placing Panahi’s film in a Special Screening slot—instead of, say, in Un Certain Regard alongside Rasoulof’s more conventionally filmic Good Bye (which won a prize for mise en scène)—is that they didn’t actually see it before announcing the line-up. Seeing as the film was smuggled out of Iran on a USB stick hidden in a cake, this is a quite plausible scenario. This Is Not a Film proves that even if a political entity tries to take the power of filmmaking—or film festivalling—away from a director, there’s nothing that can be done if that filmmaker possesses creativity, dedication, skill, and intelligence… Panahi is a filmmaker whose internal exile is a result of a 20-year government ban from travel and filmmaking; he can’t leave Iran, and spent a long period under house arrest. Though he’s presently free to travel within his country’s borders, all of This Is Not a Film takes place in his apartment as he awaits news of his appeal, doing daily tasks like preparing breakfast, speaking to his attorney and supporters (such as director Rakshan Bani-Etemad) on his iPhone, watching the Japanese tsunami on television… Over the course of the not-a-film, Panahi’s main company, besides the video camera—he is reluctant to turn it on or touch it himself, as a way of ensuring he does not break the ban on “filmmaking”—is Igi, his daughter’s rather large iguana, whose roaming throughout the apartment, creeping up Panahi’s body and ending up on the walls behind the bookshelves, serves as a deliciously ironic parallel to Panahi’s own mental and physical state… Eventually Mirtahmasb shows up, claiming to be making “a behind-the-scenes film about Iranian directors not making films,” and the real film within the not-a-film begins.” [Much more at the link.]

Sony Flickrs SPIDER-MAN



New images from Sony’s Flickr account.

Witness To Lincoln Assassination On “I’ve Got A Secret” (1956)

It’s on Reddit and all over the place, but it’s irresistible.

Hedi Slimane photographs Frances Bean

Family resemblance? [More at Slimane’s “Diary.”]

“Terry Gilliam’s Do-It-Yourself Animation Show” (14″39′)

[Via Cartoon Brew.]

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