Movie City Indie Archive for June, 2012

Melancholy 82, Bob Fosse

Enough to make you (me) cry. How about Fosse himself in My Sister Eileen? [Here.]

“Staggering dance from the end of Act 1 of ‘Big Deal,’ a flop on Broadway that won Fosse the Tony Award for Choreography anyway.” Read the full article »

NWR: Nicolas Winding Refn At Work (1’05”)

French doc by Laurent Duroche, made during the shooting of Refn’s current movie, Only God Forgives, with much that is swell. No subtitles, but largely in English.

[Via Nick Dawson.]

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“The Critic”: Let Sarris And Simon Illuminate (28’26”)

Mr. Sarris appears about 15 minutes in, after the smirking obloquy of Mr. Simon.

Alfred Hitchcock Directs FRENZY (10’31”)

Pretty pictures, lousy sound. [Via Dangerous Minds.]


FIXED: Trailer-ish 2: PTA’s The Master

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THE MASTER Teaser #2 (1’31”)

Teasing JE SENS LE BEAT QUI MONTE EN MOI (Beauty and the Beat) (0’53”)

For a short film by Yann Le Quellec, with Rosalba Torres Guerrero and Serge Bozon, which opened in Paris last week.

Could it be anything like Bozon’s own Mods?? Or La France?

RIP Susan Tyrrell “Witch’s Egg” (2’24”) (NSFW)

From Forbidden Zone.

Jonathan Lethem: State of Cinema Address (52’34”)

The writer offers the San Francisco International Film Festival’s annual keynote address. [Via The Rumpus.]

Glen Campbell’s Final Music Vid, “A Better Place”


60 Seconds Of The NSFW Butts Of MAGIC MIKE

Book-trailering the e-books of Thomas Pynchon (1’08”)

Something makes me think old Tom may well smile at this animation.

One GoodThing Henry Hill Brought Into The World (2’28”)

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