Movie City Indie Archive for October, 2012

Harvey Weinstein Keynotes MIPCOM 2012 (32’31”)

Teasing THE CANYONS (1’17”)

Download Rian Johnson’s First LOOPER Commentary Track, To Listen To In-heater

Johnson: “I recorded a commentary track to be downloaded, put on an ipod and listened to in the theater as you’re watching Looper. This is an odd thing I tried with Bloom, and have gotten a few requests for it again, so here it is. It is totally different from the commentary track that will be on the Blu/DVD, a bit more technical and detailed. Needless to say, this is NOT to be listened to on a first viewing, or before you’ve seen the film. Also, please work it so that a glowing screen is never out of your pocket during the movie.”

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Adele: “SKYFALL” (4’50”)

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The State of the State Of Film (And Journalism) Today: J. Hoberman’s Keynote Address At Milwaukee FF12 (94m)

MFF 2012 Keynote Address: J. Hoberman from Milwaukee Film on Vimeo.

“As part of the 2012 Milwaukee Film Festival, we’re thrilled to pay tribute to one of the most quintessential voices in film criticism, J. Hoberman. For more than 30 years, Hoberman wrote for the Village Voice, taking over as senior film critic in 1988. The elimination of his position by the Voice in 2012 was seen as a watershed moment marking the end of journalistic film criticism. His most recent book, ‘Film After Film: (Or, What Became of 21st Century Cinema?)’ takes up the question of the place of film and film crticism today.”

[Via mkefilm.org.]

TIFF12 Master Class With Olivier Assayas (83 min)

Simian Says: The Monkey From BARAKA Anderson Told Joaquin Phoenix To Look-See (1’36”)

[Via @somebadideas.]

MacArthur Fellows Poitras And Almada On Their Two Most Recent Films

Watch Behind the Lens – The Oath on PBS. See more from POV.

Watch El Velador: Filmmaker Interview with Natalia Almada on PBS. See more from POV.

Jamie Stuart’s “NYFF Memories” (8’27”)

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