Movie City Indie Archive for November, 2012

Dante Ferretti On Working With Pasolini (2’36”)

From Criterion’s “Trilogy of Life” boxset. “Legendary production designer Dante Ferretti is known to moviegoers everywhere for the elaborate and period-precise but fanciful worlds he has created for such films as Terry Gilliam’sThe Adventures of Baron MunchausenNeil Jordan’s Interview with the Vampire, and Martin Scorsese’s Hugo (for which he won an Oscar this year). Among his first projects as art director were the films in Pier Paolo Pasolini’s “Trilogy of Life,” which also tread the line between the gritty and the fantastic. In this clip from a new Criterion interview with him—who had already served as an assistant production designer on Pasolini’s The Gospel According to St. Matthew, The Hawks and the Sparrows, and Oedipus RexFerretti describes envisioning The Decameron with Pasolini, divulges the director’s penchant for sliding down banisters, and explains the importance of making mistakes.”

The Making of WKW’s GRANDMASTERS (17’35”) (no subs)

[Via WKW.net.]

LINCOLN at the Academy (5’38”)

Random SKYFALL B-Roll (20’26”)


‘Skyfall’ B-roll by MakingOf

Clipping Greenaway’s “03 ‘GOLTZIUS AND THE PELICAN COMPANY’ SIN 2: INCEST” (0’28”)

After its premiere at Rome Film Festival.

Soundworks’ “The Sound of SKYFALL” (5’50”)

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John Waters Sez Support SF’s Roxie Theater (1’04”)

Trailering SAVE THE DATE (2’25’)

Sweet.

Meet An Eyewitness To The Lincoln Assassination (1956) (5’29”)

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