Movie City Indie Archive for December, 2012

Tarantino Talks DJANGO Influence; Terry Gilliam’s Advice; 3 Most Influential Films (9’42” total)

Three excerpts from SiriusXM’s “Town Hall,” moderated by Scott Foundas.

Scott Foundas: “Talk about your Django vis-à-vis that [other] Django.”

Quentin Tarantino: “In the case of Django, this movie became such a sensation; it took spaghetti westerns to a different place—a much more violent place, a much rougher, more brutal and even more surreal type of West. And just as an example of how violent the movie was at the time, it was banned in England up until the ‘90s. You could not show Django in England up until the ‘90s. In fact, one of the only ways to ever see Django in England is in the movie The Harder They Come. Jimmy Cliff goes to a theater and watches Django and you see him in the theater watching Django and you see the villain Django on the screen, and they play a whole mirror aspect of Jimmy Cliff as Django… he’s the outlaw on the run. Andthat was the only time you could ever see Django on the screens of England—[in] the little clip of it that was in The Harder They Come. [The character] Django was so popular that about 40 films exist that are basically non-related, rip-off sequels to [the original] Django. And rarely do they actually try to make it the same character. Only a couple of them have ever tried to do that. It’s just a character name Django. Sometimes the movies don’t even have a character named Django in it. They just put ‘Django’ in the title because they… [thought] that’s what spaghetti western people would want to see. Not to mention any time… [a] …Franco Nero movie—who was the star of [director Sergio Corbucci’s] Django—in particular played in Germany, it was always called ‘Django’ something. Didn’t matter what it was. If he’s doing a modern day cop film in the ‘70s, it was Django the Cop. If he’s doing a movie where he plays a shark hunter [it would be called] Django and the Shark… Django in Vietnam. There were all these complete rip-offs, unrelated sequels to Django and I am proud to say, that my film, Django Unchained, can join the long line of unrelated Django rip-offs.”

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Alexandre Desplat’s ZERO DARK THIRTY Score Streaming

PTA On The Hope For Film Stock

 

American Cinematographer, November 2012.

2012 FYC Screenplay Season Continues With LOOPER

“Our screenplay is now available as a free download. This is not a “shooting script” conformed to the final picture, it’s actually the final draft of the script we went into production with, and differs from the final film in many respects, which are hopefully more interesting than annoying. A brief introduction is attached to the script.  Enjoy, share and disperse freely.  Just don’t make any money off of it without letting us know (mostly because we’d be fascinated to know how you managed to make any money off it.)”  Plus: A Looper commentary track for  in-theater use, which differs from the upcoming DVD release.

“Back To The Drawing Board: Digital Cinema And Film History”: Good Dr. Bordwell’s TIFF12 Keynote (1’05″10′)

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Trailering “Canada’s Top Ten” (1’58”)

Dave Brubeck “Take Five,” Live, 1966 (5’22”)

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Mr. Burns Explains The “Fiscal Cliff” (1’14”)

Sundance13: Teasing Shane Carruth’s UPSTREAM COLOR

Judd Apatow And Conan O’Brien Go Serioso (1’09″11′)

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