In a notice pasted on a wall inside the front door [of his video store], he wrote, “We hope to find a sponsor who can make this collection available to those who have loved Kim’s over the past two decades.” He promised to donate all the films without charge to anyone who would meet three conditions: Keep the collection intact, continue to update it and make it accessible to Kim’s members and others.
For three years, from ‘36 to ‘38, Shirley Temple was the country’s top box-office star, and then Mickey Rooney had the title from ‘39 to ‘41. (And then it was Abbott & Costello.) Imagine. Temple and Rooney knew how to entertain, for sure, but the last thing you could call moviegoers back then, to judge by their six-year reign, was urbane or sophisticated.
Esquire profiles Paul Thomas Anderson, focusing on the director’s early years and how he came to make Cigarettes and Coffee, Hard Eight, and eventually Boogie Nights, which was based on a film he made as a high schooler called The Dirk Diggler Story.
Although Anderson is one of the most autobiographical filmmakers of his generation, drawing heavily on his childhood in the San Fernando Valley, most stories about him offer some variation on “very little is known about his early years” or “little is known about Paul’s childhood.” He has stopped talking to most of his friends from those years, and none of them can say whether he just moved on naturally or broke with his past for some secret reason.
“When he did Magnolia,” Stevens says, “I sent word through someone who worked with him to tell Paul it would be great if he could come back for a visit. I’d love to see him. And the answer came: ‘Paul doesn’t go back.’”
One of the oldest jokes in the business is that when a studio head takes over he’s given three envelopes, the first of which contains the advice “Fire the head of marketing.” Nowadays, though, former marketers, such as Oren Aviv, at Disney, and Marc Shmuger, at Universal, often run the studios. “Studios now are pimples on the ass of giant conglomerates,” one studio’s president of production says. “So at green-light meetings it’s a bunch of marketing and sales guys giving you educated guesses about what a property might gross. No one is saying, ‘This director was born to make this movie.’”
I’ve seen similar articles in the past and the thing that always strikes me about the people who make movies is a) how much they love movies and b) how little they care about actually making good movies that people will love. So cynical.
The first time Phil Conners lives out Groundhog Day, he knows nothing about how events will unfold, and acts accordingly — self centered, short sighted and rash. But by the time Conners lives out his last Groundhog Day, he has perfect knowledge of how everyone around him will behave. He acts accordingly — maximizing his happiness and the happiness of those around him. The metaphor gets pretty loose, but in this interpretation, Phil’s last day is analogous to classical economics, where people act with perfect knowledge and rationality.
With the exception of the two animated films and Year One, all of the above are either sequels or remakes. And Hulu, in a stroke of highly irritating genius, has inserted advertising before each of the trailers linked above. Advertising *in* advertising…the 20th century has officially ended. Welcome to the future.
Update: I’ve switched out the Hulu links for ones at Apple; they’re higher quality and can be seen outside of the US. I wish the Apple trailers would have been live last night; it would have made for a lot less whining in my inbox. I just go where the links take me, folks. Oh, and I added the GI Joe trailer. (thx, david)
A review of 2008’s best cinematographic moments: part one, part two.
This year the challenge was of a different sort. The field was curiously thin. It wasn’t that the talent wasn’t on display. God knows, a number of the greats were lining up behind the camera this year. But the images weren’t as instantly iconic or as viscerally gripping as they were in 2007, which might have left me a bit disappointed on one hand. Then again, it just made searching for my favorites all the more involved and interesting, and I’m happy to offer my findings to you in this space, even if it meant doubling up.
Murray Siple’s feature-length documentary follows a group of homeless men who have combined bottle picking with the extreme sport of racing shopping carts down the steep hills of North Vancouver. This subculture depicts street life as much more than the stereotypes portrayed in mainstream media. The film takes a deep look into the lives of the men who race carts, the adversity they face and the appeal of cart racing despite the risk.
BTW, this is but one film of hundreds of shorts, animated films, and documentaries that the NFB recently put online for viewing.
The good news is that I don’t have to know if there’s a link. Wells had a great quote once where some critic asked him a similar question. He said, “I’m the bird, and you’re the ornithologist.” I don’t really sit down and think on a macro level how or if these things are connected. They obviously are in the sense that I wanted to make them. And so there must be something in them that I’m drawn to.
Soderbergh also talks about following your interest when choosing projects and not worrying so much about the money.
Yeah. And I’m a big believer that if there’s something you really want to do, don’t walk away because of the deal. I see it happen a lot. I see people walk away from things because they didn’t get the deal they wanted.
Out of 26 nominated films, an incredible 23 films are already available in DVD quality on nomination day, ripped either from the screeners or the retail DVDs. This is the highest percentage since I started tracking.
Harry Potterybarn.com
Il Huffington Postino
Slumdog Millionaire Dollar Homepage
Behind Enemy Bloglines
Schindler’s Craigslist
Charlotte’s WebCrawler
Freecreditreport.com Willy
And while not strictly adhering to the form, I also chuckled at “Bone Thugs & eHarmony”. The best I could come up with for kottke.org is Girls Gone Wild: Kottke West, which is not so good.
Update: Duh, I totally forgot about Koyaaniskottke. Also: kottke.orgazmo, The Kottke Horror Picture Show, and Kottke Balboa. (thx, andy & charley)
Come to think of it, it’s amazing that nobody’s made a major documentary about the advertising business before. Are some phenomena just so powerful and ubiquitous we stop thinking about them? Now acclaimed doc-maker Doug Pray goes inside the ever-revolutionary world of post-’60s advertising, profiling such legendary figures as [Dan] Wieden (“Just do it”), Hal Riney (“It’s morning in America”) and Cliff Freeman (“Where’s the beef?”) and inquiring where the boundaries lie between art, salesmanship and brainwashing.
Somewhat related to that is The September Issue, which follows the creation of Vogue magazine’s September issue. You know, the one packed with hundreds of pages of advertising.
You-are-there documentarian R.J. Cutler (“The War Room,” etc.) takes us inside the creation of Vogue’s annual and enormous September issue, which possesses quasi-biblical status in the fashion world. Granted full access to editorial meetings, photo shoots and Fashion Week events by Vogue editor Anna Wintour, Cutler spent nine months at Vogue, documenting a monumental process that more closely resembles a political campaign or a sports team’s season than the publication of a single magazine.
An effect extraordinarily limited in what can usefully be done with it, it has nonetheless been flogged to death in the 10 years since The Matrix.
The Burly Brawl from the second Matrix movie thankfully didn’t make the list either, likely because the whole thing looks like a cartoonish video game (and not in a good way). The only quibble I can think of: maybe Titanic should have been on there somewhere? (via fimoculous)
The more we thought about it, the more we realized the connections between the stripper and the wrestler were really significant. They both have fake stage names, they both put on costumes, they both charm an audience and create a fantasy for the audience, and they both use their body as their art, so time is their biggest enemy.
Toddler or not, I’m getting out of the damn house to see this movie.
After posting the video of the chickens from the Muppets clucking their way through the Blue Danube waltz, I couldn’t resist putting it together with the most iconic use of that tune in contemporary culture. Here, then, is Stanley Kubrick’s 2001: A Space Odyssey, the Chicken Cordon Bleu Danube cut.
Film Addict takes the top 250 films on IMDB and quizzes you on how many you’ve seen. My score is 53.6% (I’ve hardly seen anything made before 1970). Compare your score. (thx, mathowie)
Update: Since posting this, I’ve been urged to watch Rope; The Good, The Bad, and The Ugly; M; The Third Man; Lawrence of Arabia; The Lives of Others; Roman Holiday; and Planet of the Apes. (thx, everyone)
Just Like the Movies is a short film by Michal Kosakowski that samples footage from movies that were made prior to September 2001 to recreate the events of 9/11. More info.
“It’s just like the movies!” was usually the first reaction of those watching the events of 9/11 in New York unfolding on their TV screens, no doubt recalling the endless number of catastrophes that Hollywood has proposed over the years. Now confronted with the reality of one such scenario — of unprecedented destructive and symbolic resonance — a feeling of deja vu arises while looking at these images.
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