In BFI’s May 2004 Sight & Sound, James Bell looks at the world of British shorts. His findings: proper support is very important, but hard to come by; when you need it most, there can be no reaction at all; when they can’t get someone else to do it with, people turn to handheld electronic devices to help them shoot, then they complain that it’s “not like the real thing”; people are going online for some action; the word “gag” comes up a lot; it rarely lasts longer than five minutes.
If this sounds suspiciously like the situation in our American shorts, just remember: in the UK, the whole thing’s funded by the government. [via GreenCine]
Category: making movies
Cinderella Story
The classic “Cinderella story” speech from Caddyshack was written as an interstitial camera shot…Ramis took Murray aside and said, “When you’re playing sports, do you everjust talk to yourselflike you’re the announcer?”
Murray said, “Say no more,” and did his monologue in one take.
– Tad Friend’s great piece on Harold Ramis in the New Yorker.
When [I] asked about “the whole ‘Cinderella story’ from Caddyshack and that shot of Bill golfing under Mt. Fuji,” Sofia didn’t register. “I never saw it.”
Buy Caddyshack on DVD and carry it around with you. Give it –and a stern talking to–to Sofia Coppola when you see her.
Buy Murray’s book, titled–you guessed it–Cinderella Story: My Life in Golf. [Or don’t, if the “See Inside!” excerpt is any indication.]
Bill Murray at BAM
If you’re planning to bumrush Bill Murray tonight at BAM to pitch him your 12-page script [“INT – ASSISTANT GREENSKEEPER’S HOUSE – NIGHT”], you’re a bigger chump than your ex said you were: it was Tuesday.
Don’t worry, you can still send a message “to” Bill at The Bill Murray Message Board, “just in case that actor ever visits this site”:
Date: 2/12/2004 – 9:42 PM
Name: Mickey
Comments : I am, at this moment, watching you on Letterman. and was very touched by your “psychic pull” remark re: your six children. I, admittedly, teared up as you said it – I have two children. (& love them dearly a good part of the time.) However, we are feeling that the psychic pull is more of a HAUNTING as our son enters young adulthood. I think boys should be banned! Girls are moodier and in a much more “in your face mode” but manageable. My question is, how can our 20 year old son and his two roommates generate a $400.00 cable bill for one month? We live in Vermont – not frickin’ L.A.. Please do not reply. I have had two glasses of Kendall Jackson and have NEVER before posted a message to a board/chatroom (cmpd wd?)My husband is out of town and I am just exercising a wild hair.
[4/21 Update: Check Joey’s play-by-play account of BAM’s Bill and Elvis Show at Tale of Two Cities. The line TOTC’s been waiting his whole life to hear from Jim Jarmusch (“It was so much fun getting Bill in a room with RZA and GZA.”) does absolutely nothing for me. I now feel very very stupid.]
Reading Quentin, my New Bestest Friend
After a night of hanging out with The Man, and sipping from the firehose of his conversation (hey, whatever it takes to get the movie made, right? ahem.), it’s no surprise at all that there are fansites dedicated to picking apart the film references in Quentin Tarantino’s own movies. Now there’s a festival, too: The Kill Bill Connection at London’s ICA.
The Guardian‘s Steve Rose is at first fascinated, then typically put off by QT’s virtuosic-bordering-on-pathologic quoting, but his look at Kill Bill-ism makes for interesting reading nonetheless.
[update: With barely any overlap–and a lot less judgmentalism–David Kehr charts some of Tarantino’s references in the NYT, in case you can’t fit reading a UK newspaper into your shedule (sic). ]
Che Sera…Sera
[via GreenCine] Terrence Malick’s on-again, off-again, on-again-next-year biopic, Che is on again, only it’s now Steven Soderbergh’s Che.
Muy bien.
Blessed are the Filmmakers
OK, one more post about Mel’s mammon from heaven, The Passion:
The Guardian reports on the miracle of Matera: Gibson raised the Italian hilltop town from the economic dead when he chose it as the main location for filming.
And Blessed are The Extras, for they shall obtain EU60-90/day
Not only were 600 of “the swarthiest” locals picked as extras in the film, but the town has been born again as a Christian tourist site. Antonio Foschino documents the local production of The Passion on his website, Sassiweb.it–The gregorio.org of Matera, he provides a Passion Package Tour; book early.
At least until high season starts, the town’s hotel maid won’t charge you a euro to tell about helping Gibson convert the minibar in his suite into a prayer altar. But at the site of the crucifixion scene [above], enterprising craftsmen are already stockpiling hand-carved Matera/Golgotha paperweights, the perfect complement to those Nativity Stone crosses you bought from Ricardo Montalban. [While supplies last. Supplies of rocks in Italy.]
Did Gibson’s inspiration for shooting in Matera come from Richard Gere, who made King David there, or from the last Christ movie to be shot in town, Pier Paolo Pasolini’s [ who the Guardian gleefully calls “a gay, Communist atheist,”] Gospel According to Matthew? Who knows? But Mel did describe his reaction the town had on him: “The first time I saw it,” he said, “I just went crazy, because it was so perfect.”
Amen, brother.
More from An Evening With Sofia Coppola
Production Diary
I grabbed an image from each of 35 massacre cuts in The Godfather‘s baptism/massacre sequence to use as reference for shooting. Given the conditions, however, and the fact that I was also a co-host, with a speech to give, and I had major ass to kiss, this served as only the roughest guide.
I needed at least one shot of me, though, and so when my co-host Hilary and I went up to the podium, I gave my running camera to the nearest pair of hands I could find–Bill Murray.
Murray played along, and in fact, started filming Hilary’s dress, chest, earrings, and hair, which cracked everybody up. Anyway, by the end of the night, I think I got enough footage that formally references Coppola’s original, but is, of course, completely different.
Gossip
When another speech (the intro went too long for the taste of at least one big cheese producer) said how MoMA was interested in great films, “not just films from India or Senegal or someplace,” several stunned people turned to look for a reaction from the rather great Indian filmmaker Mira Nair–who was sitting right behind me. She didn’t flinch.
Quentin–who was sitting next to me–was a rockstar, and we talked endlessly about making and remaking movies. Gus Van Sant’s Psycho was, he said, his favorite movie of 1998, and he had non-stop praise for Eric Zala, Jayson Lamb, and Chris Strompolos, the three teenagers who spent seven years making their shot-for-shot adapation of Raiders of The Lost Ark.
My wife couldn’t come at the last minute, so I turned her seat back in, not knowing who I’d get as my seatmate. Just before the lights went down, a very genial and genteel-looking older lady was escorted in. Somebody’s mother, I figured; did they plan to leave her at the hotel if they couldn’t score her a ticket? Turns out her name was Lillian Ross. She’s a writer or something. Didn’t get the details. Very nice. She borrowed my cell phone to call her son, who I met later at dinner. Also very nice. But not related to any of the filmmakers there, as far as I could figure.
Anywho…the gossip, the first blind item on greg.org, blind because not stupid; I’d still take their meeting:
A very recent Oscar winner told me, at the party, about meeting a fellow nominee, i.e., one of the losers–who actually had two films nominated–so technically, a double loser. Upon being introduced–by the Mayor of New York City, no less–the loser replied, “I can’t believe you won; your film was so boring!”
I’ll leave the comments open for a while this one.
Kubrick-a-brac
From the painstakingly organized files of Mr Stanley E. Kubrick:
Stanley Kubrick filled his St Albans estate with over 400 fileboxes (specially manufactured to his own design) of notes, photographs, correspondence, drafts, props, and much, much more. The first authorized exhibition drawn from the estate opens today at the Deutsches Filmmuseum in Frankfurt. In fact, Christiane Kubrick and Jan Harlan are speaking in the cafe at 2030h, less than 5 hrs from now.
[Seeing as how you missed that, though, you can pre-order the exhibition catalog in English from the museum. It’s a more in-depth collection of essays by filmmakers and historians, different from The Stanley Kubrick Archives due any day now from Taschen.]
Journalist Jon Ronson writes in the Guardian about what he found in his repeated vists to the archive, including an exhaustive day-by-day timeline of the goings-on in Napoleon’s court; Kubrick’s favorite font; a sniper’s severed head, and a reference to “A Bill Murray Line!” [Also, a link to Kubrick’s script for Napoleon, deemed authentic by Ronson.]
From a 1975 telex correspondence with a Warner Bros. publicity man re Barry Lyndon:
[Publicity man:] “Received additional material. Is there any material with humour or zaniness that you could send?”
Kubrick replies, clearly through gritted teeth: “The style of the picture is reflected by the stills you have already received. The film is based on William Makepeace Thackeray’s novel which, though it has irony and wit, could not be well described as zany.”
[via TMN. And my post title came from a 1977 French animated short I found on IMDb.]
Souvenir Series, Sofia, and me
In the last couple of weeks, I’ve decided to shoot a fourth short film, which may be part of the Souvenir Series, or may not. We’ll see. It was not in the original outline of the series, and it’s out of the order I’d planned to shoot them, but the opportunity and idea presented themselves so clearly, I’ve decided to at least get it shot, then see where to take it.
Long story short, it’s a reconceiving of the baptism/massacre sequence from Francis Ford Coppola’s The Godfather. The scene is a classic, not only of storytelling and dramatic contrast, but of editing as well.
While it has the immediate feel of intercutting–jumping back and forth between simultaneous events–as this Yale film analysis site where you can watch (most of) the sequence points out, it’s unlikely that all the other mafia dons in NYC were actually assassinated at the same instant. They call it montage.
Frankly, I always thought they were concurrent events. The baptism scene provides a sense of linear time that is utterly absent from, say, Jennifer Beals’ rehearsal/welding scenes in Flashdance. (Gimme a break, she was on The Daily Show last night.)
Anyway, Seeing as how the baby in that scene was a weeks-old Sofia Coppola, and seeing as how I have a weeks-old baby myself now, and seeing as how I’m gonna be hanging out with the Coppolas tonight at a MoMA Film Department benefit, I thought I’d better start shooting.
An Evening with Sofia Coppola
I’m co-chairman of this gig tonight at MoMA, An Evening With Sofia Coppola. I was going to write my speech, but in the spirit of the director, I’m going totally improv. Then I’m going to kiss every ass I can.
In the mean time, Sofia will show clips of and discuss her work with Elvis Mitchell. Look for pics and a making-of doc later.
Related: More from An Evening With Sofia Coppola
ND/NF: Captive by Gaston Biraben
I saw Captive, the debut feature from Gaston Biraben, at New Directors/New Films last night; it’s a subtly powerful movie that gripped the sellout audience at MoMA Gramercy.
Captive is a fictionalized telling of real events, a surreal, politically charged story of, “You’re adopted…And then some.” A 15-year old Buenos Aires girl’s life is turned upsidedown when she learns her real parents were among The Disappeared, the tens of thousands of Argentines kidnapped, tortured and killed by the country’s military dictatorship in the 70’s. On top of dealing with a new family of strangers, the girl has to confront the chilling circumstances of her birth and her adoptive parents’ possible complicity in the systematic crimes of the junta.
By keeping a restrained, naturalistic focus on a the experience of one girl, the film tackles the third rail of the Argentine psyche–accountability for The Disappeared–with tremendous skill, and without devolving into political agitprop. Biraben coaxed a highly effective, intuitive performance from his star, Barbara Lombardo, which holds the film together.
Almost the entire audience stayed for the Q&A. Sensing, perhaps, Captive‘s potential for making great political waves, many questions were about where the film has shown and what was the reaction. It turns out ND/NF is one of the first screenings for Captive, so the impact is still to come. [The film was also at Palm Springs and San Sebastian, where it won the Horizontes award for Latin American films.]
This all serves as setup for the improbably story of Biraben’s getting the film made in the first place, and how he scored a cameo that elicited surprised howls of recognition from the New York audience. I spoke with Gaston and his co-producer/editor Tammis Chandler after the Q&A.
Kevin Smith and Lars Von Trier, or greg.org reads the papers for you
Both in today’s NY Times:
Video replaces Paintings !?
Don’t tell the Whitney Biennial folks. That trademarked slogan comes from a series of video loops designed for your giant flatscreen TV that are “100% narrative free with strong visual aesthetics” called Souvenirs from the earth [Ahem. A series called Souvenir? I hope you kept the number of that trademark lawyer…]
You can buy their DVD for $50 from Dynomighty, on east 10th st, or, like Alain Ducasse did for Mix, you can commission a custom version. They’re also planning “complete never seen night programmes to TV stations, financed by sponsors from the luxury industry.”
Goodlooking execution? Yes. Growth market? Definitely. But new idea? Not at all. The duo’s dsytopian main mission sounds familiar: “Our main mission is to collect pictures of life on earth today, in case humans would need them later…” It’s the glass-half-full, luxury industry-chasing version of “Life out of balance,” the subtitle/translation of Godfrey Reggio’s 100% narrative free classic Koyaanisqatsi.
[Coincidentally, the last time I saw Koyaanisqatsi, it was wall candy on a flatscreen for a party in a bigtime art collector’s Central Park West apartment. It had a bigger audience than anything else, and at $25, it was easily the cheapest work there, by a factor of several thousand.]
And on the custom corporate front, I’m reminded of the wraparound montage for the LED facade of 745 Seventh Avenue, produced in 2001 by branding consultancy The Mint Group for Morgan Stanley. This Times Square video “took brand-building…to the next level,” and communicated Morgan Stanley’s unique ability in the financial services industry to “connect investors, ideas and capital.” Of course, in one weekend after Sept. 11, before ever occupying it, MS sold the building to Lehman Brothers, who stepped right into this unique, branded video skin without batting an eye.
Another wall candy video option: “Want to throw a great party? Put this on!”FunviewTV‘s 20-scene DVD includes a fish tank, a fireplace, falling snow, falling leaves, disco lights, and a microwaving pizza.
And just to loop the Whitney back in: there’s new-to-you Biennial star Eve Sussman’s debut video show in 1997. The artist labored for nearly a month to construct a 3-story scaffold/ramp in an airshaft, and then trained video cameras on the pigeon nests hidden within. Wall sized projections of oblivious pigeons filled the gallery. Congratulations, Eve, on your overnight success.
Chad’s Dads
Chadian filmmaker Mahamat-Saleh Haroun talks to David Kehr about Abouna, his second feature and only the third film to be made in his native country. There is no commercial cinema in Chad, yet films–and particularly US films–have a powerful influence on the imaginations of young people living in impoverished isolation.
An ardent admirer and student of foreign directors like Abbas Kiarostami, Hou-Hsiao Hsien, Kitano Takeshi, and Clint Eastwood, Haroun is an uncommon internationalist in the nascent African filmmaking industry. He’s undaunted by such bright lights, however: “Our films are a little like candles, no? They illuminate only a small space, small groups of particular people. But those people can be everywhere, all over the planet.”
In an interview with Neil Young at the Edinburgh Festival, Haroun spoke at more length about his process and working with non-professional actors. When asked about autobiographical influences on his film, Haroun readily agreed, “Creation sometimes is just a question of memory.”
Abouna screened last year in New Directors/New Films, and will be on Sundance Channel starting Sunday night as part of the Voices from Africa program. One African film, Apolline Traore’s Koundani, from Burkina Faso is in this year’s New Directors/New Films.
Sky Captain: Not Some Studio Kitsch After All
When I first saw the trailer for Sky Captain and the World of Tomorrow, I was fascinated, then confused. It looked like Fritz Lang’s Metropolis, but it had… Jude Law and Gwyneth Paltrow? It’s some weird studio stunt, I figured. But I was wrong.
Turns out Sky Captain is the culmination of one man’s nearly impossible-to-believe vision. Kerry Conran worked for four years, alone, to produce the six minutes of seamlessly melded CG and live action footage that ultimately led to his making a $70 million independent film:
Conran walked into [producer Jon] Avnet’s office in a plain black T-shirt, looking a little apprehensive. He had agreed to watch the original six-minute short with me and Avnet, and it was clear he wasn’t looking forward to it.
It opens with a black-and-white version of the film’s signature shot, a zeppelin docking at the Empire State. I had seen this sequence in one form or another perhaps a dozen times in the last three days. I can’t begin to guess how many times Conran has seen it: airship and skyscraper, two antique promises of progress meeting to announce our final liberation from earthly concerns. The short was rudimentary compared with what I’d seen, to be sure. And Conran grimaced throughout. But I was stunned when I considered the painstaking labor with no promise of reward, or even end, in sight. And I thought of all the computers in just this building, each one thousands of times as powerful as a Mac IIci, in the hands of eager, young, lettuce-munching dreamers, and I wondered what worlds they were constructing in their spare time between snowflakes. On the screen, Sky Captain flies to the rescue. I happen to know from Kevin that it’s Kerry himself behind the goggles. Naturally, he’s masked.
The short ended. Conran blinked a little and smiled. ”Wow,” he said. ”That was embarrassing.”