Even if you consider yourself a literate, well-viewed, cinema completist, you may not remember the name “Steven Prince.” I could jog your memory and tell you that he was influential to the films of Quentin Tarantino, Rick Linklater, and, most directly, Martin Scorsese, and the name still might not ring a bell. If that’s the case, don’t stress — I didn’t recognize the name either, even though I vaguely remembered that there exists a Scorsese film, American Boy, that I’ve never seen, and that Prince’s one scene in Taxi Driver, in which he plays Easy Andy, a fast-talking gun dealer, […]
by Scott Macaulay on Mar 14, 2009It was a calculated move on Brett Gaylor’s part to not only make a movie about fair use, intellectual property and copyright, but to make a movie that you could dance to. It begins as a case study of the mashup musician Girl Talk, whose music is comprised of thousands of samples from artists as disparate as Madonna, Elton John, Rihanna, the Jackson 5 and Muddy Waters (and doesn’t hesitate to try to make you dance). Then Gaylor jumps off into his Remixer’s Manifesto, the points of which are: 1. Culture Always Builds on the Past. 2. The Past Always […]
by Jason Guerrasio on Mar 14, 2009KYÔKO KOIZUMI, INOWAKI KAI, TERUYUKI KAGAWA, AND YÛ KOYANAGI IN DIRECTOR KIYOSHI KUROSAWA’S TOKYO SONATA. COURTESY REGENT RELEASING. Over the past decade or so, Kiyoshi Kurosawa has established himself as one of the most interesting genre directors in world cinema. The Japanese writer-director was born in Kobe in 1955, and first made 8mm shorts while studying Sociology at Rikko University. He began directing features in the early 1980s, working on direct-to-video titles, including yakuza movies, and studied under the tutelage of directors Shinji Somai and Kazuhiko Hasegawa. He then had minor successes with films like the college-set drama The Excitement […]
by Nick Dawson on Mar 13, 2009If there were to be a mumblecore parade, Joe Swanberg would be the man in the shiny red convertible, waving to onlookers and trailing a team of baton twirlers in his wake. His films – LOL, Hannah Takes the Stairs, Nights & Weekends – have helped to define a genre that was never supposed to be a genre at all. Alexander the Last, his latest, was executive produced by Noah Baumbach and stars Jess Weixler (Teeth), Barlow Jacobs (Great World of Sound, Shotgun Stories), Amy Seimetz and Justin Rice (Mutual Appreciation), as well as Jane Adams and Josh Hamilton. It’s […]
by Jason Guerrasio on Mar 12, 2009Originally posted in our SXSW 2009 coverage, Breaking Upwards opens in select theaters this Friday. In Breaking Upwards, Daryl Wein and Zoe Lister-Jones play a young New York couple named Daryl and Zoe. The film was written by the two of them, plus Peter Duchan, directed by Wein, and produced by all three. Zoe plays an actress, starring in an Off-Broadway play; Julie White plays Daryl’s mother, and was cast after appearing in an Off-Broadway play with Lister-Jones. To say that this film is autobiographical is, to be brief, an understatement. It’s a romantic comedy that borrows its hyper-articulate, hyper-intellectual […]
by Jason Guerrasio on Mar 12, 2009A bit late to the Dance Party USA, David Denby discovers mumblecore in this week’s New Yorker, devoting his entire film column to the genre. From the piece: You’re about twenty-five years old, and you’re no more than, shall we say, intermittently employed, so you spend a great deal of time talking with friends about trivial things or about love affairs that ended or never quite happened; and sometimes, if you’re lucky, you fall into bed, or almost fall into bed and just enjoy the flirtation, with someone in the group. This chatty sitting around, with sex occasionally added, is […]
by Scott Macaulay on Mar 9, 2009The economic crisis has hit filmmaker Ken Burns. As reported in the Detroit News, General Motors, which has been a major funder of the director, is ceasing its support due to its own economic woes. From the piece by Robert Snell: The cash crunch ends a 22-year relationship between GM and Burns, a graduate of Ann Arbor’s Pioneer High School and award-winning filmmaker who has created documentaries for public television about the nation’s wars, jazz and baseball, among others. Under a 10-year deal that started in 1999, GM paid for 35 percent of each film’s budget and funded educational outreach […]
by Scott Macaulay on Mar 9, 2009DENIS LAVANT IN “MERDE,”DIRECTOR LEOS CARAX’SEGMENT OF TOKYO!. COURTESY LIBERATION ENTERTAINMENT. French directors Leos Carax and Michel Gondry – both born in the early 1960s, during the first blush of the Nouvelle Vague – so far have had markedly different career paths. Carax, a boy from the Parisian suburbs, became a film critic and short film director before announcing himself as a major talent with his first two features, Boy Meets Girl (1984) and Bad Blood (1986). Carax’s distinctive visual style, outsider sensibility and preoccupation with modern romance was also on show in his third film, Lovers on the Bridge […]
by Nick Dawson on Mar 6, 2009Via Pitchfork comes this unexpected but delightful news that Iggy Pop is making an album of New Orleans-styled jazz songs inspired by the French writer Michel Houellebecq’s quite excellent latest novel, The Possibility of an Island. Entitled Preliminaires, the album is an outgrowth of a songs Pop made for a documentary about the French author’s making of his novel into a film. Pop has made a wonderful video trailer for the album, which can be seen here. From Pitchfork: A bulletin sent out via the Stooges’ MySpace page says that Preliminaires is “NOT a rock album, more jazzy stuff.” In […]
by Scott Macaulay on Mar 2, 2009From the law firm Frankfurt, Kurnit, Klein and Selz comes a press release announcing the New York State Court dismissal of case brought against doc filmmaker Elizabeth Chai Vasarhelyi’s Youssou Ndour: I Bring What I Love. It’s great to see a filmmaker challenging such a seemingly frivolous lawsuit and winning. Excerpted from the press release: The film centers on the controversy surrounding Grammy-award winning musician Youssou Ndour’s release of his acclaimed album “Egypt.” Plaintiff, a former attorney for Mr. Ndour, appears briefly in archival footage taken at a press conference. “Vexatious right of publicity claims often hamstring documentary filmmakers,” said […]
by Scott Macaulay on Feb 25, 2009