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August 31, 2009
Further L.A. wildfire time-lapsing
Timelapse - Los Angeles Wildfire from Dan B. on Vimeo.
Posted by Ray Pride at 05:51 PM | Comments (0)
Movie city breeze
Time Lapse Test: Station Fire from Eric Spiegelman on Vimeo.
Posted by Ray Pride at 11:38 AM | Comments (0)
Indie is interviewing
Posted by Ray Pride at 11:37 AM | Comments (0)
August 29, 2009
Covered, by John Grayson
Covered from John Greyson on Vimeo.
The Canadian filmmaker withdrew his short from Toronto International over political disagreement with a sidebar on film in Tel Aviv.
Posted by Ray Pride at 01:06 PM | Comments (0)
August 28, 2009
Indie is screenering
Dark movies by daylight...
Posted by Ray Pride at 12:11 PM | Comments (0)
August 27, 2009
Tarantino on spaghetti westerns and non-homaging
Tarantino wanted to clarify for Sight & Sound how his films are about language. Not so much film language: "I don't know if this film does that quite so much. When I read Nick James' piece in Sight & Sound [in the July issue], obviously 
I didn't agree with where he was coming from in a lot of the aspects of it, but that's all well and good. The thing I took exception to - and he's not the only one to do it - is that there's this aspect when critics write about my work, partly it's because they know I'm such a film aficionado, where they try to match wits with me and show their own cinema knowledge. I give them a licence to show off their knowledge, and they apply that to me. So the part I don't like about Nick's piece is, like, “Oh, here's a big slice of Leone, and a dollop of Cimino, and a side order of Tinto Brass.” I take exception to that! I don't think like that. Now, I'm going to address what you're saying. In the case of Kill Bill, that completely applies. Uma Thurman isn't just fighting her way through her death list, she isn't just fighting her way through the Deadly Vipers, she's fighting her way through the annals of exploitation cinema from all over the world. That actually is part of it. I don't think that's necessarily what I'm doing with Inglourious Basterds. Having said that, there definitely is, in the first two chapters, an idea of doing a spaghetti western with World War II iconography. I thought that would work its way through the whole movie, but it actually doesn't. I think it ends after the second chapter and it becomes something else. But one of the hooks I had to hang that on, as opposed to it just being a groovy idea, is this: one of the things I always enjoyed about spaghetti westerns was the brutal landscape, the brutal world in which they took place. It was much more unforgiving and hostile than most American western landscapes. It's very violent, life is cheap, death is around the corner at any moment. Well, that describes Europe during World War II - right there in the 20th century, a very close approximation of a spaghetti-western landscape. And something I find very, very interesting about the opening chapter of Inglourious Basterds is that, even with the Nazi uniforms, even with the motorcycles and the car, it doesn't break the western feel. It almost adds to it in a strange, shouldn't-work-but-does kind of way. It just feels like a western. And not even just a spaghetti western: it could be Shane."
But here's the snappy capper: "The shot through the doorway of Shosanna fleeing can't help but recall The Searchers." "I'll take slight exception to that too - and I'm having a good time clarifying this - in that I think it's safe to say that if John Ford's mother had never met John Ford's father, I'd still have figured out that shooting through a doorway like that would make for a cool shot." Tarantino laughs loudly.
Posted by Ray Pride at 01:55 PM | Comments (0)
August 25, 2009
DVD of the week: Goodbye Solo (*** 1/2)
On the superficial level of plotting, Raman Bahrani's Goodbye Solo (Lionsgate, $28) sounds like the setup for a student film or a revisit of "Collateral": in Winston-Salem, North Carolina, a Senegalese cabdriver named Solo (Souléymane Sy Savané), working hard to make money for his family to subsist, picks up a fare, William (Red West), a rough 70-year-old white Southern loner. William proposes a ride to the nearby mountaintop of Blowing Rock in two weeks, where he intends to leap to his death. But Bahrani, as he's proven in Man Push Cart and Chop Shop, goes beyond cliché, working with and against archetype, showing a genuine drive to understand behavior in its intimate and momentary particulars. Solo befriends William, taking 
him on taxi rides, hanging out in bars, checking out women. Bahrani's written that "ultimately Solo must find the courage and strength to love his new friend selflessly in order to help him do something seemingly horrible, or leave him to face it alone." There is so much about friendship and loneliness and hope and despair in Goodbye Solo, from the very opening when the deal is proposed. The drama that develops between William and Solo—between West and Savané—is nothing short of astonishing. Bahrani observes these two men's faces and suggests worlds—two small ones, two modest lives, filled with blood and heart and simply alive. It's a thrill to see performances this accomplished and a film, shot by Michael Simmonds in fine, rough form that lives up to their work and the characters. Bahrani's sense of both city and mountaintop is also uncommonly expert. With director's commentary. [DVD trailer below.]
Posted by Ray Pride at 01:11 PM | Comments (0)
August 24, 2009
Indie answers to Jackson
Posted by Ray Pride at 11:01 AM | Comments (0)
August 23, 2009
Take a bite out of Basterds
A full-page ad from the Dining section of the New York Times, August 16. How many other stealth ads were there skewing toward a potential female audience?
Posted by Ray Pride at 06:15 PM | Comments (0)
Georges Clouzout's Slinkies in hell: from L'enfer
The unfinished film, showing at TIFF '09.
Posted by Ray Pride at 11:04 AM | Comments (0)
[500] Days of Summer in five panels
[The other four panels here; click to make larger.]
Posted by Ray Pride at 05:59 AM | Comments (0)
August 22, 2009
Ben Stiller instructs Mickey Rooney on how to use Twitter
Posted by Ray Pride at 12:45 AM | Comments (1)
August 21, 2009
Inglourious alliance: Al Gore presents Basterds
Premieres, premieres everywhere: In Nashville, Al Gore turned out to support Lawrence Bender, who was producer of An Inconvenient Truth. Also: Eli Roth in snappy suit and Mélanie Laurent.
[Photo: Bev Moser via The Weinstein Company.]
Posted by Ray Pride at 11:03 AM | Comments (0)
August 20, 2009
Trailering Michael Moore's Capitalism: A Love Story
CNN (?!) preems. Dig that M.I.A. music cue...
Posted by Ray Pride at 12:22 PM | Comments (0)
Quentin Tarantino considers question about Chicago-style deep-dish pizza
[AMC River East, Chicago, Inglourious Basterds premiere. Photo: Ray Pride]
Posted by Ray Pride at 11:29 AM | Comments (0)
Helen Keller 1930 Vitaphone newsreel
Those eyes.
Posted by Ray Pride at 12:11 AM | Comments (0)
August 19, 2009
Trailering Nicholas Winding Refn's Bronson
Posted by Ray Pride at 06:56 PM | Comments (0)
The cost of "free": how can films keep being financed?
Brian Newman, former CEO of the Tribeca Film Institute, ponders: "With the ease of "frictionless" access to media online, how will any production costs be paid for? "The Internet is a super-distribution machine that allows copies of digital media to flow in an almost frictionless way. As the wealth and survival of traditional media businesses are built on selling precious copies, the free flow of free copies is undermining the established order. If reproductions of media are free, how can we keep on financing films and how can we find value in the media we create and sell?"
Posted by Ray Pride at 01:28 PM | Comments (2)
August 18, 2009
Indie is interviewing
Posted by Ray Pride at 11:31 AM | Comments (0)
August 16, 2009
Trailering Jared Hess' Gentlemen Broncos
Posted by Ray Pride at 02:12 PM | Comments (0)
August 15, 2009
Polish poster for All That Jazz
Free-associating through search engines and websites for a particular European film poster gave no joy but this Polish poster for Bob Fosse's All That Jazz? It's the movie, with a little less Jessica Lange, a little less open-heart. Story goes Polish illustrators almost never saw the movies before making the posters, which may be a good thing, especially in a fine case like this.
Posted by Ray Pride at 05:04 PM | Comments (0)
August 14, 2009
While I Was Away...
Wow. 350,000+ views in seven days. Word gets around... If you haven't seen it, you may have feared it. By Toronto writer Jay David.
Posted by Ray Pride at 07:45 PM | Comments (0)
Hope and Vachon continue the indie conversation with Rockwell and Giamatti
I've been late posting anything about this series of short videos, but producers Ted Hope and Christine Vachon's conversations about what-is-indie are nice'n'chewy.
Posted by Ray Pride at 02:35 PM | Comments (0)
Cart: The Film, by Jesse Rosten
Cart - The Film by Jesse Rosten on Vimeo.
Ever wonder how abandoned shopping carts end up where they do?
Posted by Ray Pride at 02:27 PM | Comments (1)
Trailering Lemonade: when ad jobs go dry
From director Mark Colucci and writer Erik Proulx, an upcoming feature interviewing former advertising hotshots. From the website: "More than 70,000 advertising professionals have lost their jobs in this “Great Recession.” Lemonade is about what happens when people who were once paid to be creative in advertising are forced to be creative with their own lives."
Posted by Ray Pride at 01:56 PM | Comments (0)
A midday smoke break with a colleague
There's copyright and there's courtesy and there's blogging: if you've happened across a clumsily cropped version of this unguarded portrait (it's not posed) of Movieline's S. T. VanAirsdale from Sundance 2009 on any film websites, I'll just note it's mine and everywhere I've posted it, the sites have copyright notices. A link back or a credit are always appreciated—that's the ideal of publishing and sharing work on the internet—but then again, there is the occasional blogger who compulsively cuts-and-pastes hundreds of words from the work of others far beyond legal and moral notions of "fair use," making even the occasionally proffered link superfluous. It's hardly worth complaining.
Posted by Ray Pride at 01:34 PM | Comments (0)
August 13, 2009
Alfred Hitchcock is 110
Posted by Ray Pride at 03:06 PM | Comments (0)
Indie is screening and screenering
Posted by Ray Pride at 11:01 AM | Comments (0)
August 12, 2009
Eclectic Method makes with the John Hughes tribute montage
Eclectic Method - A John Hughes Production from Eclectic Method on Vimeo.
Oh goodness.Posted by Ray Pride at 05:07 PM | Comments (0)
A view of the nine-eyed perspective of Google Street View
Montreal artist Jon Rafman talks about his collection of remarkable images found while tooling along the byways of Google Street View: "One year ago, I started collecting screen captures of Google Street Views from a range of Street View blogs and through my own hunting. This essay illustrates how my Street View collections reflect the excitement of exploring this new, virtual world. The world captured by Google appears to be more truthful and more transparent because of the weight accorded to external reality, the perception of a neutral, unbiased recording, and even the vastness of the project. At the same time, I acknowledge that this way of photographing creates a cultural text like any other, a structured and structuring space whose codes and meaning the artist and the curator of the images can assist in constructing or deciphering." [Essay here.]
Posted by Ray Pride at 03:21 PM | Comments (0)
Anil Dash defines LOLCat dialect as Creole, not pidgin
Posted by Ray Pride at 02:40 PM | Comments (0)
Behind the trailer for the Coens' A Serious Man
The closing crawl of credits is a tribute to Stanley Kubrick's pluperfect single-take mood-setter for The Shining? Scott Macaulay has that and other instructive bits behind the making of the swell one-minute-forty short at Film in Focus. Mark Woollen of Mark Woollen and Associates cut the trailer, and also was responsible for the haunting Little Children coming attractions, also discussed at the link. "Myles Bender, Senior Vice President of Creative Advertising, Focus Features, oversaw the creative direction and remembers his first meeting with the Coens to discuss the concept. “They wanted something ‘different,’” Bender says, remembering the Coens asking, “‘Can you find one scene from the movie for our trailer and not do the traditional trailer structure?’ And then one of them said, ‘Maybe just show the guy getting his head bashed in for 30 seconds.’ I took that suggestion a little more seriously than they expected me to!” The directive to “find one scene” recalled for both Bender and Woollen what Bender calls “one of the best teaser trailers ever made, the one for The Shining, which consists of a single shot in which blood pours out of the elevator. It encompassed everything you needed to know about that film.” Also remembering another favorite trailer—M. Night Shamalayan’s Unbreakable, which is structured around a single scene of Bruce Willis waking up in a doctors’ office after a train crash—Bender sat down with Woollen with the idea of extracting a resonant moment from the film that would convey the idea “that this is a movie for people who love Coen Brothers films.” He says he didn’t worry too much about explicating the film’s narrative because “it was more important for us to convey the vibe, ‘the essence of Coen-ness,’ than the premise.” [More at the link.]
Posted by Ray Pride at 01:31 PM | Comments (0)
Is the LA Times' Patrick Goldstein the bloggiest?
If not, we at least know he doesn't have editors supervising his content or comments about his destinations on vacation and kindly meals with executives and agents. There'll be some surprising lunch right after I get back. Stay tuned!!
Posted by Ray Pride at 01:22 PM | Comments (0)
Soderbergh on shape-shifting widescreen cinema
Steven Soderbergh's got a compact screed at the DGA Quarterly website about 2.40 widescreen and its technical conversion for HD broadcast. "While there’s always an abundance of ugly things going on in the Actual World, there’s also something ugly going on in the Hi-Def World, and it isn’t just post-traumatic stress from the (pointless) Bluray/HD-DVD smackdown. It is another in a series of situations in which the default mode is an unnecessary compromise, and it won’t get fixed unless everyone gets on the same page. And it is precisely because this is not an Actual World problem that I believe there is hope—and a solution... Like many format fiends, I saw the advent of hi-def broadcast TV as the Holy Grail. Finally, the larger screens, greater detail, and more film-friendly 16:9 ratio would mean all films could live on forever with their extremities intact... Since the 16:9 image is now the shape of television, only one format remains to distinguish television from the movies: the 2.40:1 aspect ratio... Television operators, the people who buy and produce things for people to watch on TV, are taking the position that films photographed in the 2.40:1 ratio should be blown up or chopped up to fit a 16:9 (1.78:1) ratio. They are taking the position that the viewers of television do not like watching 2.40 films letterboxed to fit their 16:9 screens, and that a film insisting on this is worth significantly less—or even nothing—to them. They are taking the position that no one will dare challenge them and risk losing revenue... The end result is we have a better chance of seeing a 2.40 film from 1959 in its proper format than a movie from 2009. That’s weird, and sad. Now, I don’t want to spend a lot of time on this, because I have never believed that even a small portion of what happens in the entertainment industry matters that much, but it’s fucking lame to watch Jaws—a film that uses the 2.40 ratio as well as any ever produced—in the wrong format on HBO. Does Universal so badly need a few extra pennies that it’s willing to ruin a classic? And does HBO really think its viewers are so stupid as to forget movies currently come in two sizes?" The DGA Quarterly has the rest.
Posted by Ray Pride at 09:57 AM | Comments (1)
Serious Eats goes to the Greenmarket
A nice 9-minute look from Serious Eats at one of their favorite farmers, Rick Bishop of Mountain Sweet Berry Farm in Roscoe, New York, who grows strawberries and vegetables to sell at the Union Square Greenmarket in New York City.
Posted by Ray Pride at 08:58 AM | Comments (0)
August 11, 2009
On David Mamet's Diary of Anne Frank
I ask you, can this not be genius? Writing and directing a coming-of-age tale based on Anne Frank's diary fifty years after the last Hollywood adaptation, the Broadway play, and his own concerns for Walt Disney Pictures: Does Mr. Mamet have Mr. Roth rolling in his hammock already? Some references Mamet has made in the past: In 1992, "Oleanna" premiered in Cambridge, Massachusetts. From 1993 Independent profile: "With typical combativeness, Mamet commented that playing Oleanna there was 'like doing The Diary of Anne Frank at Dachau.'" A passage cited in a Jerusalem Post review of Mamet's book of essays, "The Wicked Son: Anti-Semitism, Self-Hatred and the Jews": "To the Jews who, in the sixties, envied the Black Power Movement; who in the nineties, envied the Palestinians who weep at Exodus but jeer at the Israel Defense Forces; who nod when Tevye praises tradition but fidget through the seder; who might take your curiosity to a dogfight, to a bordello or an opium den, but find ludicrous the notion of a visit to the synagogue; whose favorite Jew is Anne Frank and whose second-favorite does not exist; who are humble in their desire to learn about Kwanzaa and proud of their ignorance of Tu Bishvat; who dread endogamy more than incest; who bow their head reverently at a baptism and have never attended a bris - to you, who find your religion and race repulsive, your ignorance of your history a satisfaction, here is a book from your brother." Plus: Frank Rich's 1997 essay, "Anne Frank Now." And, not least, Mr. Mamet discusses gags in movies via a scene in the 1959 film, beginning with this memorable lede: "I spent a sleepless night, recently, thinking about the cat in The Diary of Anne Frank."
Posted by Ray Pride at 09:56 PM | Comments (0)
On DVD: The GoodTimesKid, Katyn, Gigantic and more
The GoodTimesKid
It's rare to have the pleasure of being completely blindsided by an unexpected movie, and the 2007 edition of the Chicago Underground Film Festival's programming of a 35mm print of Azazel Jacobs' hardly-seen second feature, The GoodTimesKid (*** ½) (Benten Films, $25) was a terrific surprise. Jacobs made his mark with Sundance-favored Momma's Man, in 2008, but the fine minds at Benten Films worked to get this deadpan, winsome, near-silent comedy onto home video from the label's inception. Hints of Jarmusch, Kaurismäki, Tati, Chapin: they're all there, but this is a sweet delight all its own. Two men in the Echo Park neighborhood of Los Angeles with the same name—Rodolfo Cano—whose lives intersect fitfully. The Rodolphos are played by Jacobs and the ever-watchable Gerardo Naranjo (also director of Drama/Mex and I'm Gonna Explode). Rodolfo 1's girlfriend (Diaz, a brazen cross between Audrey Hepburn and Shelly Duvall) sets an affectless almost-triangle in motion. (Her wonky dancing is worthy of Olive Oyl.) A larky delight through and through with an especially keen use of songs by Gang Of Four. Extras include director commentary, augmented by co-writer-star Gerardo Naranjo and co-star Diaz; a short by the director's father, Ken Jacobs, The Whirled, which helped inspire TGTK; and the memorable short Let's Get Started. Deleted scenes, trailer and a new essay by Glenn Kenny are included as well. Region-free. [A second clip below the fold.]
Fierce Light: When Spirit Meets Action
Canadian filmmaker Velcrow Ripper's often achingly beautiful-to-look-upon Fierce Light: When Spirit Meets Action, (Alive Mind/E1, $27) is a world journey in search for a connection between activism and spirituality. 
While in synopsis that sounds dangerously close to new age-y piffle, with a rotation of figures that includes Daryl Hannah, Desmond Tutu, Alice Walker, bell hooks, and Julia "Butterfly" Hill, Ripper's (Scared Sacred) documentary is anything but in his travels to discover notions of spirituality apart from religion. It's thoughtful and… optimistic?! The filmmaker's fixated on notions of social interconnection, and says his work is his "Coming out of the closet" as a spiritual person. Ripper collected 500 hours of footage, from Oaxaca to Los Angeles, from Sri Lanka to Vietnam, New Zealand and India. "I needed to understand the spiritual part of myself, and I also want to make positive change in the world," Ripper told the Vancouver Sun of his three-year effort. "This movie helped me understand the challenges surrounding that desire because sometimes the spiritual side of yourself takes you away from the real world. Likewise, the activist side can overwhelm the spiritual. But I firmly believe that if you can integrate these two sides, you find real meaning. And that's what we're all looking for: Human meaning." Ripper also says, "It is a tremendous time to be alive, a time of tremendous possibility." Yup. No extras. Region-free. Here's a clip.
Gigantic
When actors have the innate charm and quirk of Zooey Deschanel (All The Real Girls) and Paul Dano (There Will Be Blood), you can always hope for the best, or at least something a few notches above despondent twee. Hopes are 
quickly dashed by writer-director Matt Aselton's peculiar, chatty, and yes, twee, Gigantic (*) (Vivendi, $27). Brian (Dano), the youngest of three sons to older parents, sells high-end Swedish mattresses. He dreams of adopting a baby from China. Happy (Deschanel) ambles in one day and falls asleep on one of the display units. Dashes of failed surrealism (Aselton apparently cites Buñuel as an influence) and sparks of eccentric performance from the likes of Ed Asner, Jane Alexander and Zach Galifianakis (as a homeless man who stalks and attacks Brian) provide a modicum of diversion. John Goodman, as Harriet's father, "Al Lolly," is more huge than gigantic. Deschanel's abrupt reading of "Do you have any interest in having sex with me?" leads to another question: do we have any interest in seeing her have sex with Paul Dano, or at least as this enfeebled wisp of twerp? No.
The Class
The original French title of Laurent Cantet's richly observed, masterful The Class (*** ½) (Sony, $29), "Entre les murs," or "Between The Walls," is philosophically just right, but didn't sound right in English. Still, what occurs each day in schools is seldom considered by outsiders beyond those walls, the oppressiveness felt by those within their confines, by adults who have escaped that confinement and moved on to thoughts caught between the walls of their own heads. I interviewed Cantet during Oscar season; link here.
Katyn
Several generations of Polish and Polish-Americans have held close the memory of the slaughter of thousands of their generation's best and brightest by the Red Army armies in a forest on September 17, 1939. Tens of thousands of soldiers died, shot in the back of the head and tumbled into mass graves, and the legacy of their lack of legacy haunts still. Poland's 2008 Oscar nominee for Best Foreign Language Film, Katyn (***) (Koch Lorber/E1, $27) is the career-capping attempt by Andrzej Wajda, the grand old man of Polish cinema, now 83, to create a fictional framework that might salve the country's long-held hurt. DVD reissues of his great early films like Kanal and Ashes and Diamonds are readily available, and his Solidarity-era Man of Marble and Man of Iron would make an essential double-disc release. But with Katyn, Wajda attempts a feat of collective memory, a stark, chilling exorcism of the epochal, tragic loss of that day. Wajda's imagery is often blunt but never pat: there's a reason to frame jackboots the way they're framed here. Wadja's father died at Katyn. Decades later, Katyn, the film, offers hope through making fiction that will counter Stalin's original lies. Based on Andrsej Mularczyk’s novel "Post Mortem."
London to Brighton
Paul Andrew Williams' London to Brighton (***), (E1, $25) is a grim, brutal, yet assured no-budget digital video feature that takes the mickey out of posh poseurs like Guy Ritchie. This is vital genre work that does not flinch from its lowlife characters. Essentially, it's a fractured, sidewalk-level chase tale about two prostitutes, one a pre-teen, on the run. Pulp without pretension.
The Tiger's Tail
The Tiger's Tail (** ½) (MGM, $27) is minor-key John Boorman, taking "The Prince and the Pauper" as a template for a parable of the Irish economic boom known as "The Celtic Tiger," starring Boorman stalwart Brendan Gleeson as a builder who happens upon a doppelganger he never knew he had. With Kim Cattrall, Ciarán Hinds, Sinéad Cusack, Sean McGinley.
Posted by Ray Pride at 01:39 PM | Comments (0)
August 09, 2009
The Toronto garbage strike in 7,500 animated pictures
Strike Watch(ed) from Torontoist on Vimeo.
Posted by Ray Pride at 05:09 PM | Comments (0)
August 06, 2009
The John Hughes 1991 National Association of Movie Theater Owners' Tribute film
Including goof-off interviews with with John Candy, Steve Martin, Matthew Broderick, Macaulay Culkin, Jim Belushi, Michael Jordan, Lea Thompson, Elizabeth McGovern, Chevy Chase, Michael Keaton, Ed O'Neill, Catharine O'Hara, Jon Cryer, Ally Sheedy, Willie Dixon and Richard M. Daley, [H/t Eddie Schmidt.]
Posted by Ray Pride at 04:36 PM | Comments (0)
Was John Hughes more influential a filmmaker than Steven Spielberg?
An interesting question the filmmaker Matthew Ross posed on Facebook a little bit ago: "Besides Spielberg, was there any filmmaker in the past 25 years who had a bigger impact on American culture than John Hughes?"
Posted by Ray Pride at 02:31 PM | Comments (0)
Fifty-nine candles... John Hughes passes
The ending of Sixteen Candles was on YouTube a couple weeks ago. Its embedding is disabled this afternoon...
Posted by Ray Pride at 02:19 PM | Comments (0)
August 05, 2009
Live news broadcast by BBC Farsi gets green surprise
Ah! Public art. It's not quite the same as making the peace sign at Al Roker, but... Via Andrew Sullivan.
Posted by Ray Pride at 05:56 PM | Comments (0)
No caption required: Return from Pyongyang
Images that take the breath, stop the heart, don't require explanation: I like that kind. Maybe a quote, though: "Thirty hours ago Euna Lee and I were prisoners in North Korea. We feared that at any moment we could be sent to a hard labor camp and then suddenly we were told that we were going to a meeting. We were taken to a location and when we walked through the doors we saw standing before us President Bill Clinton. We were shocked but we knew instantly in our hearts that the nightmare of our lives was finally coming to an end. And now, we stand here, home and free. Euna and I would just like to express our deepest gratitude to President Clinton and his wonderful, amazing, not to mention, super-cool team." [Photographs not credited at source.]
Posted by Ray Pride at 11:44 AM | Comments (0)
A trailer for Azazel Jacobs' GoodTimesKid
.
A variation on what has been one of my favorite film trailers from the first time I saw it. It's great to see it in a clean version, and also that it was possible to clear the music for inclusion on the Benten Films DVD that comes out August 11. Simple. Sweet. Ecologically sound. [Photo of Azazel Jacobs © Ray Pride.]
Posted by Ray Pride at 11:30 AM | Comments (0)
Eric Fensler's "G. I. Joe" cartoon parodies
Weren't there cease-and-desist orders on these? Fair use parody? The first time I saw these "PSAs," I laughed very, very hard. Edited by Eric Fensler.
Posted by Ray Pride at 11:13 AM | Comments (0)
August 04, 2009
Did Pynchon narrate the book trailer for "Inherent Vice"?
Inquiring ears want to know. New York magazine had one of the more comprehensive who-what-where-why-when pieces about Pynchon back in 1996 with "Meet Your Neighbor, Thomas Pynchon."
Posted by Ray Pride at 02:17 PM | Comments (0)
Nom Nom Nom Nom Nom Nom Nom
A gobblesome riposte to the original Nom Nom Nom Nom Nom Nom Nom, from February [Below.]
Posted by Ray Pride at 12:43 PM | Comments (0)
August 02, 2009
Indie twitters for now; more this week
Here, have a tweet.
Posted by Ray Pride at 01:27 PM | Comments (0)