Sony Pictures Classics will release the English language version of "Persepolis,” Marjane Satrapi and Vincent Paronnaud’s animated feature based on Satrapi’s internationally best-selling and award-winning comic book autobiography, on one hundred screens nationwide on April 11, 2007. (A list of markets the film is opening in follows below.)
The English language version of “Persepolis” features the voices of Chiara Mastroianni as Marjane, Sean Penn as Marjane’s Father Ebi, Catherine Deneuve as Marjane’s Mother Tadji, Gena Rowlands as Marjane’s Grandmother, Iggy Pop as Uncle Anouche, and Amethyste Frezignac as Young Marjane. The English language version of the film was recorded under the direction of Co-Directors Marjane Satrapi and Vincent Paronnaud as the French language version of the film was being completed.
“Persepolis” was nominated for a Best Animated Feature Oscar, was France’s entry for the Best Foreign Film Oscar, shared the jury prize at the 2007 Cannes Film Festival, showed to critical acclaim at the 2007 Telluride and Toronto Film Festivals, and closed the New York Film Festival. Sony Pictures Classics released the French language version of the film in the U.S. on December 25, 2007.
Marjane Satrapi and Vincent Paronnaud co-wrote and co-directed the film, which is produced by Marc-Antoine Robert and Xavier Rigault of 2.4.7. Films, and executive produced by Kathleen Kennedy of The Kennedy/Marshall Company in co-production with France 3 Cinema, Franche Connection Animations and Diaphana Distribution; in association with Celluloid Dreams, Sony Pictures Classics, Sofica Soficinema and Sofica Europacorp.
“Persepolis” is the poignant story of a young girl in Iran during the Islamic Revolution. It is through the eyes of precocious and outspoken nine year old Marjane that we see a people's hopes dashed as fundamentalists take power - forcing the veil on women and imprisoning thousands. Clever and fearless, she outsmarts the “social guardians” and discovers punk, ABBA and Iron Maiden. Yet when her uncle is senselessly executed and as bombs fall around Tehran in the Iran/Iraq war, the daily fear that permeates life in Iran is palpable.
As she gets older, Marjane's boldness causes her parents to worry over her continued safety. And so, at age fourteen, they make the difficult decision to send her to school in Austria. Vulnerable and alone in a strange land, she endures the typical ordeals of a teenager. In addition, Marjane has to combat being equated with the religious fundamentalism and extremism she fled her country to escape. Over time, she gains acceptance, and even experiences love, but after high school she finds herself alone and horribly homesick.
Though it means putting on the veil and living in a tyrannical society, Marjane decides to return to Iran to be close to her family. After a difficult period of adjustment, she enters art school and marries, all the while continuing to speak out against the hypocrisy she witnesses. At age 24, she realizes that while she is deeply Iranian, she cannot live in Iran. She then makes the heartbreaking decision to leave her homeland for France, optimistic about her future, shaped indelibly by her past.
Marjane Satrapi was born in 1969 in Rasht, Iran, and currently lives in Paris. She has written several children’s books and her commentary and comics appear in newspapers and magazines around the world, including The New York Times and The New Yorker. Her most recent books are the graphic novel, Chicken with Plums and the children’s book, Monsters are Afraid of the Moon.
Vincent Paronnaud is also known as the comic book author Winshluss. He has created, often with his friend and collaborator, Cizo, several comics and short films. The Festival d’Angoulême nominated him in 2004 for Smart Monkey and for Wizz and Buzz in 2007. Their film, Raging Blues, screened at more than 30 festivals around the world and received the Prix de la Presse aux Lutins in Paris.
2.4.7. Films is a new company created by Marc-Antoine Robert and Xavier Rigault, who have both had long experience in the French film industry, particularly in production for the former and theatrical distribution for the latter. “Persepolis” is 2.4.7.films' first project. Marc-Antoine Robert and Xavier Rigault are also working on a number of other projects still in development.
Kathleen Kennedy and Frank Marshall formed The Kennedy/Marshall Company in 1992. The Kennedy/Marshall Company's productions include "Snow Falling on Cedars," directed by Scott Hicks; "A Map of the World," starring Sigourney Weaver and Julianne Moore; "The Sixth Sense," starring Bruce Willis and Haley Joel Osment; "The Bourne Identity” and "The Bourne Supremacy" starring Matt Damon; M. Night Shyamalan's "Signs," "Seabiscuit," the true story based on Laura Hillenbrand's bestselling book and directed by Gary Ross; "Munich" directed by Steven Spielberg; and “Hoot,” based on the book by Carl Hiaasen.
Prior to establishing The Kennedy/Marshall Company, Frank produced “Raiders of the Lost Ark” while Kathleen produced “E.T.” They then co-founded Amblin Entertainment with Steven Spielberg in 1982 and produced films such as “Poltergeist,” "The Color Purple," the "Back to the Future” trilogy, "The Bridges of Madison County," "Twister,” and "Jurassic Park: The Lost World." In addition, Kathleen served as executive producer on "Schindler's List," and produced "A.I.: Artificial Intelligence." Recent Kennedy/Marshall projects include, “The Bourne Ultimatum,” the third in the Bourne series of movies and "Benjamin Button," based on a F. Scott Fitzgerald short story.
Thursday, March 20, 2008
HIAM ABBASS, GAEL GARCÍA BERNAL, PAZ DE LA HUERTA, ALEX DESCAS, JOHN HURT, YOUKI KUDOH, BILL MURRAY, JEAN-FRANÇOIS STÉVENIN, TILDA SWINTON, LUIS TOSAR
IN NEW FILM FROM WRITER/DIRECTOR JIM JARMUSCH;
PRODUCTION UNDERWAY
Independent filmmaker Jim Jarmusch’s new film, the tentatively titled The Limits of Control, has confirmed the addition of ten actors to its cast. Mr. Jarmusch started shooting the picture, to which Focus Features has worldwide rights, in Madrid, Spain earlier this month.
Joining previously announced lead actor Isaach De Bankolé, in his fourth collaboration with Mr. Jarmusch, are Hiam Abbass, whose films include Munich and Paradise Now; Gael García Bernal, of Focus’ Academy Award-winning The Motorcycle Diaries; Paz De La Huerta, whose independent feature work includes the upcoming The Guitar, with Mr. De Bankolé; Alex Descas, who starred opposite Mr. De Bankolé in the “No Problem” segment of Mr. Jarmusch’s Coffee and Cigarettes; two-time Academy Award nominee John Hurt; Youki Kudoh, who starred in Mr. Jarmusch’s Mystery Train; Bill Murray, who starred in Mr. Jarmusch’s most recent film, Broken Flowers, which was also handled worldwide by Focus; Jean-François Stévenin, whose films include Brotherhood of the Wolf and The Man on the Train; Tilda Swinton, also a Broken Flowers cast member, and currently an Academy Award nominee for her performance in Michael Clayton; and Luis Tosar, whose films include Miami Vice, in which Mr. De Bankolé also appeared. Focus is co-financing the film with Entertainment Farm.
In addition to Broken Flowers, Mr. Jarmusch’s films include Permanent Vacation, Stranger Than Paradise, Down by Law, Mystery Train, Night on Earth, Dead Man, Year of the Horse, Ghost Dog: The Way of the Samurai, Coffee and Cigarettes, and the short film “INT. TRAILER. NIGHT.”
The new film is the story of a mysterious loner (to be played by Mr. De Bankolé), a stranger, whose activities remain meticulously outside the law. He is in the process of completing a job, yet he trusts no one, and his objectives are not initially divulged. The film is set in the striking and varied landscapes of contemporary Spain (both urban and otherwise).
Mr. Schamus said, “These acclaimed actors span an international spectrum of talent, and are sterling additions to this exciting new project. We have had the pleasure of collaborating with several of them previously, and eagerly anticipate their work with Jim.”
Stacey Smith, who has worked with Mr. Jarmusch for over a decade, and Gretchen McGowan (who co-produced the filmmaker’s Coffee and Cigarettes) are producing the new film. Award-winning cinematographer Christopher Doyle (In the Mood for Love) is the film’s director of photography; Eugenio Caballero, an Academy Award winner last year for his art direction of Pan’s Labryinth, is the film’s production designer. The filmmaker’s longtime collaborator Jay Rabinowitz will edit the feature. Jon Kilik (Babel) is executive-producing the film, continuing his association with Mr. Jarmusch.
President of production John Lyons and senior vice president, international production and post-production Allison Silver are overseeing the project on behalf of Focus.
Focus Features (www.focusfeatures.com) is a motion picture production, financing, and worldwide distribution company committed to bringing moviegoers the most original stories from the world’s most innovative filmmakers.
In addition to Mr. Jarmusch’s new film, current and upcoming Focus Features releases include Joe Wright’s Atonement, nominated for 7 Academy Awards, including Best Picture; Martin McDonagh’s In Bruges, starring Colin Farrell, Brendan Gleeson, and Ralph Fiennes, which world-premiered as the Opening-Night film of the 2008 Sundance Film Festival; Bharat Nalluri’s Miss Pettigrew Lives for a Day, starring Frances McDormand and Amy Adams; Andrew Fleming’s irreverent comedy Hamlet 2, starring Steve Coogan; Shane Acker’s animated fantasy epic 9, starring Elijah Wood and Jennifer Connelly; Henry Selick’s stop-motion animated feature Coraline, starring Dakota Fanning and Teri Hatcher; Cary Fukunaga’s immigrant thriller Sin Nombre; Joel and Ethan Coen’s Burn After Reading, starring George Clooney, John Malkovich, Frances McDormand, and Brad Pitt; Gus Van Sant’s Milk, starring Sean Penn as Harvey Milk; and a contemporary comedy to be directed by Academy Award winner Sam Mendes.
PRODUCTION UNDERWAY
Independent filmmaker Jim Jarmusch’s new film, the tentatively titled The Limits of Control, has confirmed the addition of ten actors to its cast. Mr. Jarmusch started shooting the picture, to which Focus Features has worldwide rights, in Madrid, Spain earlier this month.
Joining previously announced lead actor Isaach De Bankolé, in his fourth collaboration with Mr. Jarmusch, are Hiam Abbass, whose films include Munich and Paradise Now; Gael García Bernal, of Focus’ Academy Award-winning The Motorcycle Diaries; Paz De La Huerta, whose independent feature work includes the upcoming The Guitar, with Mr. De Bankolé; Alex Descas, who starred opposite Mr. De Bankolé in the “No Problem” segment of Mr. Jarmusch’s Coffee and Cigarettes; two-time Academy Award nominee John Hurt; Youki Kudoh, who starred in Mr. Jarmusch’s Mystery Train; Bill Murray, who starred in Mr. Jarmusch’s most recent film, Broken Flowers, which was also handled worldwide by Focus; Jean-François Stévenin, whose films include Brotherhood of the Wolf and The Man on the Train; Tilda Swinton, also a Broken Flowers cast member, and currently an Academy Award nominee for her performance in Michael Clayton; and Luis Tosar, whose films include Miami Vice, in which Mr. De Bankolé also appeared. Focus is co-financing the film with Entertainment Farm.
In addition to Broken Flowers, Mr. Jarmusch’s films include Permanent Vacation, Stranger Than Paradise, Down by Law, Mystery Train, Night on Earth, Dead Man, Year of the Horse, Ghost Dog: The Way of the Samurai, Coffee and Cigarettes, and the short film “INT. TRAILER. NIGHT.”
The new film is the story of a mysterious loner (to be played by Mr. De Bankolé), a stranger, whose activities remain meticulously outside the law. He is in the process of completing a job, yet he trusts no one, and his objectives are not initially divulged. The film is set in the striking and varied landscapes of contemporary Spain (both urban and otherwise).
Mr. Schamus said, “These acclaimed actors span an international spectrum of talent, and are sterling additions to this exciting new project. We have had the pleasure of collaborating with several of them previously, and eagerly anticipate their work with Jim.”
Stacey Smith, who has worked with Mr. Jarmusch for over a decade, and Gretchen McGowan (who co-produced the filmmaker’s Coffee and Cigarettes) are producing the new film. Award-winning cinematographer Christopher Doyle (In the Mood for Love) is the film’s director of photography; Eugenio Caballero, an Academy Award winner last year for his art direction of Pan’s Labryinth, is the film’s production designer. The filmmaker’s longtime collaborator Jay Rabinowitz will edit the feature. Jon Kilik (Babel) is executive-producing the film, continuing his association with Mr. Jarmusch.
President of production John Lyons and senior vice president, international production and post-production Allison Silver are overseeing the project on behalf of Focus.
Focus Features (www.focusfeatures.com) is a motion picture production, financing, and worldwide distribution company committed to bringing moviegoers the most original stories from the world’s most innovative filmmakers.
In addition to Mr. Jarmusch’s new film, current and upcoming Focus Features releases include Joe Wright’s Atonement, nominated for 7 Academy Awards, including Best Picture; Martin McDonagh’s In Bruges, starring Colin Farrell, Brendan Gleeson, and Ralph Fiennes, which world-premiered as the Opening-Night film of the 2008 Sundance Film Festival; Bharat Nalluri’s Miss Pettigrew Lives for a Day, starring Frances McDormand and Amy Adams; Andrew Fleming’s irreverent comedy Hamlet 2, starring Steve Coogan; Shane Acker’s animated fantasy epic 9, starring Elijah Wood and Jennifer Connelly; Henry Selick’s stop-motion animated feature Coraline, starring Dakota Fanning and Teri Hatcher; Cary Fukunaga’s immigrant thriller Sin Nombre; Joel and Ethan Coen’s Burn After Reading, starring George Clooney, John Malkovich, Frances McDormand, and Brad Pitt; Gus Van Sant’s Milk, starring Sean Penn as Harvey Milk; and a contemporary comedy to be directed by Academy Award winner Sam Mendes.
Thursday, February 14, 2008
Tuesday, February 12, 2008
FIRST TEASER TRAILER OF STEVEN SPIELBERG’S “INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL”
HITS MOVIE THEATERS WORLDWIDE FEBRUARY 14, 2008
Trailer Airs Exclusively on ABC’s “Good Morning America” Then Fans Out to IndianaJones.com and Yahoo! Movies
HOLLYWOOD, CA, February 11, 2008 – Paramount Pictures and Lucasfilm Ltd. announced today that the first teaser trailer for the highly anticipated Indiana Jones adventure “Indiana Jones and the Kingdom of the Crystal Skull,” directed by Steven Spielberg and starring Harrison Ford in the title role, will debut in theaters across the globe on February 14, 2008.
The trailer will air exclusively on ABC’s “Good Morning America” that morning between 8 a.m. and 9 a.m. Immediately thereafter, the footage will be available at the film’s official site IndianaJones.com, Yahoo! Movies and in motion picture theaters.
On May 22, Indiana Jones is back in a new globe-trotting adventure, "Indiana Jones and the Kingdom of the Crystal Skull." Directed by Steven Spielberg and starring Harrison Ford as Indy, "Indiana Jones and the Kingdom of the Crystal Skull" is a Lucasfilm Ltd. Production. The movie features an outstanding cast, including Oscar® winner Cate Blanchett, Karen Allen, Ray Winstone, John Hurt, Oscar® winner Jim Broadbent and Shia LaBeouf. Frank Marshall is the film’s producer. George Lucas and Kathleen Kennedy are the executive producers. The screenplay is by David Koepp from a story by George Lucas and Jeff Nathanson.
Trailer Airs Exclusively on ABC’s “Good Morning America” Then Fans Out to IndianaJones.com and Yahoo! Movies
HOLLYWOOD, CA, February 11, 2008 – Paramount Pictures and Lucasfilm Ltd. announced today that the first teaser trailer for the highly anticipated Indiana Jones adventure “Indiana Jones and the Kingdom of the Crystal Skull,” directed by Steven Spielberg and starring Harrison Ford in the title role, will debut in theaters across the globe on February 14, 2008.
The trailer will air exclusively on ABC’s “Good Morning America” that morning between 8 a.m. and 9 a.m. Immediately thereafter, the footage will be available at the film’s official site IndianaJones.com, Yahoo! Movies and in motion picture theaters.
On May 22, Indiana Jones is back in a new globe-trotting adventure, "Indiana Jones and the Kingdom of the Crystal Skull." Directed by Steven Spielberg and starring Harrison Ford as Indy, "Indiana Jones and the Kingdom of the Crystal Skull" is a Lucasfilm Ltd. Production. The movie features an outstanding cast, including Oscar® winner Cate Blanchett, Karen Allen, Ray Winstone, John Hurt, Oscar® winner Jim Broadbent and Shia LaBeouf. Frank Marshall is the film’s producer. George Lucas and Kathleen Kennedy are the executive producers. The screenplay is by David Koepp from a story by George Lucas and Jeff Nathanson.
Monday, January 28, 2008
TOY STORY TRIO IN 3D
Burbank, CA – January 24, 2008 - The Walt Disney Studios is taking the latest advances in digital 3-D technology “to infinity and beyond” with ambitious plans to debut new Disney Digital 3-D™ versions of Disney- Pixar’s “Toy Story” on October 2nd, 2009, and “Toy Story 2” on February 12th, 2010, it was announced by Dick Cook, chairman of The Walt Disney Studios. Both of these beloved animated features are being newly converted to 3-D in advance of the June 18th, 2010 release of Disney-Pixar's "Toy Story 3," which is being produced as a 3-D motion picture and will represent the state-of-the-art for the genre. Veteran Pixar filmmaker Lee Unkrich (co-director “Toy Story 2”) is directing.
Academy Award®-winning filmmaker John Lasseter (director of the first two “Toy Story” films and chief creative officer for Disney and Pixar Animation Studios) will personally oversee the creative side of the 3-D conversions for “Toy Story” and “Toy Story 2” with his acclaimed team of technical wizards handling all the necessary steps in the conversion process.
Commenting on the announcement, Cook said, “‘We are committed to bringing moviegoers the best and most exciting 3-D movie experience, and we think they’re going to love seeing Buzz Lightyear, Woody, and all the wonderful ‘Toy Story’ cast of characters in an eye popping and dazzling way. John Lasseter and the animation team are putting all their passion and hard work into making this the greatest 3-D experience yet, and we’re excited to share their efforts with audiences everywhere.”
Lasseter added, “The ‘Toy Story’ films and characters will always hold a very special place in our hearts and we’re so excited to be bringing this landmark film back for audiences to enjoy in a whole new way thanks to the latest in 3-D technology. I am sure that this is going to be nothing short of fantastic and people are going to be blown away by the experience. With ‘Toy Story 3’ shaping up to be another great adventure for Buzz, Woody and the gang from Andy’s room, we thought it would be great to let audiences experience the first two films all over again and in a brand new way. 3-D offers lots of great new possibilities for the art of animation and we will continue to use this new technology to tell our stories in the best possible way.”
In converting “Toy Story” and “Toy Story 2” to state-of-the-art 3-D films, the technical team is retrieving all of the original digital elements and rebuilding them in 3-D.
Originally released by Walt Disney Pictures in 1995, “Toy Story” was the first feature film from Pixar Animation Studios and director John Lasseter. The film went on to receive Oscar® nominations for Original Score, Original Song, and Screenplay, and earned Lasseter a Special Achievement Award “for the development and inspired application of techniques that have made possible the first feature-length computer-animated film.” “Toy Story 2” was released in 1999, and reunited voice talents Tom Hanks and Tim Allen, in their roles as Woody and Buzz. The film became one of the most popular animated features of all time, and received an Academy Award® nomination for Original Song.
Academy Award®-winning filmmaker John Lasseter (director of the first two “Toy Story” films and chief creative officer for Disney and Pixar Animation Studios) will personally oversee the creative side of the 3-D conversions for “Toy Story” and “Toy Story 2” with his acclaimed team of technical wizards handling all the necessary steps in the conversion process.
Commenting on the announcement, Cook said, “‘We are committed to bringing moviegoers the best and most exciting 3-D movie experience, and we think they’re going to love seeing Buzz Lightyear, Woody, and all the wonderful ‘Toy Story’ cast of characters in an eye popping and dazzling way. John Lasseter and the animation team are putting all their passion and hard work into making this the greatest 3-D experience yet, and we’re excited to share their efforts with audiences everywhere.”
Lasseter added, “The ‘Toy Story’ films and characters will always hold a very special place in our hearts and we’re so excited to be bringing this landmark film back for audiences to enjoy in a whole new way thanks to the latest in 3-D technology. I am sure that this is going to be nothing short of fantastic and people are going to be blown away by the experience. With ‘Toy Story 3’ shaping up to be another great adventure for Buzz, Woody and the gang from Andy’s room, we thought it would be great to let audiences experience the first two films all over again and in a brand new way. 3-D offers lots of great new possibilities for the art of animation and we will continue to use this new technology to tell our stories in the best possible way.”
In converting “Toy Story” and “Toy Story 2” to state-of-the-art 3-D films, the technical team is retrieving all of the original digital elements and rebuilding them in 3-D.
Originally released by Walt Disney Pictures in 1995, “Toy Story” was the first feature film from Pixar Animation Studios and director John Lasseter. The film went on to receive Oscar® nominations for Original Score, Original Song, and Screenplay, and earned Lasseter a Special Achievement Award “for the development and inspired application of techniques that have made possible the first feature-length computer-animated film.” “Toy Story 2” was released in 1999, and reunited voice talents Tom Hanks and Tim Allen, in their roles as Woody and Buzz. The film became one of the most popular animated features of all time, and received an Academy Award® nomination for Original Song.
Tuesday, January 22, 2008
Heath Ledger draws the death card, no joke.
The phones at MOVEMENT have been buzzing with our friends asking if Ledger's untimely death will effect the new BATMAN film. Now, we can understandably see how this may come across as cold, since his body barley is, but lets face it, a lot of our friends are comic geeks who would take the potential death of a character a lot more seriously over the actual death of the actor portraying it. But for all of you clutching your collective chests and gasping can ease back and take a deep breath. According to our sources at Warner Bros. the filming for the next installment in the new BATMAN franchise has wrapped filming and as far as anyone can say at this early point it should not effect the release. My concern is the morbid implications it may have should the Joker die in this film as the character did in the Tim Burton version of BATMAN. Spooky.
R.I. P. Heath, you'll be missed, we just can't quit you!
R.I. P. Heath, you'll be missed, we just can't quit you!
Thursday, January 17, 2008
CLOVERFIELD
Paramount Pictures
January 18th, 2008
The anticipation was high for CLOVERFIELD after months of speculation and numerous trailers in the blitzkrieg campaign teasing us with tiny bits of what could be the monster ravaging the city, if it be a monster at all. We threw a party for the film this past Saturday at FACTORY and gave away loads of passes to the advance screening this past Tuesday. The line started early with eager people waiting for the mystery to finally be revealed. I saw dozens of people from the club amongst the rest of the geeks and nerds like me giddy for a good monster film. I can say the theater was filled with geeks and nerds without pause because when we were unexpectedly treated to the J. J . Abrams vision of STAR TREK teaser trailer the theater erupted in applause.
Having been deeply disappointed by a number of highly anticipated films that promised to be larger than life, I was pleased that CLOVERFIELD was much more entertaining than I had even anticipated. Here is the premise, the entire movie is actually footage from the devastation recovered by the government from a personal camcorder left in the wake of a horrific attack by a 30 story creature of unknown origin obliterating New York City. It starts with a going away party where the guest of honors best friend is asked to record testimonials for him. In the middle of the party the whole city shakes and the nearly nonstop chaos, running and screaming begins. Despite the advertising, the monster(s) in CLOVERFIELD are almost peripheral to the main story which is of a young man defying all odds in the midst of the greatest possible calamity braving all adversity to rescue his one true love, despite the fact that he has no idea if she is even alive or dead. The monster is just another obstacle for him and his friends to evade to find their way to safety, though it seems the creature was practically following them around the city the whole time. You get to see the creature peripherally in most instances, obscured by buildings in a lot of them. But toward the end you are treated to some great clear views and one really great close up of the alien looking beast. What is it? Where did it come from? Well, we never find out because after all this is just someone's home video found in the rubble of the wasteland once known as New York. But that lends to the fun of this film, speculating about what all was happening to these poor souls whose experience we were living through voyeuristically and why.
This Blair-witch-ish POV style of film making certainly gave the film an added sense of legitimacy unlike any other film I've seen (including The Blair Witch). The camera is jostled in every direction just as it would be by an amateur videographer in the same situation. But the downside of this is a film where every scene is hardly ever stabilized even at the films most benign moments the only break from the jittering motion is when the camera itself is either set down or dropped. This near ceaseless movement caused some slight motion sickness in a few movie goes we know of for sure, including me. I and few others around me had to shut our eyes more than a few times just to regain our equilibrium.
So I do highly suggest you go see this exciting new film, just whatever you do, don't forget your Dramamine!
- Max Michaels
January 18th, 2008
The anticipation was high for CLOVERFIELD after months of speculation and numerous trailers in the blitzkrieg campaign teasing us with tiny bits of what could be the monster ravaging the city, if it be a monster at all. We threw a party for the film this past Saturday at FACTORY and gave away loads of passes to the advance screening this past Tuesday. The line started early with eager people waiting for the mystery to finally be revealed. I saw dozens of people from the club amongst the rest of the geeks and nerds like me giddy for a good monster film. I can say the theater was filled with geeks and nerds without pause because when we were unexpectedly treated to the J. J . Abrams vision of STAR TREK teaser trailer the theater erupted in applause.
Having been deeply disappointed by a number of highly anticipated films that promised to be larger than life, I was pleased that CLOVERFIELD was much more entertaining than I had even anticipated. Here is the premise, the entire movie is actually footage from the devastation recovered by the government from a personal camcorder left in the wake of a horrific attack by a 30 story creature of unknown origin obliterating New York City. It starts with a going away party where the guest of honors best friend is asked to record testimonials for him. In the middle of the party the whole city shakes and the nearly nonstop chaos, running and screaming begins. Despite the advertising, the monster(s) in CLOVERFIELD are almost peripheral to the main story which is of a young man defying all odds in the midst of the greatest possible calamity braving all adversity to rescue his one true love, despite the fact that he has no idea if she is even alive or dead. The monster is just another obstacle for him and his friends to evade to find their way to safety, though it seems the creature was practically following them around the city the whole time. You get to see the creature peripherally in most instances, obscured by buildings in a lot of them. But toward the end you are treated to some great clear views and one really great close up of the alien looking beast. What is it? Where did it come from? Well, we never find out because after all this is just someone's home video found in the rubble of the wasteland once known as New York. But that lends to the fun of this film, speculating about what all was happening to these poor souls whose experience we were living through voyeuristically and why.
This Blair-witch-ish POV style of film making certainly gave the film an added sense of legitimacy unlike any other film I've seen (including The Blair Witch). The camera is jostled in every direction just as it would be by an amateur videographer in the same situation. But the downside of this is a film where every scene is hardly ever stabilized even at the films most benign moments the only break from the jittering motion is when the camera itself is either set down or dropped. This near ceaseless movement caused some slight motion sickness in a few movie goes we know of for sure, including me. I and few others around me had to shut our eyes more than a few times just to regain our equilibrium.
So I do highly suggest you go see this exciting new film, just whatever you do, don't forget your Dramamine!
- Max Michaels
Wednesday, January 16, 2008
Martin Scorsese’s “SHINE A LIGHT” to Open the 58th Berlin International Film Festival
The 58th Belinale has selected the ultimate Rolling Stones concert film, “SHINE A LIGHT,” from Oscar®-winning director Martin Scorsese, to open the festival on February 7, 2008, with Scorsese and The Rolling Stones in attendance.
Scorsese assembled an award-winning camera team to capture the raw energy of the world’s greatest rock ‘n roll band in two concerts at the Beacon Theatre on October 29th and November 1st 2006. Using sixteen 35mm cameras and one Genesis Hi Def camera to shoot more than half-a-million feet of concert footage, Oscar®-winning cinematographer Robert Richardson (The Aviator, JFK) supervised a team which included several highly acclaimed directors of photography: Oscar® winner John Toll (The Last Samurai, Braveheart); Oscar® winner Andrew Lesnie (The Lord of the Rings trilogy, King Kong); Oscar® nominee Stuart Dryburgh (The Piano, The Painted Veil), Oscar® nominee Robert Elswit (Magnolia, Good Night and Good Luck); Oscar® nominee Emmanuel Lubezki (Lemony Snicket’s A Series of Unfortunate Events, Sleepy Hollow); and Ellen Kuras (Summer of Sam, Eternal Sunshine of the Spotless Mind). The film was edited by David Tedeschi, who received an Emmy nomination for his work with Scorsese on the acclaimed Bob Dylan documentary, No Direction Home: Bob Dylan.
With special guest performances from Christina Aguilera, Buddy Guy and Jack White III of the White Stripes, the two Beacon concerts form the heart of the film. “SHINE A LIGHT” also features rarely seen archival footage and current behind the scenes footage and interviews shot using additional Hi Def, DV Cam, 16mm and 8mm cameras. With this extensive camera coverage and intimacy of the setting, Scorsese has created a extraordinary musical film event and given audiences unprecedented access to the Rolling Stones both on stage and off.
Produced and financed by Steve Bing's Shangri-La Entertainment and long-time Stones tour promoter Michael Cohl's Concert Promotions International, producers are Victoria Pearman, Michael Cohl, Zane Weiner and Steve Bing. Executive producers are Stones members Mick Jagger, Keith Richards, Charlie Watts and Ronnie Wood, with Jane Rose as co-executive producer.
In making the announcement, Festival Director Dieter Kosslick said “We are extremely excited to have the World Premiere of this magnificent film as our opening gala. Martin Scorsese has again set the gold standard when it comes to capturing the pure essence of an iconic band on the big screen.”
The film will be released in North America on April 4th, 2008 by Paramount Classics.
Scorsese assembled an award-winning camera team to capture the raw energy of the world’s greatest rock ‘n roll band in two concerts at the Beacon Theatre on October 29th and November 1st 2006. Using sixteen 35mm cameras and one Genesis Hi Def camera to shoot more than half-a-million feet of concert footage, Oscar®-winning cinematographer Robert Richardson (The Aviator, JFK) supervised a team which included several highly acclaimed directors of photography: Oscar® winner John Toll (The Last Samurai, Braveheart); Oscar® winner Andrew Lesnie (The Lord of the Rings trilogy, King Kong); Oscar® nominee Stuart Dryburgh (The Piano, The Painted Veil), Oscar® nominee Robert Elswit (Magnolia, Good Night and Good Luck); Oscar® nominee Emmanuel Lubezki (Lemony Snicket’s A Series of Unfortunate Events, Sleepy Hollow); and Ellen Kuras (Summer of Sam, Eternal Sunshine of the Spotless Mind). The film was edited by David Tedeschi, who received an Emmy nomination for his work with Scorsese on the acclaimed Bob Dylan documentary, No Direction Home: Bob Dylan.
With special guest performances from Christina Aguilera, Buddy Guy and Jack White III of the White Stripes, the two Beacon concerts form the heart of the film. “SHINE A LIGHT” also features rarely seen archival footage and current behind the scenes footage and interviews shot using additional Hi Def, DV Cam, 16mm and 8mm cameras. With this extensive camera coverage and intimacy of the setting, Scorsese has created a extraordinary musical film event and given audiences unprecedented access to the Rolling Stones both on stage and off.
Produced and financed by Steve Bing's Shangri-La Entertainment and long-time Stones tour promoter Michael Cohl's Concert Promotions International, producers are Victoria Pearman, Michael Cohl, Zane Weiner and Steve Bing. Executive producers are Stones members Mick Jagger, Keith Richards, Charlie Watts and Ronnie Wood, with Jane Rose as co-executive producer.
In making the announcement, Festival Director Dieter Kosslick said “We are extremely excited to have the World Premiere of this magnificent film as our opening gala. Martin Scorsese has again set the gold standard when it comes to capturing the pure essence of an iconic band on the big screen.”
The film will be released in North America on April 4th, 2008 by Paramount Classics.
Wednesday, January 9, 2008
Jon Reiss’ Global Graffiti Documentary "Bomb It"
Teams Up With Theatrical Distributors
Hip Hop Film Festival
For US Hybrid Screenings Starting March 2008
DVD Release April 29, 2008
LOS ANGELES, CA – Antidote Films partners with theatrical distributors Hip Hop Film Festival (HHFF) to release Bomb It, the global graffiti documentary by award winning director Jon Reiss. Featuring street artists and top graffiti writers from 5 continents Bomb It is the first film to update the story of graffiti with a truly international perspective. Hip Hop Film Festival plans to screen Bomb It across North America starting in March 2008. The hybrid screenings will take place at theaters, cultural centers, alternative venues and a handful of festival. Docurama Films will release the DVD on April 29, 2008. Personalities such as Cornbread, Lady Pink, acclaimed hip hop artist and former graffiti writer KRS One, international art machine Shepard Fairey, Brazilian bombing twin brothers Os Gemeos, and others share their lives with the camera. Globally comprehensive as well as politically relevant, a recent review by IGN.com reported, “… At the core of the film is a poignant social statement about public space and the war being waged for it.” To learn more please visit http://bombit-themovie.com and http://www.myspace.com/bombitthemovie. For continual updates about this film and graffiti culture in general - such as events, artist rights, screenings, etc. - visit the Bomb It blog at http://bombit-themovie.com/blog.
Starting with graffiti’s roots in New York and Philadelphia, Bomb It goes on to explore the graff cultures in London, Paris, Amsterdam, Hamburg, Barcelona, Berlin, Cape Town, São Paulo, and Tokyo, before finally wrapping up in Los Angeles. The film features original footage with artists around the world who have taken the form and applied it to their particular cultural and social conditions, from Latin America, where graffiti has been adapted into the mural tradition, to Japan where anime inspired rakugaki juxtaposes with formal calligraphy and conformist societal norms, to Europe where a dadaist/surrealist tradition produces deliberately confrontational prankstering.
While some believe the roots of graffiti can be traced back to pre-linguistic cave markings and the innate human need for self-expression, graffiti remains a highly controversial issue. Using a myriad of original interviews as well as guerilla footage of graffiti writers in action, Bomb It tells the story of contemporary graffiti from its roots in ancient rock paintings through Picasso to Latino placas through its notorious emergence as a visual adjunct to the rise of hip hop culture in 1970's New York City culminating in its current, pervasive presence in a myriad of forms – on the streets and in pop culture throughout the world, co-opted into advertising, on our clothing, etc.
The controversy surrounding graffiti is an integral part of the story: from anti-tagging groups, to the impact of New York City's infamous "Quality of Life" laws which directly targeted illicit writing (the film includes an interview with NYC’s most outspoken graffiti critic, NYC Councilman Peter Vallone Jr.), to the proliferation of these laws throughout the world. Graffiti – as well as stenciling, stickering, postering, and any unsanctioned graphic “interference” in public space - raises important questions that delve deep into our contemporary social structure such as: Who has the right to express themselves? What is a canvas? Where should art take place? If public space is a forum for discussion, which voices will be heard?
Bomb It is the most comprehensive documentary about graffiti and street art to date. Roughly 200 artists were interviewed for this film. In addition to those named above, interviewees included Mear One, Terrible T-KID 170, Taki 183, Zephyr, Tribe, Tats Cru, Chaz Bojorquez, Robbie Conal, Ron English, Cope 2, Daim, Revs, Blek Le Rat, Very One, Stay High 149, Tracy 168, KET, Chino, Revok, Pez, Sixe, Zezao, Faith47, and so many more (see http://bombit-themovie.com/artists/default.html for full list of artists interviewed).
The film’s soundtrack combines a striking roster of hip-hop, electronic music and native sounds from some of the locales visited. Highlights include tracks by Immortal Technique, Big Syphe, The Budos Band, Sharon Jones and the Dap-Kings, Disco D, Donald Byrd, Spank Rock, Virgin Tears vs Dave The Hustler, and Mathematics. Indie record labels such as Highpoint Lowlife, Daptone Records, and Ninja Tune were extremely helpful in the process. Soweto Gospel Choir, ACFC Choir, and Black Noise underscore the South African scenes while the São Paulo portion boasts songs by Brazil’s Arthur Joly, and ARD, and Uruguay’s Federico Ramos Composed.
“Filmmaker Jon Reiss finds himself drawn to subcultures with guts,” the Village Voice wrote in May of this year during an interview for Bomb It’s world premiere at the 2007 Tribeca Film Festival. Named one of “10 Digital Directors to Watch” by Daily Variety, Reiss has covered the West Coast punk explosion, documented the notorious San Francisco performance group Survival Research Laboratories, rave culture in his debut feature-length documentary, Better Living Through Circuitry, and now graffiti culture. He also has a non-doc under his belt: the award-winning dark psychological drama, Cleopatra's Second Husband. Also famous for his music videos, in 1995 the Toronto Film Festival curated a retrospective of Reiss' music videos, which included 1992’s acclaimed Nine Inch Nails video, “Happiness in Slavery.” Jon Reiss’ work has screened at festivals, theaters and cultural centers throughout the world as well as on channels such as IFC, Showtime, and the Sundance Channel. Reiss received his MFA from the UCLA Film School.
The Hip Hop Film Festival was created to provide an opportunity for filmmakers to showcase their work and for audiences to experience these films in a theatrical environment, bringing people together for events, discussions, panels, and workshops. It curates films that speak with a true voice to all generations and cultures worldwide, representing the real values of hip-hop: Knowledge, Wisdom, Understanding, Freedom, Justice, Equality, Respect, Unity, Love, and Peace. Learn more about HHFF at http://www.hiphopfilmfestival.com.
Hip Hop Film Festival
For US Hybrid Screenings Starting March 2008
DVD Release April 29, 2008
LOS ANGELES, CA – Antidote Films partners with theatrical distributors Hip Hop Film Festival (HHFF) to release Bomb It, the global graffiti documentary by award winning director Jon Reiss. Featuring street artists and top graffiti writers from 5 continents Bomb It is the first film to update the story of graffiti with a truly international perspective. Hip Hop Film Festival plans to screen Bomb It across North America starting in March 2008. The hybrid screenings will take place at theaters, cultural centers, alternative venues and a handful of festival. Docurama Films will release the DVD on April 29, 2008. Personalities such as Cornbread, Lady Pink, acclaimed hip hop artist and former graffiti writer KRS One, international art machine Shepard Fairey, Brazilian bombing twin brothers Os Gemeos, and others share their lives with the camera. Globally comprehensive as well as politically relevant, a recent review by IGN.com reported, “… At the core of the film is a poignant social statement about public space and the war being waged for it.” To learn more please visit http://bombit-themovie.com and http://www.myspace.com/bombitthemovie. For continual updates about this film and graffiti culture in general - such as events, artist rights, screenings, etc. - visit the Bomb It blog at http://bombit-themovie.com/blog.
Starting with graffiti’s roots in New York and Philadelphia, Bomb It goes on to explore the graff cultures in London, Paris, Amsterdam, Hamburg, Barcelona, Berlin, Cape Town, São Paulo, and Tokyo, before finally wrapping up in Los Angeles. The film features original footage with artists around the world who have taken the form and applied it to their particular cultural and social conditions, from Latin America, where graffiti has been adapted into the mural tradition, to Japan where anime inspired rakugaki juxtaposes with formal calligraphy and conformist societal norms, to Europe where a dadaist/surrealist tradition produces deliberately confrontational prankstering.
While some believe the roots of graffiti can be traced back to pre-linguistic cave markings and the innate human need for self-expression, graffiti remains a highly controversial issue. Using a myriad of original interviews as well as guerilla footage of graffiti writers in action, Bomb It tells the story of contemporary graffiti from its roots in ancient rock paintings through Picasso to Latino placas through its notorious emergence as a visual adjunct to the rise of hip hop culture in 1970's New York City culminating in its current, pervasive presence in a myriad of forms – on the streets and in pop culture throughout the world, co-opted into advertising, on our clothing, etc.
The controversy surrounding graffiti is an integral part of the story: from anti-tagging groups, to the impact of New York City's infamous "Quality of Life" laws which directly targeted illicit writing (the film includes an interview with NYC’s most outspoken graffiti critic, NYC Councilman Peter Vallone Jr.), to the proliferation of these laws throughout the world. Graffiti – as well as stenciling, stickering, postering, and any unsanctioned graphic “interference” in public space - raises important questions that delve deep into our contemporary social structure such as: Who has the right to express themselves? What is a canvas? Where should art take place? If public space is a forum for discussion, which voices will be heard?
Bomb It is the most comprehensive documentary about graffiti and street art to date. Roughly 200 artists were interviewed for this film. In addition to those named above, interviewees included Mear One, Terrible T-KID 170, Taki 183, Zephyr, Tribe, Tats Cru, Chaz Bojorquez, Robbie Conal, Ron English, Cope 2, Daim, Revs, Blek Le Rat, Very One, Stay High 149, Tracy 168, KET, Chino, Revok, Pez, Sixe, Zezao, Faith47, and so many more (see http://bombit-themovie.com/artists/default.html for full list of artists interviewed).
The film’s soundtrack combines a striking roster of hip-hop, electronic music and native sounds from some of the locales visited. Highlights include tracks by Immortal Technique, Big Syphe, The Budos Band, Sharon Jones and the Dap-Kings, Disco D, Donald Byrd, Spank Rock, Virgin Tears vs Dave The Hustler, and Mathematics. Indie record labels such as Highpoint Lowlife, Daptone Records, and Ninja Tune were extremely helpful in the process. Soweto Gospel Choir, ACFC Choir, and Black Noise underscore the South African scenes while the São Paulo portion boasts songs by Brazil’s Arthur Joly, and ARD, and Uruguay’s Federico Ramos Composed.
“Filmmaker Jon Reiss finds himself drawn to subcultures with guts,” the Village Voice wrote in May of this year during an interview for Bomb It’s world premiere at the 2007 Tribeca Film Festival. Named one of “10 Digital Directors to Watch” by Daily Variety, Reiss has covered the West Coast punk explosion, documented the notorious San Francisco performance group Survival Research Laboratories, rave culture in his debut feature-length documentary, Better Living Through Circuitry, and now graffiti culture. He also has a non-doc under his belt: the award-winning dark psychological drama, Cleopatra's Second Husband. Also famous for his music videos, in 1995 the Toronto Film Festival curated a retrospective of Reiss' music videos, which included 1992’s acclaimed Nine Inch Nails video, “Happiness in Slavery.” Jon Reiss’ work has screened at festivals, theaters and cultural centers throughout the world as well as on channels such as IFC, Showtime, and the Sundance Channel. Reiss received his MFA from the UCLA Film School.
The Hip Hop Film Festival was created to provide an opportunity for filmmakers to showcase their work and for audiences to experience these films in a theatrical environment, bringing people together for events, discussions, panels, and workshops. It curates films that speak with a true voice to all generations and cultures worldwide, representing the real values of hip-hop: Knowledge, Wisdom, Understanding, Freedom, Justice, Equality, Respect, Unity, Love, and Peace. Learn more about HHFF at http://www.hiphopfilmfestival.com.
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