list http://www.spout.com/ Recent community activity around La Strada on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/La_Strada/19438/default.aspx Title: La Strada
Year: 1954
Director: Federico Fellini
Plot: Acclaimed Italian filmmaker Federico Fellini drew on his own circus background for the 1954 classic La Strada. Set in a seedy travelling carnival, this symbolism-laden drama revolves around brutish strongman Zampano (Anthony Quinn), his simple and servile girlfriend Gelsomina (Giulietta Masina, Fellini's wife), and clown/aerialist Matto (Richard Basehart). Appalled at Zampano's insensitive treatment of Gelsomina, the gentle-natured Matto invites her to run off with him; but Gelsomina, like a faithful pet, refuses to leave the strong man's side. Eventually Zampano's volcanic temper erupts once too often, leading to tragic consequences. Written by Fellini and Tullio Pinelli and scored by Nino Rota, La Strada was the winner of the first official Academy Award for Best Foreign-Language Film, awarded in 1956. ~ Hal Erickson, All Movie Guide
Times Tagged: 28
Number of Lists: 35
Number of blog posts: 6
SpoutRating: 4
]]>Mon, 13 Jul 2009 02:41:43 GMTLa Strada1954Federico FelliniAcclaimed Italian filmmaker <a href="/players/P____89547/default.aspx" style='text-decoration:underline'>Federico Fellini</a> drew on his own circus background for the 1954 classic La Strada. Set in a seedy travelling carnival, this symbolism-laden drama revolves around brutish strongman Zampano (<a href="/players/P___107297/default.aspx" style='text-decoration:underline'>Anthony Quinn</a>), his simple and servile girlfriend Gelsomina (<a href="/players/P____46201/default.aspx" style='text-decoration:underline'>Giulietta Masina</a>, Fellini's wife), and clown/aerialist Matto (<a href="/players/P_____4405/default.aspx" style='text-decoration:underline'>Richard Basehart</a>). Appalled at Zampano's insensitive treatment of Gelsomina, the gentle-natured Matto invites her to run off with him; but Gelsomina, like a faithful pet, refuses to leave the strong man's side. Eventually Zampano's volcanic temper erupts once too often, leading to tragic consequences. Written by Fellini and <a href="/players/P___106525/default.aspx" style='text-decoration:underline'>Tullio Pinelli</a> and scored by <a href="/players/P___109049/default.aspx" style='text-decoration:underline'>Nino Rota</a>, La Strada was the winner of the first official Academy Award for Best Foreign-Language Film, awarded in 1956. ~ Hal Erickson, All Movie Guide28Tag Target (>10)3564http://www.spout.com/ProductImages/t36808u8wx1.jpghttp://www.spout.com/films/La_Strada/19438/default.aspxFilm http://www.spout.com/blogs/leeroy711/archive/2009/6/29/42849.aspx Post By: leeroy711
Post To: leeroy711 Blog
Post Date: 6/29/2009 3:33:51 PM
Body: I’m writing this to take a moment and reflect on my past 6 months in film viewing. At the beginning of the year, I set a goal of watching 200 films I haven’t previously seen in 2009. Today, I am relieved to report that with the 6th month of the year ending, I have just finished watching my 100th film. I decided to create a list of the films I’ve seen so I could better keep track of them. Also, because this is an attempt to expand my film knowledge as a whole, I like to be able to sort them by release year, my rating, and the country the originated. This way I can more clearly see any gaping holes in my choices of films. So with all of that in mind, let’s take a look. The oldest film I’ve seen this year was 1947’s Out of the Past. I have to say, I’m kind of disappointed in myself. I think I generally gravitate towards older films but to see that this is the oldest I’ve seen this year is somewhat shocking. I've only seen 2 films from the 40s this year. By Decade:1940s - 2 films 1950s - 10 films 1960s - 12 films 1970s - 12 films 1980s - 7 films 1990s - 1 film 2000s - 56 films So, as you can see, over half of the movies I've watched this year have been released in the within the past 9 years. I would chalk some of that up to availability plus a general attempt to stay current and up to date. I did find it pretty odd that I have only seen one film this year from the 90s. (To Live 1994) I grew up in the 90s, I fell in love with film in the 90s. Maybe that well is simply drying up. So in summary, the rest of my year needs to include more films from the 40s and prior and a few more from the 90s. By Country: Australia - 1 film Belgium - 1 film China - 3 films Czechoslovakia - 1 film France - 4 films Germany - 1 film Italy - 4 films Japan - 11 films Mexico - 2 films Romania - 1 film South Korea - 3 films Spain - 3 film Sweden - 1 film United Kingdom - 3 films United States - 61 films. Okay, so again it seems that the majority of films I've seen are some of the most readily available (domestic). Interestingly also, the 11 Japanese films I've seen this year are from only 3 directors (Miike, Suzuki and Kurosawa) 6 of the 11 are Seijun Suzuki movies. I love his films and I'm not going to stop watching them. I discovered Argentinian filmmaker Alejandro Jodorowski films this year (Mexico), thanks to Mycomplex. The Holy Mountain was good but I loved El Topo. Of the 4 Italian films I watched, 3 were from Federico Fellini (La Dolce Vita, Amarcord and La Strada) My favorite of the 3 and of all Fellini films is now La Strada. I watched the other 2 films in Park Chan-Wook's vengeance trilogy and I actually think Lady Vengeance may be the best of the 3. Last year, I devoted much more time to European film without much of an affinity for Asian cinema. This has changed this year. I am much more interested in Korean films lately. I think it just took me a little while to assimilate myself to thier style. I have also been able to scratch a few films off my "Classics I have no excuse for not having seen" list. I am now very happy to report that I have seen and enjoyed Vertigo, Sunset Boulevard and 12 Angry Men. Wow, that's embarrassing. Especially with the 12 Angry Men, but let me explain.... (excuse alert) I was always pretty convinced I would love this film. But when I am already that familiar with an iconic film that I've never actually seen, it takes a lot to want to actually put it on and sit through it. That being said, upon finally watching it, I immediately felt pretty stupid for letting such an incredible film slip by for that long. Notable 5: I'm going to conclude this post with a list of 5 films that I probably had the best time with so far this year. 1. La Strada - This is my most recent viewing. I've liked other Fellini films but none of his had such an enjoyable character as Gelsomina. I think she gave this film an entry point that I haven't previously experienced with his films. 2. Synecdoche, New York - I can't really describe how much I loved this film. It hit all the right notes for me and I probably only understood about half of it the first time. Monty (Mycomplex) told me that Charlie Kaufman may be the best American screenwriter alive today and I would have to second that. I would add that as much as I loved his work portrayed by Jonze and Gondry, I think this is his best film. He never over-exaggerated the outrageous things that happen, he just let them play out. Never even asking you if you were on board. 3. Let The Right One In - You know, the teenage vampire movie.... No, not that one, the good one. I don't have a lot to say about this one. It really is as good as you've heard. If you haven't yet, watch it. 4. Detective Bureau 2-3: Go Hell Bastards - By far, the best title of a movie I've seen in a long time. This is one of Seijun Suzuki's lesser known movies and I had one hell of a good time with it. If you liked Branded to Kill or Tokyo Drifter, this is a great watch along those same lines. 5. Lady Vengeance - As I said before, this is probably my favorite of the Vengeance Trilogy. It was just as aesthetically brilliant as Oldboy but I think it's 3rd act gave this film the heart that was missing in the previous 2. Well, that should just about do it. I now have just about 186 days to watch another 100 films. In case your not to good with the numbers, that works out to an average of 1 film every 1.86 days. I'm not sure how I'm gonna do it but it shall be done. Recommendations are more than welcome...... Peace & Love Emery.
]]>Mon, 29 Jun 2009 19:33:51 GMTleeroy711leeroy711 Blog6/29/2009 3:33:51 PM I&rsquo;m writing this to take a moment and reflect on my past 6 months in film viewing. At the beginning of the year, I set a goal of watching 200 films I haven&rsquo;t previously seen in 2009. Today, I am relieved to report that with the 6th month of the year ending, I have just finished watching my 100th film. I decided to create a list of the films I&rsquo;ve seen so I could better keep track of them. Also, because this is an attempt to expand my film knowledge as a whole, I like to be able to sort them by release year, my rating, and the country the originated. This way I can more clearly see any gaping holes in my choices of films. So with all of that in mind, let&rsquo;s take a look. The oldest film I&rsquo;ve seen this year was 1947&rsquo;s Out of the Past. I have to say, I&rsquo;m kind of disappointed in myself. I think I generally gravitate towards older films but to see that this is the oldest I&rsquo;ve seen this year is somewhat shocking. I've only seen 2 films from the 40s this year. By Decade:1940s - 2 films 1950s - 10 films 1960s - 12 films 1970s - 12 films 1980s - 7 films 1990s - 1 film 2000s - 56 films So, as you can see, over half of the movies I've watched this year have been released in the within the past 9 years. I would chalk some of that up to availability plus a general attempt to stay current and up to date. I did find it pretty odd that I have only seen one film this year from the 90s. (To Live 1994) I grew up in the 90s, I fell in love with film in the 90s. Maybe that well is simply drying up. So in summary, the rest of my year needs to include more films from the 40s and prior and a few more from the 90s. By Country: Australia - 1 film Belgium - 1 film China - 3 films Czechoslovakia - 1 film France - 4 films Germany - 1 film Italy - 4 films Japan - 11 films Mexico - 2 films Romania - 1 film South Korea - 3 films Spain - 3 film Sweden - 1 film United Kingdom - 3 films United States - 61 films. Okay, so again it seems that the majority of films I've seen are some of the most readily available (domestic). Interestingly also, the 11 Japanese films I've seen this year are from only 3 directors (Miike, Suzuki and Kurosawa) 6 of the 11 are Seijun Suzuki movies. I love his films and I'm not going to stop watching them. I discovered Argentinian filmmaker Alejandro Jodorowski films this year (Mexico), thanks to Mycomplex. The Holy Mountain was good but I loved El Topo. Of the 4 Italian films I watched, 3 were from Federico Fellini (La Dolce Vita, Amarcord and La Strada) My favorite of the 3 and of all Fellini films is now La Strada. I watched the other 2 films in Park Chan-Wook's vengeance trilogy and I actually think Lady Vengeance may be the best of the 3. Last year, I devoted much more time to European film without much of an affinity for Asian cinema. This has changed this year. I am much more interested in Korean films lately. I think it just took me a little while to assimilate myself to thier style. I have also been able to scratch a few films off my "Classics I have no excuse for not having seen" list. I am now very happy to report that I have seen and enjoyed Vertigo, Sunset Boulevard and 12 Angry Men. Wow, that's embarrassing. Especially with the 12 Angry Men, but let me explain.... (excuse alert) I was always pretty convinced I would love this film. But when I am already that familiar with an iconic film that I've never actually seen, it takes a lot to want to actually put it on and sit through it. That being said, upon finally watching it, I immediately felt pretty stupid for letting such an incredible film slip by for that long. Notable 5: I'm going to conclude this post with a list of 5 films that I probably had the best time with so far this year. 1. La Strada - This is my most recent viewing. I've liked other Fellini films but none of his had such an enjoyable character as Gelsomina. I think she gave this film an entry point that I haven't previously experienced with his films. 2. Synecdoche, New York - I can't really describe how much I loved this film. It hit all the right notes for me and I probably only understood about half of it the first time. Monty (Mycomplex) told me that Charlie Kaufman may be the best American screenwriter alive today and I would have to second that. I would add that as much as I loved his work portrayed by Jonze and Gondry, I think this is his best film. He never over-exaggerated the outrageous things that happen, he just let them play out. Never even asking you if you were on board. 3. Let The Right One In - You know, the teenage vampire movie.... No, not that one, the good one. I don't have a lot to say about this one. It really is as good as you've heard. If you haven't yet, watch it. 4. Detective Bureau 2-3: Go Hell Bastards - By far, the best title of a movie I've seen in a long time. This is one of Seijun Suzuki's lesser known movies and I had one hell of a good time with it. If you liked Branded to Kill or Tokyo Drifter, this is a great watch along those same lines. 5. Lady Vengeance - As I said before, this is probably my favorite of the Vengeance Trilogy. It was just as aesthetically brilliant as Oldboy but I think it's 3rd act gave this film the heart that was missing in the previous 2. Well, that should just about do it. I now have just about 186 days to watch another 100 films. In case your not to good with the numbers, that works out to an average of 1 film every 1.86 days. I'm not sure how I'm gonna do it but it shall be done. Recommendations are more than welcome...... Peace &amp; Love Emery. http://www.spout.com/blogs/risselada/archive/2009/5/22/42381.aspx Post By: Risselada
Post To: Risselada Blog
Post Date: 5/22/2009 11:05:20 AM
Body: Federico Fellini - un autoritratto ritrovato (Federico Fellini's Autobiography) This was on the Criterion Collection special features disc for La Strada, but Spout doesn't have it in its database. We get a brief glimpse at Fellini, his approach and philosophy of filmmaking. The man admits he has no message. He just likes to present stories, which he things will be entertaining. But basically, if you do not share the with him the fondness for the things that interest him, then you probably won't like his films. I'm not a huge fan of his films, at least the ones I've seen, so this look at the man himself was not especially interesting to me either. Rating: 5/10
]]>Fri, 22 May 2009 15:05:20 GMTRisseladaRisselada Blog5/22/2009 11:05:20 AMFederico Fellini - un autoritratto ritrovato (Federico Fellini's Autobiography) This was on the Criterion Collection special features disc for La Strada, but Spout doesn't have it in its database. We get a brief glimpse at Fellini, his approach and philosophy of filmmaking. The man admits he has no message. He just likes to present stories, which he things will be entertaining. But basically, if you do not share the with him the fondness for the things that interest him, then you probably won't like his films. I'm not a huge fan of his films, at least the ones I've seen, so this look at the man himself was not especially interesting to me either. Rating: 5/10 http://www.spout.com/blogs/risselada/archive/2009/5/20/42350.aspx Post By: Risselada
Post To: Risselada Blog
Post Date: 5/20/2009 1:30:55 PM
Body: This blog entry is part of my "movie recommendation site suggestions". Read more about that here. La strada After my third Fellini film I feel like I can somewhat confidently say that I just don't share enough of his sensibilities to really say that I love his work. I've heard enough about him and from him to understand why he is so loved and why he will always probably be viewed by the film community as member of the pantheon of the greatest film directors. But I just don't have the same predilections that he does. And as a very biographical filmmaker, sharing his preferences is important in enjoying his films. The films are well made, but I just can't get into them as much as many other people can apparently. Rating: 6/10
]]>Wed, 20 May 2009 17:30:55 GMTRisseladaRisselada Blog5/20/2009 1:30:55 PMThis blog entry is part of my "movie recommendation site suggestions". Read more about that here. La strada After my third Fellini film I feel like I can somewhat confidently say that I just don't share enough of his sensibilities to really say that I love his work. I've heard enough about him and from him to understand why he is so loved and why he will always probably be viewed by the film community as member of the pantheon of the greatest film directors. But I just don't have the same predilections that he does. And as a very biographical filmmaker, sharing his preferences is important in enjoying his films. The films are well made, but I just can't get into them as much as many other people can apparently. Rating: 6/10 http://www.spout.com/blogs/risselada/archive/2009/4/22/41693.aspx Post By: Risselada
Post To: Risselada Blog
Post Date: 4/22/2009 4:37:00 PM
Body: I rate movies on so many different websites that offer movie recommendations based on those ratings that I figured it's time to actually start watching a lot of the top recommended movies. Three of the main sites I get recommendations from are Movielens, Filmaffinity, and Netflix. Below is a list of films that I will be watching based on what these websites predict my ratings would be. ------------------------------------------------------------------------------- Sholay - NF 5/5Andaz Apna Apna - NF 5/5Double Indemnity - NF 4.9/5, ML 4.5/5, FA 9.3/10Monster in a Box - NF 4.8/5, ML 4.5/5Otona no miru ehon - Umarete wa mita keredo (I Was Born, But...) - NF 4.6/5, FA 9.3/10La Ronde - NF 4.6, FA 9.3Kumonosu jô (Throne of Blood) - NF 4.9/5, ML 4.5/5, FA 8.9/10Seppuku (Harakiri) - NF 4.5/5, ML 4.5/5, FA 9.6/10Sen to Chihiro no kamikakushi (Spirited Away) - NF 4.8/5, ML 4.5/5, FA 8.9/10Sunrise: A Song of Two Humans - NF 5/5, ML 4/5, FA 9.4/10La Strada - NF 4.4/5, ML 4.5/5, FA 9.4/10Sanshô dayû (Sansho the Bailiff) - NF 4.6/5, ML 4.5/5, FA 9/10The Set-Up - NF 4.4/5, ML 4.5/5, FA 9.3/10The Hustler - NF 4.6/5, ML 4.5/5, FA 8.9/10Dzien swira (Day of the Wacko) - NF 5/5, ML 4/5L'armée des ombres (Army of Shadows) - NF 4.5/5, ML 4.5/5Le trou - NF 4.4/5, FA 9.2/10
]]>Wed, 22 Apr 2009 20:37:00 GMTRisseladaRisselada Blog4/22/2009 4:37:00 PMI rate movies on so many different websites that offer movie recommendations based on those ratings that I figured it's time to actually start watching a lot of the top recommended movies. Three of the main sites I get recommendations from are Movielens, Filmaffinity, and Netflix. Below is a list of films that I will be watching based on what these websites predict my ratings would be. ------------------------------------------------------------------------------- Sholay - NF 5/5Andaz Apna Apna - NF 5/5Double Indemnity - NF 4.9/5, ML 4.5/5, FA 9.3/10Monster in a Box - NF 4.8/5, ML 4.5/5Otona no miru ehon - Umarete wa mita keredo (I Was Born, But...) - NF 4.6/5, FA 9.3/10La Ronde - NF 4.6, FA 9.3Kumonosu j&ocirc; (Throne of Blood) - NF 4.9/5, ML 4.5/5, FA 8.9/10Seppuku (Harakiri) - NF 4.5/5, ML 4.5/5, FA 9.6/10Sen to Chihiro no kamikakushi (Spirited Away) - NF 4.8/5, ML 4.5/5, FA 8.9/10Sunrise: A Song of Two Humans - NF 5/5, ML 4/5, FA 9.4/10La Strada - NF 4.4/5, ML 4.5/5, FA 9.4/10Sansh&ocirc; day&ucirc; (Sansho the Bailiff) - NF 4.6/5, ML 4.5/5, FA 9/10The Set-Up - NF 4.4/5, ML 4.5/5, FA 9.3/10The Hustler - NF 4.6/5, ML 4.5/5, FA 8.9/10Dzien swira (Day of the Wacko) - NF 5/5, ML 4/5L'arm&eacute;e des ombres (Army of Shadows) - NF 4.5/5, ML 4.5/5Le trou - NF 4.4/5, FA 9.2/10 http://www.spout.com/blogs/karina/archive/2009/3/5/40843.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 3/5/2009 12:00:56 PM
Body: Zachary Levy’s Strongman, comes to SXSW after recently having won the Grand Jury Award at the Slamdance Film Festival, but an earlier project, through which Levy partially funded the film got a bit more press. In between shooting and editing his documentary, which he calls “a real-life version of La Strada,” Levy and some friends invented Bush Cards, decks of novelty playing cards, each emblazoned with an image of a different member of the George W. Bush administration and a memorable quote and/or factoid. Donald Rumsfeld’s ace of hearts passes along a typical slice of wisdom — “I don’t know what I said but I know what I think, and well, I assume it is what I said” — without comment. The cards got tons of press and sold like hot (yellow) cakes at indie bookstores and Urban Outfitters alike. Answering The 5 Questions We Ask Everyone, Levy both proposed restructuring film festival submissions to resemble architecture competitions (without, like, actual architecture), and gave big ups to Uncle Buck. That, and the Strongman trailer, after the jump. Tell us about your movie. Who did you work with, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. It’s like:  A real-life version La Strada meets The Cruise with the dysfunction of Crumb.  Or maybe like Darkness on the Edge of Town without Adam Raised a Cain.  The quick actually leaves out the dirty which is that it’s a hard-core verite film—in form closer to the Maysles or late 60’s Shirley Clarke than to most current docs—so it requires the audience to do a little work. Do you have a day job/a non-filmmaking occupation that raises money for your filmmaking efforts? Tell us about it. I started the film with credit cards and finished it with Bush Cards.  They were a deck of playing cards I made at the start of the Iraq War which became a big hit (the cards…not the war.)  You can still buy them online at www.bushcards.com. Have you been to SXSW before? If so, tell us about your funniest story from the experience. If not, what are you looking forward to re: the festival and/or the city of Austin? Yes…I came as a visitor in 2001.  I ended up literally getting stuck in the mud out at Willie Nelson’s place and Willie had to tow me out with his truck. Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? Uncle Buck and Grey Gardens. There’s been some criticism that the only way to get into SXSW is by being a part of an “incestuous scene where everybody knows everybody.” So who did *you* have to sleep with to get in? (Metaphorically or literally: are there any SXSW filmmaker(s) past or present that you’re close with personally and/or professionally, and how have those relationships helped or hurt the process of producing your film and getting it seen?) I just sent my film in.  But I think there may be some truth in that in general.  My film was in Slamdance in January and in the fall I sent copy to Joe Maggio who’ve I known for years working together in New York as a cameraperson.  Joe really loved it and really recommended it to the Slamdance people.  I don’t think it’s nepotism per se because I’m sure that there are a ton of films that come into every festival programming office that someone has recommended (and don’t get selected), but I’d think a recommendation probably at least keeps it in a programmer’s brain a second longer. One thing I think might help is to do it like an architecture competition—where people send in their entries in blind without credits attached.  That way, festivals who want to be seen more as purely (art) film festivals can protect both themselves and the filmmakers from that kind of criticism.  Other festivals can then be more of a combination of marketing, sales, and art festivals.  There’s enough room of course for both.  Ultimately, though I don’t pay too much attention to any of it—the politics and the gossip aren’t things which are all that interesting to me, and they won’t make me a better filmmaker, or stop me from making more films.  I figure if I keep on doing what I’m doing, sooner or later someone will get it—and if they don’t—well, then fuck ‘em. Originally posted on:SpoutBlog » Karina Longworth
]]>Thu, 05 Mar 2009 17:00:56 GMTKarinaKarina on SpoutBlog3/5/2009 12:00:56 PM Zachary Levy’s Strongman, comes to SXSW after recently having won the Grand Jury Award at the Slamdance Film Festival, but an earlier project, through which Levy partially funded the film got a bit more press. In between shooting and editing his documentary, which he calls “a real-life version of La Strada,” Levy and some friends invented Bush Cards, decks of novelty playing cards, each emblazoned with an image of a different member of the George W. Bush administration and a memorable quote and/or factoid. Donald Rumsfeld’s ace of hearts passes along a typical slice of wisdom — “I don’t know what I said but I know what I think, and well, I assume it is what I said” — without comment. The cards got tons of press and sold like hot (yellow) cakes at indie bookstores and Urban Outfitters alike. Answering The 5 Questions We Ask Everyone, Levy both proposed restructuring film festival submissions to resemble architecture competitions (without, like, actual architecture), and gave big ups to Uncle Buck. That, and the Strongman trailer, after the jump. Tell us about your movie. Who did you work with, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. It’s like:  A real-life version La Strada meets The Cruise with the dysfunction of Crumb.  Or maybe like Darkness on the Edge of Town without Adam Raised a Cain.  The quick actually leaves out the dirty which is that it’s a hard-core verite film—in form closer to the Maysles or late 60’s Shirley Clarke than to most current docs—so it requires the audience to do a little work. Do you have a day job/a non-filmmaking occupation that raises money for your filmmaking efforts? Tell us about it. I started the film with credit cards and finished it with Bush Cards.  They were a deck of playing cards I made at the start of the Iraq War which became a big hit (the cards…not the war.)  You can still buy them online at www.bushcards.com. Have you been to SXSW before? If so, tell us about your funniest story from the experience. If not, what are you looking forward to re: the festival and/or the city of Austin? Yes…I came as a visitor in 2001.  I ended up literally getting stuck in the mud out at Willie Nelson’s place and Willie had to tow me out with his truck. Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? Uncle Buck and Grey Gardens. There’s been some criticism that the only way to get into SXSW is by being a part of an “incestuous scene where everybody knows everybody.” So who did *you* have to sleep with to get in? (Metaphorically or literally: are there any SXSW filmmaker(s) past or present that you’re close with personally and/or professionally, and how have those relationships helped or hurt the process of producing your film and getting it seen?) I just sent my film in.  But I think there may be some truth in that in general.  My film was in Slamdance in January and in the fall I sent copy to Joe Maggio who’ve I known for years working together in New York as a cameraperson.  Joe really loved it and really recommended it to the Slamdance people.  I don’t think it’s nepotism per se because I’m sure that there are a ton of films that come into every festival programming office that someone has recommended (and don’t get selected), but I’d think a recommendation probably at least keeps it in a programmer’s brain a second longer. One thing I think might help is to do it like an architecture competition—where people send in their entries in blind without credits attached.  That way, festivals who want to be seen more as purely (art) film festivals can protect both themselves and the filmmakers from that kind of criticism.  Other festivals can then be more of a combination of marketing, sales, and art festivals.  There’s enough room of course for both.  Ultimately, though I don’t pay too much attention to any of it—the politics and the gossip aren’t things which are all that interesting to me, and they won’t make me a better filmmaker, or stop me from making more films.  I figure if I keep on doing what I’m doing, sooner or later someone will get it—and if they don’t—well, then fuck ‘em. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2009/3/5/40842.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/5/2009 12:00:44 PM
Body: Zachary Levy’s Strongman, comes to SXSW after recently having won the Grand Jury Award at the Slamdance Film Festival, but an earlier project, through which Levy partially funded the film got a bit more press. In between shooting and editing his documentary, which he calls “a real-life version of La Strada,” Levy and some friends invented Bush Cards, decks of novelty playing cards, each emblazoned with an image of a different member of the George W. Bush administration and a memorable quote and/or factoid. Donald Rumsfeld’s ace of hearts passes along a typical slice of wisdom — “I don’t know what I said but I know what I think, and well, I assume it is what I said” — without comment. The cards got tons of press and sold like hot (yellow) cakes at indie bookstores and Urban Outfitters alike. Answering The 5 Questions We Ask Everyone, Levy both proposed restructuring film festival submissions to resemble architecture competitions (without, like, actual architecture), and gave big ups to Uncle Buck. That, and the Strongman trailer, after the jump. Tell us about your movie. Who did you work with, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. It’s like:  A real-life version La Strada meets The Cruise with the dysfunction of Crumb.  Or maybe like Darkness on the Edge of Town without Adam Raised a Cain.  The quick actually leaves out the dirty which is that it’s a hard-core verite film—in form closer to the Maysles or late 60’s Shirley Clarke than to most current docs—so it requires the audience to do a little work. Do you have a day job/a non-filmmaking occupation that raises money for your filmmaking efforts? Tell us about it. I started the film with credit cards and finished it with Bush Cards.  They were a deck of playing cards I made at the start of the Iraq War which became a big hit (the cards…not the war.)  You can still buy them online at www.bushcards.com. Have you been to SXSW before? If so, tell us about your funniest story from the experience. If not, what are you looking forward to re: the festival and/or the city of Austin? Yes…I came as a visitor in 2001.  I ended up literally getting stuck in the mud out at Willie Nelson’s place and Willie had to tow me out with his truck. Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? Uncle Buck and Grey Gardens. There’s been some criticism that the only way to get into SXSW is by being a part of an “incestuous scene where everybody knows everybody.” So who did *you* have to sleep with to get in? (Metaphorically or literally: are there any SXSW filmmaker(s) past or present that you’re close with personally and/or professionally, and how have those relationships helped or hurt the process of producing your film and getting it seen?) I just sent my film in.  But I think there may be some truth in that in general.  My film was in Slamdance in January and in the fall I sent copy to Joe Maggio who’ve I known for years working together in New York as a cameraperson.  Joe really loved it and really recommended it to the Slamdance people.  I don’t think it’s nepotism per se because I’m sure that there are a ton of films that come into every festival programming office that someone has recommended (and don’t get selected), but I’d think a recommendation probably at least keeps it in a programmer’s brain a second longer. One thing I think might help is to do it like an architecture competition—where people send in their entries in blind without credits attached.  That way, festivals who want to be seen more as purely (art) film festivals can protect both themselves and the filmmakers from that kind of criticism.  Other festivals can then be more of a combination of marketing, sales, and art festivals.  There’s enough room of course for both.  Ultimately, though I don’t pay too much attention to any of it—the politics and the gossip aren’t things which are all that interesting to me, and they won’t make me a better filmmaker, or stop me from making more films.  I figure if I keep on doing what I’m doing, sooner or later someone will get it—and if they don’t—well, then fuck ‘em. Originally posted on:SpoutBlog
]]>Thu, 05 Mar 2009 17:00:44 GMTSpoutBlogSpoutBlog on spout.com3/5/2009 12:00:44 PM Zachary Levy’s Strongman, comes to SXSW after recently having won the Grand Jury Award at the Slamdance Film Festival, but an earlier project, through which Levy partially funded the film got a bit more press. In between shooting and editing his documentary, which he calls “a real-life version of La Strada,” Levy and some friends invented Bush Cards, decks of novelty playing cards, each emblazoned with an image of a different member of the George W. Bush administration and a memorable quote and/or factoid. Donald Rumsfeld’s ace of hearts passes along a typical slice of wisdom — “I don’t know what I said but I know what I think, and well, I assume it is what I said” — without comment. The cards got tons of press and sold like hot (yellow) cakes at indie bookstores and Urban Outfitters alike. Answering The 5 Questions We Ask Everyone, Levy both proposed restructuring film festival submissions to resemble architecture competitions (without, like, actual architecture), and gave big ups to Uncle Buck. That, and the Strongman trailer, after the jump. Tell us about your movie. Who did you work with, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. It’s like:  A real-life version La Strada meets The Cruise with the dysfunction of Crumb.  Or maybe like Darkness on the Edge of Town without Adam Raised a Cain.  The quick actually leaves out the dirty which is that it’s a hard-core verite film—in form closer to the Maysles or late 60’s Shirley Clarke than to most current docs—so it requires the audience to do a little work. Do you have a day job/a non-filmmaking occupation that raises money for your filmmaking efforts? Tell us about it. I started the film with credit cards and finished it with Bush Cards.  They were a deck of playing cards I made at the start of the Iraq War which became a big hit (the cards…not the war.)  You can still buy them online at www.bushcards.com. Have you been to SXSW before? If so, tell us about your funniest story from the experience. If not, what are you looking forward to re: the festival and/or the city of Austin? Yes…I came as a visitor in 2001.  I ended up literally getting stuck in the mud out at Willie Nelson’s place and Willie had to tow me out with his truck. Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? Uncle Buck and Grey Gardens. There’s been some criticism that the only way to get into SXSW is by being a part of an “incestuous scene where everybody knows everybody.” So who did *you* have to sleep with to get in? (Metaphorically or literally: are there any SXSW filmmaker(s) past or present that you’re close with personally and/or professionally, and how have those relationships helped or hurt the process of producing your film and getting it seen?) I just sent my film in.  But I think there may be some truth in that in general.  My film was in Slamdance in January and in the fall I sent copy to Joe Maggio who’ve I known for years working together in New York as a cameraperson.  Joe really loved it and really recommended it to the Slamdance people.  I don’t think it’s nepotism per se because I’m sure that there are a ton of films that come into every festival programming office that someone has recommended (and don’t get selected), but I’d think a recommendation probably at least keeps it in a programmer’s brain a second longer. One thing I think might help is to do it like an architecture competition—where people send in their entries in blind without credits attached.  That way, festivals who want to be seen more as purely (art) film festivals can protect both themselves and the filmmakers from that kind of criticism.  Other festivals can then be more of a combination of marketing, sales, and art festivals.  There’s enough room of course for both.  Ultimately, though I don’t pay too much attention to any of it—the politics and the gossip aren’t things which are all that interesting to me, and they won’t make me a better filmmaker, or stop me from making more films.  I figure if I keep on doing what I’m doing, sooner or later someone will get it—and if they don’t—well, then fuck ‘em. Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/Classic/MemberTagFilms.aspxClassic
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