list http://www.spout.com/ Recent community activity around Chicago 10 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/Chicago_10/299449/default.aspx Title: Chicago 10
Year: 2008
Director: Brett Morgan, Brett Morgen
Plot: The Kid Stays in the Picture director Brett Morgen turns his unique eye toward the infamous 1968 Democratic National Convention in this 2006 documentary. Using a star-studded voice cast along with a blend of archival footage and animation, Morgen tells the story of the eight demonstrators who were arrested and tried for conspiracy in the wake of the violent anti-war protests. Featuring the voices of Nick Nolte and Mark Ruffalo among others, Chicago 10 premiered at the 2007 Sundance Film Festival. ~ Matthew Tobey, All Movie Guide
Times Tagged: 17
Number of Lists: 4
Number of blog posts: 6
SpoutRating: 3
]]>Fri, 09 Jan 2009 10:01:56 GMTChicago 102008Brett Morgan, Brett Morgen<a href="http://www.spout.com/films/206452/detail.aspx" style='text-decoration:underline'>The Kid Stays in the Picture</a> director Brett Morgen turns his unique eye toward the infamous 1968 Democratic National Convention in this 2006 documentary. Using a star-studded voice cast along with a blend of archival footage and animation, Morgen tells the story of the eight demonstrators who were arrested and tried for conspiracy in the wake of the violent anti-war protests. Featuring the voices of <a href="http://www.spout.com/players/P____52916/default.aspx" style='text-decoration:underline'>Nick Nolte</a> and <a href="http://www.spout.com/players/P___197651/default.aspx" style='text-decoration:underline'>Mark Ruffalo</a> among others, Chicago 10 premiered at the 2007 Sundance Film Festival. ~ Matthew Tobey, All Movie Guide17Tag Target (>10)463http://www.spout.com/ProductImages/s299449.jpghttp://www.spout.com/films/Chicago_10/299449/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2008/10/6/35947.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 10/6/2008 4:01:17 PM
Body: Animated, foreign-language, feature-length documentary. These are all separate categories for the Academy Awards, but they also together describe Ari Folman’s Waltz with Bashir, a film that has received tons of praise and Oscar buzz since premiering at Cannes last May. With such a rare combination and transcendence of genres, Waltz could possibly have been the first film to be nominated for Best Animated Feature, Best Documentary Feature and Best Foreign Language Film. Unfortunately, soon after being announced as Israel’s submission to the foreign category, Folman’s film fell out of contention for the documentary prize after its distributor, Sony Pictures Classics, had to choose between having a qualifying theatrical release and taking part in the New York Film Festival. But even if Waltz had been deemed technically eligible for the doc category, would the nominating committee have given it much of a chance? According to the Academy’s Documentary Feature rules, the film “may employ partial re-enactment … animation … or other techniques, as long as the emphasis is on fact and not fiction.” Waltz could possibly fall under this guideline, yet the word “partial” is key. Does “mostly” constitute as ‘partial”? It will be interesting to see if another mostly animated documentary, Brett Morgen’s Chicago 10, is deemed ineligible or if it makes the committee’s shortlist of 15 semi-finalists. Now, left with two categories to be considered for, Waltz will probably only garner one nomination. Here’s why Sony would be foolish not to concentrate on a push for the Animated Feature category: The film has a much better shot at being one of the three titles up for Best Animated Feature, surely competing with Wall-E and Kung Fu Panda. In the seven years that the category has existed, there have been four foreign films nominated for Best Animated Feature, and one of these titles (Hiyao Miyazaki’s Spirited Away) actually won the award. Meanwhile, comparatively, there seems to have been no film nominated for the Foreign Language Film prize that was either animated or a documentary. A few films of each type have been submitted for contention in the foreign category (Miyazaki’s Princess Mononoke and the recent Lebanese doc Before Flying Back to Earth, to name examples). However, it has been far more common for non-fiction foreign films to be nominated in the Documentary Feature category and for animated foreign films to now be nominated in the new Animated Feature category. Regardless of the history of the Foreign Language Oscar, though, Waltz has less a chance of being a nominee in that category simply due to its near certainty of being nominated for the animation award. When a film is eligible for multiple categories, there’s a possibility that respective Academy branches will see that film as better suited – and only suited – for another award than its own. Therefore, the foreign category’s nominating committee could shrug off Waltz in the anticipation that the film will receive the nomination from the animation branch. Such a pass-off may have happened last year, when France chose Persepolis as its submission to the Foreign Language category. While the film ended up receiving a nomination for Best Animated Feature, it failed to even be shortlisted as one of the nine semi-finalists for the foreign prize. Like Persepolis, though, Waltz faces stiff competition in the animation category from Pixar. Last year, the foreign contender was beaten by Ratatouille, while this year any dark horse candidate will be pummeled by Wall-E, especially if the latter film doesn’t garner a coveted Best Picture nom — the Academy will of course never need to include an animated film in the top category now that the genre has its own specific space. As for the foreign category, if Waltz does make it into contention, it will likely lose to Laurent Cantet’s The Class, which also fared better at Cannes during the festival’s awards ceremony (and which is also being distributed by Sony Classics). For the French, of course, it would be a bittersweet victory to beat an animated feature considering last year’s circumstances with its submission of Persepolis. Despite the probability that Waltz will lose whichever category it’s nominated in, there is far more benefit to the film being recognized by the animation branch than the foreign branch. Films that are merely nominated for the Foreign Language Oscar do not necessarily come out of the Academy Awards with a greater guarantee of reaching an American audience. Comparatively, being listed as only one-third of a group that also includes blockbusters like Wall-E and Kung Fu Panda is sure to get Waltz more attention. Not only is it good company to be in, it’s a slimmer, more exclusive league, too. Of course, being nominated in both categories would be the best option for Waltz, even if it walks away with neither trophy. Obviously an arthouse film, particuarly one with the triple handicap of being an animated, foreign-language documentary, will always benefit from having its title heard multiple times during the Oscars telecast. Originally posted on:SpoutBlog
]]>Mon, 06 Oct 2008 20:01:17 GMTSpoutBlogSpoutBlog on spout.com10/6/2008 4:01:17 PM Animated, foreign-language, feature-length documentary. These are all separate categories for the Academy Awards, but they also together describe Ari Folman’s Waltz with Bashir, a film that has received tons of praise and Oscar buzz since premiering at Cannes last May. With such a rare combination and transcendence of genres, Waltz could possibly have been the first film to be nominated for Best Animated Feature, Best Documentary Feature and Best Foreign Language Film. Unfortunately, soon after being announced as Israel’s submission to the foreign category, Folman’s film fell out of contention for the documentary prize after its distributor, Sony Pictures Classics, had to choose between having a qualifying theatrical release and taking part in the New York Film Festival. But even if Waltz had been deemed technically eligible for the doc category, would the nominating committee have given it much of a chance? According to the Academy’s Documentary Feature rules, the film “may employ partial re-enactment … animation … or other techniques, as long as the emphasis is on fact and not fiction.” Waltz could possibly fall under this guideline, yet the word “partial” is key. Does “mostly” constitute as ‘partial”? It will be interesting to see if another mostly animated documentary, Brett Morgen’s Chicago 10, is deemed ineligible or if it makes the committee’s shortlist of 15 semi-finalists. Now, left with two categories to be considered for, Waltz will probably only garner one nomination. Here’s why Sony would be foolish not to concentrate on a push for the Animated Feature category: The film has a much better shot at being one of the three titles up for Best Animated Feature, surely competing with Wall-E and Kung Fu Panda. In the seven years that the category has existed, there have been four foreign films nominated for Best Animated Feature, and one of these titles (Hiyao Miyazaki’s Spirited Away) actually won the award. Meanwhile, comparatively, there seems to have been no film nominated for the Foreign Language Film prize that was either animated or a documentary. A few films of each type have been submitted for contention in the foreign category (Miyazaki’s Princess Mononoke and the recent Lebanese doc Before Flying Back to Earth, to name examples). However, it has been far more common for non-fiction foreign films to be nominated in the Documentary Feature category and for animated foreign films to now be nominated in the new Animated Feature category. Regardless of the history of the Foreign Language Oscar, though, Waltz has less a chance of being a nominee in that category simply due to its near certainty of being nominated for the animation award. When a film is eligible for multiple categories, there’s a possibility that respective Academy branches will see that film as better suited – and only suited – for another award than its own. Therefore, the foreign category’s nominating committee could shrug off Waltz in the anticipation that the film will receive the nomination from the animation branch. Such a pass-off may have happened last year, when France chose Persepolis as its submission to the Foreign Language category. While the film ended up receiving a nomination for Best Animated Feature, it failed to even be shortlisted as one of the nine semi-finalists for the foreign prize. Like Persepolis, though, Waltz faces stiff competition in the animation category from Pixar. Last year, the foreign contender was beaten by Ratatouille, while this year any dark horse candidate will be pummeled by Wall-E, especially if the latter film doesn’t garner a coveted Best Picture nom — the Academy will of course never need to include an animated film in the top category now that the genre has its own specific space. As for the foreign category, if Waltz does make it into contention, it will likely lose to Laurent Cantet’s The Class, which also fared better at Cannes during the festival’s awards ceremony (and which is also being distributed by Sony Classics). For the French, of course, it would be a bittersweet victory to beat an animated feature considering last year’s circumstances with its submission of Persepolis. Despite the probability that Waltz will lose whichever category it’s nominated in, there is far more benefit to the film being recognized by the animation branch than the foreign branch. Films that are merely nominated for the Foreign Language Oscar do not necessarily come out of the Academy Awards with a greater guarantee of reaching an American audience. Comparatively, being listed as only one-third of a group that also includes blockbusters like Wall-E and Kung Fu Panda is sure to get Waltz more attention. Not only is it good company to be in, it’s a slimmer, more exclusive league, too. Of course, being nominated in both categories would be the best option for Waltz, even if it walks away with neither trophy. Obviously an arthouse film, particuarly one with the triple handicap of being an animated, foreign-language documentary, will always benefit from having its title heard multiple times during the Oscars telecast. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/8/25/34347.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/25/2008 3:01:09 PM
Body: Forty years after the infamous 1968 Democratic National Convention in Chicago, protesters are looking to repeat history in Denver this week. In fact there’s even a group calling itself “Recreate ‘68″, and if you’re a true internerd, you’ve already seen the popular YouTube clip of the crowd chanting “Fuck Fox News” at a Fox News correspondent (check out the other side here). After so many attempts at making parallels between ‘68 and ‘08, I’m a little bored of the nostalgia, and I think the retro attitude is past the point of showing its ineffectiveness. Earlier this year, I groaned at the use of a modern (though really, mostly decade-old) soundtrack in the ‘68 DNC-set animated documentary Chicago 10. Yet two years prior to that film’s 2007 premiere at Sundance, I had already seen a failed attempt to callback ‘68 with the Medium Cool homage This Revolution, the trailer for which is today’s clip of the day. Apparently there was another even less successful try at recreating Haskell Wexler’s film in ‘04, titled Medium Hot (see its trailer here). So, seemingly more appropriate, there’s sure to be some amateur filmmaking going on in Denver this week in hopes of making yet another Medium Cool Redux. But as disappointing as the end product would be in terms of redundancy and retrogress, it’s also unnecessary since we’re already getting footage from all sides of the streets immediately thanks to YouTube. Plus, while it was interesting to see actual protesting and rioting going on amidst Wexler’s film, it was about more than capturing those specific real-life events. If you’ve never seen the original film, you can check it out in parts on YouTube, beginning with part 1/11. If you have seen it, or you’re only intrigued about the most significant segment, skip to part 10. Originally posted on:SpoutBlog
]]>Mon, 25 Aug 2008 19:01:09 GMTSpoutBlogSpoutBlog on spout.com8/25/2008 3:01:09 PM Forty years after the infamous 1968 Democratic National Convention in Chicago, protesters are looking to repeat history in Denver this week. In fact there’s even a group calling itself “Recreate ‘68″, and if you’re a true internerd, you’ve already seen the popular YouTube clip of the crowd chanting “Fuck Fox News” at a Fox News correspondent (check out the other side here). After so many attempts at making parallels between ‘68 and ‘08, I’m a little bored of the nostalgia, and I think the retro attitude is past the point of showing its ineffectiveness. Earlier this year, I groaned at the use of a modern (though really, mostly decade-old) soundtrack in the ‘68 DNC-set animated documentary Chicago 10. Yet two years prior to that film’s 2007 premiere at Sundance, I had already seen a failed attempt to callback ‘68 with the Medium Cool homage This Revolution, the trailer for which is today’s clip of the day. Apparently there was another even less successful try at recreating Haskell Wexler’s film in ‘04, titled Medium Hot (see its trailer here). So, seemingly more appropriate, there’s sure to be some amateur filmmaking going on in Denver this week in hopes of making yet another Medium Cool Redux. But as disappointing as the end product would be in terms of redundancy and retrogress, it’s also unnecessary since we’re already getting footage from all sides of the streets immediately thanks to YouTube. Plus, while it was interesting to see actual protesting and rioting going on amidst Wexler’s film, it was about more than capturing those specific real-life events. If you’ve never seen the original film, you can check it out in parts on YouTube, beginning with part 1/11. If you have seen it, or you’re only intrigued about the most significant segment, skip to part 10. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/2/29/25731.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/29/2008 4:00:38 PM
Body: Chicago 10 is meant to build the mythology real people and events using non-fiction elements: Archival footage and–in dramatizing the trial of the protesters–animation. Director Brett Morgen uses a technique called Motion Capture, so that he himself could act out many of the courtroom characters. His physical movements were translated to drawn caricatures and then the voices were added from various actors (Roy Scheider as Judge Julius Hoffman is particularly surprising). By blending the animation with archival footage and a present day soundtrack (Beastie Boys “Sabotage” plays under archival footage of the hippies storming a monument in Grant Park), Morgen intends to ram the spirit of 60’s era protest into current events. However, I’ll be telling people to go see Chicago 10 for the pieces that are more documentary than call-to-arms. The Yippies (led by Abbie Hoffman) and MOBE (National Mobilization Committee to End the War in Vietnam, led by Rennie Davis) are organized protesters going to the 1968 Democratic National Convention to renounce the nomination of LBJ, and thereby a government running an unjust war. They converge on a city already in a bad year (the police in Chicago’s 1968 riots came off as the barbarian horde) and Mayor Daley publicly promised any disorderly conduct at the Convention would be squashed. Conversely, Abbie Hoffman and the Yippies were promising the start of the New Revolution. Hence, tensions were high around the Convention before the bunting was even hung. (more…) Originally posted on:SpoutBlog
]]>Fri, 29 Feb 2008 21:00:38 GMTSpoutBlogSpoutBlog on spout.com2/29/2008 4:00:38 PMChicago 10 is meant to build the mythology real people and events using non-fiction elements: Archival footage and–in dramatizing the trial of the protesters–animation. Director Brett Morgen uses a technique called Motion Capture, so that he himself could act out many of the courtroom characters. His physical movements were translated to drawn caricatures and then the voices were added from various actors (Roy Scheider as Judge Julius Hoffman is particularly surprising). By blending the animation with archival footage and a present day soundtrack (Beastie Boys “Sabotage” plays under archival footage of the hippies storming a monument in Grant Park), Morgen intends to ram the spirit of 60’s era protest into current events. However, I’ll be telling people to go see Chicago 10 for the pieces that are more documentary than call-to-arms. The Yippies (led by Abbie Hoffman) and MOBE (National Mobilization Committee to End the War in Vietnam, led by Rennie Davis) are organized protesters going to the 1968 Democratic National Convention to renounce the nomination of LBJ, and thereby a government running an unjust war. They converge on a city already in a bad year (the police in Chicago’s 1968 riots came off as the barbarian horde) and Mayor Daley publicly promised any disorderly conduct at the Convention would be squashed. Conversely, Abbie Hoffman and the Yippies were promising the start of the New Revolution. Hence, tensions were high around the Convention before the bunting was even hung. (more…) Originally posted on:SpoutBlog http://www.spout.com/blogs/paul/archive/2008/2/29/25730.aspx Post By: paul
Post To: paul on spout.com
Post Date: 2/29/2008 4:00:16 PM
Body: Chicago 10 is meant to build the mythology real people and events using non-fiction elements: Archival footage and–in dramatizing the trial of the protesters–animation. Director Brett Morgen uses a technique called Motion Capture, so that he himself could act out many of the courtroom characters. His physical movements were translated to drawn caricatures and then the voices were added from various actors (Roy Scheider as Judge Julius Hoffman is particularly surprising). By blending the animation with archival footage and a present day soundtrack (Beastie Boys “Sabotage” plays under archival footage of the hippies storming a monument in Grant Park), Morgen intends to ram the spirit of 60’s era protest into current events. However, I’ll be telling people to go see Chicago 10 for the pieces that are more documentary than call-to-arms. The Yippies (led by Abbie Hoffman) and MOBE (National Mobilization Committee to End the War in Vietnam, led by Rennie Davis) are organized protesters going to the 1968 Democratic National Convention to renounce the nomination of LBJ, and thereby a government running an unjust war. They converge on a city already in a bad year (the police in Chicago’s 1968 riots came off as the barbarian horde) and Mayor Daley publicly promised any disorderly conduct at the Convention would be squashed. Conversely, Abbie Hoffman and the Yippies were promising the start of the New Revolution. Hence, tensions were high around the Convention before the bunting was even hung. (more…) Originally posted on:SpoutBlog » Paul
]]>Fri, 29 Feb 2008 21:00:16 GMTpaulpaul on spout.com2/29/2008 4:00:16 PMChicago 10 is meant to build the mythology real people and events using non-fiction elements: Archival footage and–in dramatizing the trial of the protesters–animation. Director Brett Morgen uses a technique called Motion Capture, so that he himself could act out many of the courtroom characters. His physical movements were translated to drawn caricatures and then the voices were added from various actors (Roy Scheider as Judge Julius Hoffman is particularly surprising). By blending the animation with archival footage and a present day soundtrack (Beastie Boys “Sabotage” plays under archival footage of the hippies storming a monument in Grant Park), Morgen intends to ram the spirit of 60’s era protest into current events. However, I’ll be telling people to go see Chicago 10 for the pieces that are more documentary than call-to-arms. The Yippies (led by Abbie Hoffman) and MOBE (National Mobilization Committee to End the War in Vietnam, led by Rennie Davis) are organized protesters going to the 1968 Democratic National Convention to renounce the nomination of LBJ, and thereby a government running an unjust war. They converge on a city already in a bad year (the police in Chicago’s 1968 riots came off as the barbarian horde) and Mayor Daley publicly promised any disorderly conduct at the Convention would be squashed. Conversely, Abbie Hoffman and the Yippies were promising the start of the New Revolution. Hence, tensions were high around the Convention before the bunting was even hung. (more…) Originally posted on:SpoutBlog » Paul http://www.spout.com/blogs/spoutblog/archive/2008/2/29/25697.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/29/2008 10:01:02 AM
Body: Chicago 10 opens tonight. It’s a film full of archival footage and animated courtroom drama about the 1968 Democratic National Convention protests. We talk to director Brett Morgen about his dedication to bringing 60’s era protest back to today and ask the question, “Can it be done?” Lindsay Lohan swept the Razzies last weekend when I Know Who Killed Me outdid Catwoman as one of the all-time worst movies ever. But there’s a lot of people out there who say it’s, in fact, one of the best movies of 2007. We investigate. (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store and an episode will download each Friday) FilmCouch 59 Chicago 10, Brett Morgen, I Know Who Killed Me, Lindsay Lohan Originally posted on:SpoutBlog
]]>Fri, 29 Feb 2008 15:01:02 GMTSpoutBlogSpoutBlog on spout.com2/29/2008 10:01:02 AM Chicago 10 opens tonight. It’s a film full of archival footage and animated courtroom drama about the 1968 Democratic National Convention protests. We talk to director Brett Morgen about his dedication to bringing 60’s era protest back to today and ask the question, “Can it be done?” Lindsay Lohan swept the Razzies last weekend when I Know Who Killed Me outdid Catwoman as one of the all-time worst movies ever. But there’s a lot of people out there who say it’s, in fact, one of the best movies of 2007. We investigate. (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store and an episode will download each Friday) FilmCouch 59 Chicago 10, Brett Morgen, I Know Who Killed Me, Lindsay Lohan Originally posted on:SpoutBlog http://www.spout.com/blogs/paul/archive/2008/2/29/25696.aspx Post By: paul
Post To: paul on spout.com
Post Date: 2/29/2008 10:00:35 AM
Body: Chicago 10 opens tonight. It’s a film full of archival footage and animated courtroom drama about the 1968 Democratic National Convention protests. We talk to director Brett Morgen about his dedication to bringing 60’s era protest back to today and ask the question, “Can it be done?” Lindsay Lohan swept the Razzies last weekend when I Know Who Killed Me outdid Catwoman as one of the all-time worst movies ever. But there’s a lot of people out there who say it’s, in fact, one of the best movies of 2007. We investigate. (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store and an episode will download each Friday) FilmCouch 59 Chicago 10, Brett Morgen, I Know Who Killed Me, Lindsay Lohan Originally posted on:SpoutBlog » Paul
]]>Fri, 29 Feb 2008 15:00:35 GMTpaulpaul on spout.com2/29/2008 10:00:35 AM Chicago 10 opens tonight. It’s a film full of archival footage and animated courtroom drama about the 1968 Democratic National Convention protests. We talk to director Brett Morgen about his dedication to bringing 60’s era protest back to today and ask the question, “Can it be done?” Lindsay Lohan swept the Razzies last weekend when I Know Who Killed Me outdid Catwoman as one of the all-time worst movies ever. But there’s a lot of people out there who say it’s, in fact, one of the best movies of 2007. We investigate. (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store and an episode will download each Friday) FilmCouch 59 Chicago 10, Brett Morgen, I Know Who Killed Me, Lindsay Lohan Originally posted on:SpoutBlog » Paul http://www.spout.com/members/0/tags/racism/MemberTagFilms.aspxracism
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