list http://www.spout.com/ Recent community activity around Quiet City 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/Quiet_City/324837/default.aspx Title: Quiet City
Year: 2007
Director: Aaron Katz
Plot: In Aaron Katz's idiosyncratic and unpredictable drama Quiet City, Georgian Jamie travels from her Atlanta home to Manhattan, to visit her Brooklynite friend, Samantha. When Jamie arrives, however, Samantha seems to have disappeared from her residence - her phone is disconnected and she cannot be located. By sheer happenstance, Jamie runs into a stranger, Charlie, when she stops him to ask for directions. The two strike up an instant rapport and spend the rest of the day and night together - eating coleslaw, attending art exhibitions and experiencing Manhattan nightlife. The picture thus becomes an exploration of how relationships can spring from chance meetings between strangers, amid the most unfamiliar of circumstances and environments. ~ Nathan Southern, All Movie Guide
Times Tagged: 30
Number of Lists: 6
Number of blog posts: 81
Number of discussion threads: 3
SpoutRating: 4
]]>Wed, 26 Aug 2009 17:01:26 GMTQuiet City2007Aaron KatzIn Aaron Katz's idiosyncratic and unpredictable drama Quiet City, Georgian Jamie travels from her Atlanta home to Manhattan, to visit her Brooklynite friend, Samantha. When Jamie arrives, however, Samantha seems to have disappeared from her residence - her phone is disconnected and she cannot be located. By sheer happenstance, Jamie runs into a stranger, Charlie, when she stops him to ask for directions. The two strike up an instant rapport and spend the rest of the day and night together - eating coleslaw, attending art exhibitions and experiencing Manhattan nightlife. The picture thus becomes an exploration of how relationships can spring from chance meetings between strangers, amid the most unfamiliar of circumstances and environments. ~ Nathan Southern, All Movie Guide30Tag Target (>10)68134http://www.spout.com/ProductImages/s324837.jpghttp://www.spout.com/films/Quiet_City/324837/default.aspxFilm http://www.spout.com/blogs/karina/archive/2009/8/26/43719.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 8/26/2009 1:01:26 PM
Body: The following review appeared during the 2008 Hamptons Film Festival. Luke and Brie Are On a First Date is now available for rental or purchase via Amazon Video on Demand. Luke and Brie Are On a First Date, which world premiered in the Hamptons last weekend, is the debut feature by Chad Hartigan, a frequent collaborator of Aaron Katz, and there are definitely some superficial similarities between the two filmmakers’ work. Like Katz’s Quiet City, Luke and Brie follows two attractive young people (George Ducker and Meghan Webster) around a city as they break through awkward uncertainty to forge a tentative romantic connection, and with their dreamy, super-intimate videography, both films have a way of enveloping a viewer in the action (or what passes for action), ultimately serving as delivery vehicles for the kind of heightened realism that marks an unexpectedly life-changing night out. But Luke and Brie plays its drama much closer to the surface, and through a little bit of self-reflexivity, a film that’s virtually wall-to-wall conversation manages to avoid feeling too talky. Hartigan, who is a Los Angeles-based box office analyst by day, said after the Hamptons screening that Luke and Brie, based structurally on his own first date with his current girlfriend, was shot in 5 days on a budget of $3000. The small scale of the project opens it up to an obvious criticism: surely, all of us could come up with a single night in our romantic lives that seems worthy of dramatization, and many of us could round up some friends and scrape together a few dollars and take a week off work to tell it. So what makes Luke and Brie special? Maybe nothing, and maybe that’s it — maybe it’s not interesting because it’s entering into unchartered territory, but because it takes us through universal, well-worn feelings and makes them feel new. With his camera often seeming to float over faces in extreme close-up, Hartigan’s micro-focus on the nerves, uncertainties, and ambiguities, the posturing and reflex self-medication and unexpected moments of honesty that fuel the night so nails the harrowing aspect of navigating modern romance — in which it’s always easier to do nothing than to do what one really wants — that he’s able to turn the film’s ultimate surrender to traditional romantic closure into something of a surprise. Originally posted on:SpoutBlog » Karina Longworth
]]>Wed, 26 Aug 2009 17:01:26 GMTKarinaKarina on SpoutBlog8/26/2009 1:01:26 PMThe following review appeared during the 2008 Hamptons Film Festival. Luke and Brie Are On a First Date is now available for rental or purchase via Amazon Video on Demand. Luke and Brie Are On a First Date, which world premiered in the Hamptons last weekend, is the debut feature by Chad Hartigan, a frequent collaborator of Aaron Katz, and there are definitely some superficial similarities between the two filmmakers’ work. Like Katz’s Quiet City, Luke and Brie follows two attractive young people (George Ducker and Meghan Webster) around a city as they break through awkward uncertainty to forge a tentative romantic connection, and with their dreamy, super-intimate videography, both films have a way of enveloping a viewer in the action (or what passes for action), ultimately serving as delivery vehicles for the kind of heightened realism that marks an unexpectedly life-changing night out. But Luke and Brie plays its drama much closer to the surface, and through a little bit of self-reflexivity, a film that’s virtually wall-to-wall conversation manages to avoid feeling too talky. Hartigan, who is a Los Angeles-based box office analyst by day, said after the Hamptons screening that Luke and Brie, based structurally on his own first date with his current girlfriend, was shot in 5 days on a budget of $3000. The small scale of the project opens it up to an obvious criticism: surely, all of us could come up with a single night in our romantic lives that seems worthy of dramatization, and many of us could round up some friends and scrape together a few dollars and take a week off work to tell it. So what makes Luke and Brie special? Maybe nothing, and maybe that’s it — maybe it’s not interesting because it’s entering into unchartered territory, but because it takes us through universal, well-worn feelings and makes them feel new. With his camera often seeming to float over faces in extreme close-up, Hartigan’s micro-focus on the nerves, uncertainties, and ambiguities, the posturing and reflex self-medication and unexpected moments of honesty that fuel the night so nails the harrowing aspect of navigating modern romance — in which it’s always easier to do nothing than to do what one really wants — that he’s able to turn the film’s ultimate surrender to traditional romantic closure into something of a surprise. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2009/8/26/43718.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/26/2009 1:01:15 PM
Body: The following review appeared during the 2008 Hamptons Film Festival. Luke and Brie Are On a First Date is now available for rental or purchase via Amazon Video on Demand. Luke and Brie Are On a First Date, which world premiered in the Hamptons last weekend, is the debut feature by Chad Hartigan, a frequent collaborator of Aaron Katz, and there are definitely some superficial similarities between the two filmmakers’ work. Like Katz’s Quiet City, Luke and Brie follows two attractive young people (George Ducker and Meghan Webster) around a city as they break through awkward uncertainty to forge a tentative romantic connection, and with their dreamy, super-intimate videography, both films have a way of enveloping a viewer in the action (or what passes for action), ultimately serving as delivery vehicles for the kind of heightened realism that marks an unexpectedly life-changing night out. But Luke and Brie plays its drama much closer to the surface, and through a little bit of self-reflexivity, a film that’s virtually wall-to-wall conversation manages to avoid feeling too talky. Hartigan, who is a Los Angeles-based box office analyst by day, said after the Hamptons screening that Luke and Brie, based structurally on his own first date with his current girlfriend, was shot in 5 days on a budget of $3000. The small scale of the project opens it up to an obvious criticism: surely, all of us could come up with a single night in our romantic lives that seems worthy of dramatization, and many of us could round up some friends and scrape together a few dollars and take a week off work to tell it. So what makes Luke and Brie special? Maybe nothing, and maybe that’s it — maybe it’s not interesting because it’s entering into unchartered territory, but because it takes us through universal, well-worn feelings and makes them feel new. With his camera often seeming to float over faces in extreme close-up, Hartigan’s micro-focus on the nerves, uncertainties, and ambiguities, the posturing and reflex self-medication and unexpected moments of honesty that fuel the night so nails the harrowing aspect of navigating modern romance — in which it’s always easier to do nothing than to do what one really wants — that he’s able to turn the film’s ultimate surrender to traditional romantic closure into something of a surprise. Originally posted on:SpoutBlog
]]>Wed, 26 Aug 2009 17:01:15 GMTSpoutBlogSpoutBlog on spout.com8/26/2009 1:01:15 PMThe following review appeared during the 2008 Hamptons Film Festival. Luke and Brie Are On a First Date is now available for rental or purchase via Amazon Video on Demand. Luke and Brie Are On a First Date, which world premiered in the Hamptons last weekend, is the debut feature by Chad Hartigan, a frequent collaborator of Aaron Katz, and there are definitely some superficial similarities between the two filmmakers’ work. Like Katz’s Quiet City, Luke and Brie follows two attractive young people (George Ducker and Meghan Webster) around a city as they break through awkward uncertainty to forge a tentative romantic connection, and with their dreamy, super-intimate videography, both films have a way of enveloping a viewer in the action (or what passes for action), ultimately serving as delivery vehicles for the kind of heightened realism that marks an unexpectedly life-changing night out. But Luke and Brie plays its drama much closer to the surface, and through a little bit of self-reflexivity, a film that’s virtually wall-to-wall conversation manages to avoid feeling too talky. Hartigan, who is a Los Angeles-based box office analyst by day, said after the Hamptons screening that Luke and Brie, based structurally on his own first date with his current girlfriend, was shot in 5 days on a budget of $3000. The small scale of the project opens it up to an obvious criticism: surely, all of us could come up with a single night in our romantic lives that seems worthy of dramatization, and many of us could round up some friends and scrape together a few dollars and take a week off work to tell it. So what makes Luke and Brie special? Maybe nothing, and maybe that’s it — maybe it’s not interesting because it’s entering into unchartered territory, but because it takes us through universal, well-worn feelings and makes them feel new. With his camera often seeming to float over faces in extreme close-up, Hartigan’s micro-focus on the nerves, uncertainties, and ambiguities, the posturing and reflex self-medication and unexpected moments of honesty that fuel the night so nails the harrowing aspect of navigating modern romance — in which it’s always easier to do nothing than to do what one really wants — that he’s able to turn the film’s ultimate surrender to traditional romantic closure into something of a surprise. Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/10/24/36659.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 10/24/2008 6:02:03 PM
Body: Luke and Brie Are On a First Date, which world premiered in the Hamptons last weekend, is the debut feature by Chad Hartigan, a frequent collaborator of Aaron Katz, and there are definitely some superficial similarities between the two filmmakers’ work. Like Katz’s Quiet City, Luke and Brie follows two attractive young people (George Ducker and Meghan Webster) around a city as they break through awkward uncertainty to forge a tentative romantic connection, and with their dreamy, super-intimate videography, both films have a way of enveloping a viewer in the action (or what passes for action), ultimately serving as delivery vehicles for the kind of heightened realism that marks an unexpectedly life-changing night out.  But Luke and Brie plays its drama much closer to the surface, and through a little bit of self-reflexivity, a film that’s virtually wall-to-wall conversation manages to avoid feeling too talky. Hartigan, who is a Los Angeles-based box office analyst by day, said after the Hamptons screening that Luke and Brie, based structurally on his own first date with his current girlfriend, was shot in 5 days on a budget of $3000. The small scale of the project opens it up to an obvious criticism: surely, all of us could come up with a single night in our romantic lives that seems worthy of dramatization, and many of us could round up some friends and scrape together a few dollars and take a week off work to tell it. So what makes Luke and Brie special? Maybe nothing, and maybe that’s it — maybe it’s not interesting because it’s entering into unchartered territory, but because it takes us through universal, well-worn feelings and makes them feel new. With his camera often seeming to float over faces in extreme close-up, Hartigan’s micro-focus on the nerves, uncertainties, and ambiguities, the posturing and reflex self-medication and unexpected moments of honesty that fuel the night so nails the harrowing aspect of navigating modern romance — in which it’s always easier to do nothing than to do what one really wants — that he’s able to turn the film’s ultimate surrender to traditional romantic closure into something of a surprise. I had a bit more to say about Luke and Brie on this week’s episode of FilmCouch. The trailer is above, and future screening information is here. The film is still on the festival circuit and does not have distribution. Originally posted on:SpoutBlog » Karina Longworth
]]>Fri, 24 Oct 2008 22:02:03 GMTKarinaKarina on SpoutBlog10/24/2008 6:02:03 PM Luke and Brie Are On a First Date, which world premiered in the Hamptons last weekend, is the debut feature by Chad Hartigan, a frequent collaborator of Aaron Katz, and there are definitely some superficial similarities between the two filmmakers’ work. Like Katz’s Quiet City, Luke and Brie follows two attractive young people (George Ducker and Meghan Webster) around a city as they break through awkward uncertainty to forge a tentative romantic connection, and with their dreamy, super-intimate videography, both films have a way of enveloping a viewer in the action (or what passes for action), ultimately serving as delivery vehicles for the kind of heightened realism that marks an unexpectedly life-changing night out.  But Luke and Brie plays its drama much closer to the surface, and through a little bit of self-reflexivity, a film that’s virtually wall-to-wall conversation manages to avoid feeling too talky. Hartigan, who is a Los Angeles-based box office analyst by day, said after the Hamptons screening that Luke and Brie, based structurally on his own first date with his current girlfriend, was shot in 5 days on a budget of $3000. The small scale of the project opens it up to an obvious criticism: surely, all of us could come up with a single night in our romantic lives that seems worthy of dramatization, and many of us could round up some friends and scrape together a few dollars and take a week off work to tell it. So what makes Luke and Brie special? Maybe nothing, and maybe that’s it — maybe it’s not interesting because it’s entering into unchartered territory, but because it takes us through universal, well-worn feelings and makes them feel new. With his camera often seeming to float over faces in extreme close-up, Hartigan’s micro-focus on the nerves, uncertainties, and ambiguities, the posturing and reflex self-medication and unexpected moments of honesty that fuel the night so nails the harrowing aspect of navigating modern romance — in which it’s always easier to do nothing than to do what one really wants — that he’s able to turn the film’s ultimate surrender to traditional romantic closure into something of a surprise. I had a bit more to say about Luke and Brie on this week’s episode of FilmCouch. The trailer is above, and future screening information is here. The film is still on the festival circuit and does not have distribution. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/10/24/36658.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 10/24/2008 6:01:46 PM
Body: Luke and Brie Are On a First Date, which world premiered in the Hamptons last weekend, is the debut feature by Chad Hartigan, a frequent collaborator of Aaron Katz, and there are definitely some superficial similarities between the two filmmakers’ work. Like Katz’s Quiet City, Luke and Brie follows two attractive young people (George Ducker and Meghan Webster) around a city as they break through awkward uncertainty to forge a tentative romantic connection, and with their dreamy, super-intimate videography, both films have a way of enveloping a viewer in the action (or what passes for action), ultimately serving as delivery vehicles for the kind of heightened realism that marks an unexpectedly life-changing night out.  But Luke and Brie plays its drama much closer to the surface, and through a little bit of self-reflexivity, a film that’s virtually wall-to-wall conversation manages to avoid feeling too talky. Hartigan, who is a Los Angeles-based box office analyst by day, said after the Hamptons screening that Luke and Brie, based structurally on his own first date with his current girlfriend, was shot in 5 days on a budget of $3000. The small scale of the project opens it up to an obvious criticism: surely, all of us could come up with a single night in our romantic lives that seems worthy of dramatization, and many of us could round up some friends and scrape together a few dollars and take a week off work to tell it. So what makes Luke and Brie special? Maybe nothing, and maybe that’s it — maybe it’s not interesting because it’s entering into unchartered territory, but because it takes us through universal, well-worn feelings and makes them feel new. With his camera often seeming to float over faces in extreme close-up, Hartigan’s micro-focus on the nerves, uncertainties, and ambiguities, the posturing and reflex self-medication and unexpected moments of honesty that fuel the night so nails the harrowing aspect of navigating modern romance — in which it’s always easier to do nothing than to do what one really wants — that he’s able to turn the film’s ultimate surrender to traditional romantic closure into something of a surprise. I had a bit more to say about Luke and Brie on this week’s episode of FilmCouch. The trailer is above, and future screening information is here. The film is still on the festival circuit and does not have distribution. Originally posted on:SpoutBlog
]]>Fri, 24 Oct 2008 22:01:46 GMTSpoutBlogSpoutBlog on spout.com10/24/2008 6:01:46 PM Luke and Brie Are On a First Date, which world premiered in the Hamptons last weekend, is the debut feature by Chad Hartigan, a frequent collaborator of Aaron Katz, and there are definitely some superficial similarities between the two filmmakers’ work. Like Katz’s Quiet City, Luke and Brie follows two attractive young people (George Ducker and Meghan Webster) around a city as they break through awkward uncertainty to forge a tentative romantic connection, and with their dreamy, super-intimate videography, both films have a way of enveloping a viewer in the action (or what passes for action), ultimately serving as delivery vehicles for the kind of heightened realism that marks an unexpectedly life-changing night out.  But Luke and Brie plays its drama much closer to the surface, and through a little bit of self-reflexivity, a film that’s virtually wall-to-wall conversation manages to avoid feeling too talky. Hartigan, who is a Los Angeles-based box office analyst by day, said after the Hamptons screening that Luke and Brie, based structurally on his own first date with his current girlfriend, was shot in 5 days on a budget of $3000. The small scale of the project opens it up to an obvious criticism: surely, all of us could come up with a single night in our romantic lives that seems worthy of dramatization, and many of us could round up some friends and scrape together a few dollars and take a week off work to tell it. So what makes Luke and Brie special? Maybe nothing, and maybe that’s it — maybe it’s not interesting because it’s entering into unchartered territory, but because it takes us through universal, well-worn feelings and makes them feel new. With his camera often seeming to float over faces in extreme close-up, Hartigan’s micro-focus on the nerves, uncertainties, and ambiguities, the posturing and reflex self-medication and unexpected moments of honesty that fuel the night so nails the harrowing aspect of navigating modern romance — in which it’s always easier to do nothing than to do what one really wants — that he’s able to turn the film’s ultimate surrender to traditional romantic closure into something of a surprise. I had a bit more to say about Luke and Brie on this week’s episode of FilmCouch. The trailer is above, and future screening information is here. The film is still on the festival circuit and does not have distribution. Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/3/31/26801.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 3/31/2008 7:00:56 PM
Body: Jim Emerson has collated an incredibly comprehensive account of the events of the 1983 Telluride Film Festival, where Andrei Tarkovsky made some obtuse statements about cinema and art, and Richard Widmark offered an eloquent counterargument, which can essentially be reduced to its most powerful two words: “He stinks.” An intern in the Paramount Vantage publicity office Martin Scorsese has a MySpace profile. If you have $95, you can buy a My Blueberry Nights tee shirt.  Or, you can just go to indieWIRE’s Apple Store event tomorrow night and heckle Wong Kar Wai for indiscriminately distributing his branding rights for free. Dance Party USA and Quiet City scorer Keegan DeWitt is working on a new album. You can listen to a preview here. Originally posted on:SpoutBlog » karina
]]>Mon, 31 Mar 2008 23:00:56 GMTKarinaKarina on SpoutBlog3/31/2008 7:00:56 PM Jim Emerson has collated an incredibly comprehensive account of the events of the 1983 Telluride Film Festival, where Andrei Tarkovsky made some obtuse statements about cinema and art, and Richard Widmark offered an eloquent counterargument, which can essentially be reduced to its most powerful two words: “He stinks.” An intern in the Paramount Vantage publicity office Martin Scorsese has a MySpace profile. If you have $95, you can buy a My Blueberry Nights tee shirt.  Or, you can just go to indieWIRE’s Apple Store event tomorrow night and heckle Wong Kar Wai for indiscriminately distributing his branding rights for free. Dance Party USA and Quiet City scorer Keegan DeWitt is working on a new album. You can listen to a preview here. Originally posted on:SpoutBlog » karina http://www.spout.com/blogs/spoutblog/archive/2008/3/31/26800.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/31/2008 7:00:48 PM
Body: Jim Emerson has collated an incredibly comprehensive account of the events of the 1983 Telluride Film Festival, where Andrei Tarkovsky made some obtuse statements about cinema and art, and Richard Widmark offered an eloquent counterargument, which can essentially be reduced to its most powerful two words: “He stinks.” An intern in the Paramount Vantage publicity office Martin Scorsese has a MySpace profile. If you have $95, you can buy a My Blueberry Nights tee shirt.  Or, you can just go to indieWIRE’s Apple Store event tomorrow night and heckle Wong Kar Wai for indiscriminately distributing his branding rights for free. Dance Party USA and Quiet City scorer Keegan DeWitt is working on a new album. You can listen to a preview here. Originally posted on:SpoutBlog
]]>Mon, 31 Mar 2008 23:00:48 GMTSpoutBlogSpoutBlog on spout.com3/31/2008 7:00:48 PM Jim Emerson has collated an incredibly comprehensive account of the events of the 1983 Telluride Film Festival, where Andrei Tarkovsky made some obtuse statements about cinema and art, and Richard Widmark offered an eloquent counterargument, which can essentially be reduced to its most powerful two words: “He stinks.” An intern in the Paramount Vantage publicity office Martin Scorsese has a MySpace profile. If you have $95, you can buy a My Blueberry Nights tee shirt.  Or, you can just go to indieWIRE’s Apple Store event tomorrow night and heckle Wong Kar Wai for indiscriminately distributing his branding rights for free. Dance Party USA and Quiet City scorer Keegan DeWitt is working on a new album. You can listen to a preview here. Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/2/6/24786.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 2/6/2008 5:00:59 PM
Body: Erik Skillman, the Criterion designer who recently regaled us with tales of his process putting together the box image for Berlin Alexanderplatz, has applied some of the same techniques to a portrait of Barack Obama. “I’m not sure I quite captured him (there’s a little hint of Reinhold in there that’s kind of strange), but for a 20-minute sketch it’s not half bad…” [via Cinetrix] Mike Jones has already started blogging Berlin. We’ll be keeping an eye on Filmbrain, Twitch and of course Berlin-based David Hudson for updates over the next week or so. Jette Kernion on the magic trick of Quiet City: “You can’t watch a man and woman who become fast friends like this without wondering whether they’ll hook up, which provides a small amount of suspense. But you get so caught up watching these people and their friends that the romantic potential hardly seems to matter most of the time.” Kevin Kelly balks at Christina Ricci’s suggestion that there’s a “sad guy” thing in Speed Racer that will make the boys cry: “What’s a sad guy thing that’s not a sad girl thing? Does Speed lose his penis during one of the races and get told that he can’t have any Speed Juniors?” Originally posted on:SpoutBlog » karina
]]>Wed, 06 Feb 2008 22:00:59 GMTKarinaKarina on SpoutBlog2/6/2008 5:00:59 PM Erik Skillman, the Criterion designer who recently regaled us with tales of his process putting together the box image for Berlin Alexanderplatz, has applied some of the same techniques to a portrait of Barack Obama. “I’m not sure I quite captured him (there’s a little hint of Reinhold in there that’s kind of strange), but for a 20-minute sketch it’s not half bad…” [via Cinetrix] Mike Jones has already started blogging Berlin. We’ll be keeping an eye on Filmbrain, Twitch and of course Berlin-based David Hudson for updates over the next week or so. Jette Kernion on the magic trick of Quiet City: “You can’t watch a man and woman who become fast friends like this without wondering whether they’ll hook up, which provides a small amount of suspense. But you get so caught up watching these people and their friends that the romantic potential hardly seems to matter most of the time.” Kevin Kelly balks at Christina Ricci’s suggestion that there’s a “sad guy” thing in Speed Racer that will make the boys cry: “What’s a sad guy thing that’s not a sad girl thing? Does Speed lose his penis during one of the races and get told that he can’t have any Speed Juniors?” Originally posted on:SpoutBlog » karina http://www.spout.com/blogs/spoutblog/archive/2008/2/6/24785.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/6/2008 5:00:48 PM
Body: Erik Skillman, the Criterion designer who recently regaled us with tales of his process putting together the box image for Berlin Alexanderplatz, has applied some of the same techniques to a portrait of Barack Obama. “I’m not sure I quite captured him (there’s a little hint of Reinhold in there that’s kind of strange), but for a 20-minute sketch it’s not half bad…” [via Cinetrix] Mike Jones has already started blogging Berlin. We’ll be keeping an eye on Filmbrain, Twitch and of course Berlin-based David Hudson for updates over the next week or so. Jette Kernion on the magic trick of Quiet City: “You can’t watch a man and woman who become fast friends like this without wondering whether they’ll hook up, which provides a small amount of suspense. But you get so caught up watching these people and their friends that the romantic potential hardly seems to matter most of the time.” Kevin Kelly balks at Christina Ricci’s suggestion that there’s a “sad guy” thing in Speed Racer that will make the boys cry: “What’s a sad guy thing that’s not a sad girl thing? Does Speed lose his penis during one of the races and get told that he can’t have any Speed Juniors?” Originally posted on:SpoutBlog
]]>Wed, 06 Feb 2008 22:00:48 GMTSpoutBlogSpoutBlog on spout.com2/6/2008 5:00:48 PM Erik Skillman, the Criterion designer who recently regaled us with tales of his process putting together the box image for Berlin Alexanderplatz, has applied some of the same techniques to a portrait of Barack Obama. “I’m not sure I quite captured him (there’s a little hint of Reinhold in there that’s kind of strange), but for a 20-minute sketch it’s not half bad…” [via Cinetrix] Mike Jones has already started blogging Berlin. We’ll be keeping an eye on Filmbrain, Twitch and of course Berlin-based David Hudson for updates over the next week or so. Jette Kernion on the magic trick of Quiet City: “You can’t watch a man and woman who become fast friends like this without wondering whether they’ll hook up, which provides a small amount of suspense. But you get so caught up watching these people and their friends that the romantic potential hardly seems to matter most of the time.” Kevin Kelly balks at Christina Ricci’s suggestion that there’s a “sad guy” thing in Speed Racer that will make the boys cry: “What’s a sad guy thing that’s not a sad girl thing? Does Speed lose his penis during one of the races and get told that he can’t have any Speed Juniors?” Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/1/29/24504.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 1/29/2008 12:00:38 PM
Body: ?? Benten Films‘ second superbly-packaged DVD set (they previously released Joe Swamberg’s LOL) hits stores today. The set includes two films directed by Aaron Katz: Dance Party, USA, a kind of correction to Larry Clark’s KIDS, set in Portland and starring exquisitely natural local teens; and the Independent Spirit Award-nominated Quiet City, which I previously reviewed here. Both films are about a young boy and girl who venture out into urban spaces looking for an authentic experience. What sets them apart from traditional coming-of-age stories is, in part, the patience Katz shows in allowing his characters to take the time to settle into a tentative trust together. The films are both languid and totally economical; in terms of action, virtually nothing “happens,” and yet if there’s any fat to cut on either, I can’t find it. In Dance Party, we follow Gus, a teenage lothario whose sexual exploits seem rooted in a need to have a kernel of truth on which to base the elaborate stories with which he regales his friend/protege Bill, to a Fourth of July house party. Within minutes, Gus has talked a previously unknown girl into bed, but when that’s over??????Katz cuts straight from the initiation of the flirtation to Gus rolling off the unnamed female like a cold wave??????he still needs someone to talk to. (more…) Originally posted on:SpoutBlog » karina
]]>Tue, 29 Jan 2008 17:00:38 GMTKarinaKarina on SpoutBlog1/29/2008 12:00:38 PM?? Benten Films‘ second superbly-packaged DVD set (they previously released Joe Swamberg’s LOL) hits stores today. The set includes two films directed by Aaron Katz: Dance Party, USA, a kind of correction to Larry Clark’s KIDS, set in Portland and starring exquisitely natural local teens; and the Independent Spirit Award-nominated Quiet City, which I previously reviewed here. Both films are about a young boy and girl who venture out into urban spaces looking for an authentic experience. What sets them apart from traditional coming-of-age stories is, in part, the patience Katz shows in allowing his characters to take the time to settle into a tentative trust together. The films are both languid and totally economical; in terms of action, virtually nothing “happens,” and yet if there’s any fat to cut on either, I can’t find it. In Dance Party, we follow Gus, a teenage lothario whose sexual exploits seem rooted in a need to have a kernel of truth on which to base the elaborate stories with which he regales his friend/protege Bill, to a Fourth of July house party. Within minutes, Gus has talked a previously unknown girl into bed, but when that’s over??????Katz cuts straight from the initiation of the flirtation to Gus rolling off the unnamed female like a cold wave??????he still needs someone to talk to. (more…) Originally posted on:SpoutBlog » karina http://www.spout.com/blogs/spoutblog/archive/2008/1/29/24503.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/29/2008 12:00:26 PM
Body: ?? Benten Films‘ second superbly-packaged DVD set (they previously released Joe Swamberg’s LOL) hits stores today. The set includes two films directed by Aaron Katz: Dance Party, USA, a kind of correction to Larry Clark’s KIDS, set in Portland and starring exquisitely natural local teens; and the Independent Spirit Award-nominated Quiet City, which I previously reviewed here. Both films are about a young boy and girl who venture out into urban spaces looking for an authentic experience. What sets them apart from traditional coming-of-age stories is, in part, the patience Katz shows in allowing his characters to take the time to settle into a tentative trust together. The films are both languid and totally economical; in terms of action, virtually nothing “happens,” and yet if there’s any fat to cut on either, I can’t find it. In Dance Party, we follow Gus, a teenage lothario whose sexual exploits seem rooted in a need to have a kernel of truth on which to base the elaborate stories with which he regales his friend/protege Bill, to a Fourth of July house party. Within minutes, Gus has talked a previously unknown girl into bed, but when that’s over??????Katz cuts straight from the initiation of the flirtation to Gus rolling off the unnamed female like a cold wave??????he still needs someone to talk to. (more…) Originally posted on:SpoutBlog
]]>Tue, 29 Jan 2008 17:00:26 GMTSpoutBlogSpoutBlog on spout.com1/29/2008 12:00:26 PM?? Benten Films‘ second superbly-packaged DVD set (they previously released Joe Swamberg’s LOL) hits stores today. The set includes two films directed by Aaron Katz: Dance Party, USA, a kind of correction to Larry Clark’s KIDS, set in Portland and starring exquisitely natural local teens; and the Independent Spirit Award-nominated Quiet City, which I previously reviewed here. Both films are about a young boy and girl who venture out into urban spaces looking for an authentic experience. What sets them apart from traditional coming-of-age stories is, in part, the patience Katz shows in allowing his characters to take the time to settle into a tentative trust together. The films are both languid and totally economical; in terms of action, virtually nothing “happens,” and yet if there’s any fat to cut on either, I can’t find it. In Dance Party, we follow Gus, a teenage lothario whose sexual exploits seem rooted in a need to have a kernel of truth on which to base the elaborate stories with which he regales his friend/protege Bill, to a Fourth of July house party. Within minutes, Gus has talked a previously unknown girl into bed, but when that’s over??????Katz cuts straight from the initiation of the flirtation to Gus rolling off the unnamed female like a cold wave??????he still needs someone to talk to. (more…) Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/friendship/MemberTagFilms.aspxfriendship
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]]>Sat, 14 Feb 2009 02:08:16 GMT81111Tag http://www.spout.com/members/0/tags/disappearance/MemberTagFilms.aspxdisappearance
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