list http://www.spout.com/ Recent community activity around Playtime 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/Playtime/69837/default.aspx Title: Playtime
Year: 1967
Director: Jacques Tati
Plot: Arriving nearly a decade after Mon Oncle, Playtime continues the adventures of M. Hulot. More than a decade seems to have passed since its predecessor, however. The colorful Paris of Mon Oncle, last seen being slowly chipped away by progress, has now vanished almost entirely. Playtime takes as its setting an ultra-modern Paris where familiar landmarks appear only as fleeting reflections in the new buildings of glass and steel. Alternating between Hulot and a group of American tourists, Tati exploits the chaos just below the overly ordered surface of this brave new world. Again moving from one nearly wordless episode to another, Tati sends his alter ego off to make an appointment in a whirring, featureless office complex. He subsequently moves on to an exhibition of new inventions, meets an old friend at an aquarium-like apartment, wreaks havoc in a snooty new restaurant, and, again, almost falls in love. The most ambitious and technically complex of the Hulot films, it proved unprofitable and helped usher in the financial difficulties that would plague Tati late in life before later getting the recognition it enjoys today. ~ Keith Phipps, All Movie Guide
Times Tagged: 5
Number of Lists: 13
Number of blog posts: 4
Number of discussion threads: 2
SpoutRating: 4
]]>Tue, 18 Aug 2009 02:26:58 GMTPlaytime1967Jacques TatiArriving nearly a decade after <a href=/films/23031/default.aspx style='text-decoration:underline'>Mon Oncle</a>, Playtime continues the adventures of M. Hulot. More than a decade seems to have passed since its predecessor, however. The colorful Paris of <a href=/films/23031/default.aspx style='text-decoration:underline'>Mon Oncle</a>, last seen being slowly chipped away by progress, has now vanished almost entirely. Playtime takes as its setting an ultra-modern Paris where familiar landmarks appear only as fleeting reflections in the new buildings of glass and steel. Alternating between Hulot and a group of American tourists, Tati exploits the chaos just below the overly ordered surface of this brave new world. Again moving from one nearly wordless episode to another, Tati sends his alter ego off to make an appointment in a whirring, featureless office complex. He subsequently moves on to an exhibition of new inventions, meets an old friend at an aquarium-like apartment, wreaks havoc in a snooty new restaurant, and, again, almost falls in love. The most ambitious and technically complex of the Hulot films, it proved unprofitable and helped usher in the financial difficulties that would plague Tati late in life before later getting the recognition it enjoys today. ~ Keith Phipps, All Movie Guide5Slightly Tagged (1-5)13424http://www.spout.com/ProductImages/t82609qpnwl.jpghttp://www.spout.com/films/Playtime/69837/default.aspxFilm http://www.spout.com/blogs/risselada/archive/2009/9/10/43850.aspx Post By: Risselada
Post To: Risselada Blog
Post Date: 9/10/2009 11:02:53 AM
Body: This is the third feature length film I've seen by director Jacques Tati. I chose to watch this film based on previous good ratings I've given other films by this director and to better my favorite directors by algorithm listing. Play Time Play Time was originally filmed and shown in 70 mm film. Everywhere I read about this film says it must be seen in this format to be truly appreciated. So while I didn't have that opportunity, I tried to keep that in mind when watching it on my standard sized television set on standard DVD format. This was Tati's master endeavor and he put so much time and money into it, it bankrupt him. But we can enjoy the results of his sacrifice. He was bankrupt because he created entire massive sets. An entire city basically. And choreographed full events with multiple elements filmed from every angle. There is not much of a plot or main character. There is just observations of scenes with many different characters. I'm told that if there is any movie that must be seen more than once to be fully appreciated, it is this movie because there is no way to see everything that is worth watching in the frame in one viewing. That's not to say that just watching it once isn't worth it. It's not like most movies that need to be watched twice to understand because they are so convoluted that you can't figure out what's happening until you understand every character and angle. On the contrary. You will understand and be delighted by so many things the first time around, that you will be excited to see it again because you assume what you missed is just as good as what you were absorbing the first time around. This is just my impression though. I could see how some people might find this boring if you aren't in the right frame of mind. I felt tempted to fall into that trap as well. But as when watching any Tati / Hulot film, it's best to just observe and enjoy and not expect to be too caught up in any big plot. Jacques Tati:Total feature length films seen: 3Previous average film score: 9New average film score: 9 Rating: 9/10
]]>Thu, 10 Sep 2009 15:02:53 GMTRisseladaRisselada Blog9/10/2009 11:02:53 AMThis is the third feature length film I've seen by director Jacques Tati. I chose to watch this film based on previous good ratings I've given other films by this director and to better my favorite directors by algorithm listing. Play Time Play Time was originally filmed and shown in 70 mm film. Everywhere I read about this film says it must be seen in this format to be truly appreciated. So while I didn't have that opportunity, I tried to keep that in mind when watching it on my standard sized television set on standard DVD format. This was Tati's master endeavor and he put so much time and money into it, it bankrupt him. But we can enjoy the results of his sacrifice. He was bankrupt because he created entire massive sets. An entire city basically. And choreographed full events with multiple elements filmed from every angle. There is not much of a plot or main character. There is just observations of scenes with many different characters. I'm told that if there is any movie that must be seen more than once to be fully appreciated, it is this movie because there is no way to see everything that is worth watching in the frame in one viewing. That's not to say that just watching it once isn't worth it. It's not like most movies that need to be watched twice to understand because they are so convoluted that you can't figure out what's happening until you understand every character and angle. On the contrary. You will understand and be delighted by so many things the first time around, that you will be excited to see it again because you assume what you missed is just as good as what you were absorbing the first time around. This is just my impression though. I could see how some people might find this boring if you aren't in the right frame of mind. I felt tempted to fall into that trap as well. But as when watching any Tati / Hulot film, it's best to just observe and enjoy and not expect to be too caught up in any big plot. Jacques Tati:Total feature length films seen: 3Previous average film score: 9New average film score: 9 Rating: 9/10 http://www.spout.com/groups/Movie_Polls/Re_What_is_your_favorite_movie_directed_by_Jacques/657/43780/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 9/3/2009 11:37:25 AM
Body: [quote user="QFLW"] Oh dear, no one has voted yet. My excuse is that I haven't seen any of these movies. :-( But of course I keep meaning to. Along with dozens of other not-yet-seens... [/quote] Yes, this is sad! I've seen three of them. Mr. Hulot's Holiday, Mon oncle, and Playtime. All are about just as great! I voted for Mon Oncle though. Everyone should see a Tati film if they haven't!!!!
]]>Thu, 03 Sep 2009 15:37:25 GMTRisseladaMovie Polls9/3/2009 11:37:25 AM[quote user="QFLW"] Oh dear, no one has voted yet. My excuse is that I haven't seen any of these movies. :-( But of course I keep meaning to. Along with dozens of other not-yet-seens... [/quote] Yes, this is sad! I've seen three of them. Mr. Hulot's Holiday, Mon oncle, and Playtime. All are about just as great! I voted for Mon Oncle though. Everyone should see a Tati film if they haven't!!!! http://www.spout.com/groups/Movie_Polls/What_is_your_favorite_movie_directed_by_Jacques_Ta/657/43767/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 9/1/2009 4:40:47 PM
Body: Please reference this thread for the rules of this group. Please vote only once in each poll. Movies referenced in this poll:Jour de fêteMon oncleParadePlay TimeTraficLes vacances de Monsieur Hulot
]]>Tue, 01 Sep 2009 20:40:47 GMTRisseladaMovie Polls9/1/2009 4:40:47 PMPlease reference this thread for the rules of this group. Please vote only once in each poll. Movies referenced in this poll:Jour de f&ecirc;teMon oncleParadePlay TimeTraficLes vacances de Monsieur Hulot http://www.spout.com/blogs/karina/archive/2009/2/27/40742.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 2/27/2009 6:05:18 PM
Body: The Time of Their Lives from redbird PRODUCTIONS on Vimeo. As SXSW 2009 approaches we’ll be asking filmmakers to spill the superficial details about their films, to tell us all the deep personal details of what makes them tick, and –– new this year! –– reveal who they had to sleep with, in the incestuous conspiracy-minded secret society that is the wider SXSW community, in order to get their film programmed at the festival. Today we take a look at Jocelyn Cammack’s Emerging Visions documentary The Time of Their Lives. Previously screened at Sheffield Doc/Fest, the film follows three female activists –– ages 88 to 102 –– living together in a home for active elderly adults. Watch the trailer above, and read Jocelyn’s answers to The 5 Questions We Ask Everyone below. 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. Why did I make it? Cos I spent an amazing afternoon talking to 102 year old Hetty who’s more articulate and human and fired up than almost anyone I’ve ever met - and who then told me she wished she were dead. She just got to me - big time - and I think she does the same with everyone. But the film was a very small affair, me and the producer basically and then later on a few crew days (2 crew + me) and a fabulous editor and composer/sound designer. So here’s 10 words: It’s Etre et Avoir meets One Foot in the Grave. They may not be a very good 10, thinking about it, cos One Foot in the Grave is a British sitcom about a couple in their 70s that might not have traveled to the US yet. But the film’s a kind of Etre et Avoir at the other end of life. This is old age from the inside - and the really surprising thing is, it’s not so different from what you or I feel; close your eyes and it’s not old faces you see but young minds you hear. Do you have a day job/a non-filmmaking occupation that raises money for your filmmaking efforts? Tell us about it. In the past I’ve worked as an AD and as a line producer but now I’m a part-time research student at the Royal College of Art in London - not that that makes any money either of course. If I’d thought about it I’d be researching how to make money. The Time of Their Lives took 2 years to make and for the first year I worked entirely for nothing - in fact most of the second too, come to think of it. It was fantastic once the BBC came on board because we were able to pay for an editor, a few crew days and a post house but it really has been a labour of love for us. 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? No, I’ve never even been to Texas before but from what I can tell, being in Austin isn’t like being in Texas anyway. What am I looking forward to? That feeling of not quite knowing how anything really works, you know everything’s a different colour, the buildings smell different, the seats on buses are a different shape, it’s hotter - I love it - being somewhere new before you get used to it and familiarity kicks in. But that’s not going to happen ‘cos I’m only over for 4 days. 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? Not entirely sure I’d be thinking of watching a film if I was up for being electrocuted after breakfast but - hypothetically - Jacques Tati’s Playtime followed by George Sluizer’s original version of The Vanishing; that might take my mind off it. 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? Well if I’m going to be really, really honest I’d have to confess that I’d never heard of South by Southwest before about 6 weeks ago. Perhaps I shouldn’t have said that, everything’s gone quiet. But the point is it can’t all be nepotism, can it. I think filmmakers work alone far more than people think, I’m not sure there is this big ‘club’ - maybe that’s a producer/financier thing or a US thing. Originally posted on:SpoutBlog » Karina Longworth
]]>Fri, 27 Feb 2009 23:05:18 GMTKarinaKarina on SpoutBlog2/27/2009 6:05:18 PM The Time of Their Lives from redbird PRODUCTIONS on Vimeo. As SXSW 2009 approaches we’ll be asking filmmakers to spill the superficial details about their films, to tell us all the deep personal details of what makes them tick, and –– new this year! –– reveal who they had to sleep with, in the incestuous conspiracy-minded secret society that is the wider SXSW community, in order to get their film programmed at the festival. Today we take a look at Jocelyn Cammack’s Emerging Visions documentary The Time of Their Lives. Previously screened at Sheffield Doc/Fest, the film follows three female activists –– ages 88 to 102 –– living together in a home for active elderly adults. Watch the trailer above, and read Jocelyn’s answers to The 5 Questions We Ask Everyone below. 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. Why did I make it? Cos I spent an amazing afternoon talking to 102 year old Hetty who’s more articulate and human and fired up than almost anyone I’ve ever met - and who then told me she wished she were dead. She just got to me - big time - and I think she does the same with everyone. But the film was a very small affair, me and the producer basically and then later on a few crew days (2 crew + me) and a fabulous editor and composer/sound designer. So here’s 10 words: It’s Etre et Avoir meets One Foot in the Grave. They may not be a very good 10, thinking about it, cos One Foot in the Grave is a British sitcom about a couple in their 70s that might not have traveled to the US yet. But the film’s a kind of Etre et Avoir at the other end of life. This is old age from the inside - and the really surprising thing is, it’s not so different from what you or I feel; close your eyes and it’s not old faces you see but young minds you hear. Do you have a day job/a non-filmmaking occupation that raises money for your filmmaking efforts? Tell us about it. In the past I’ve worked as an AD and as a line producer but now I’m a part-time research student at the Royal College of Art in London - not that that makes any money either of course. If I’d thought about it I’d be researching how to make money. The Time of Their Lives took 2 years to make and for the first year I worked entirely for nothing - in fact most of the second too, come to think of it. It was fantastic once the BBC came on board because we were able to pay for an editor, a few crew days and a post house but it really has been a labour of love for us. 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? No, I’ve never even been to Texas before but from what I can tell, being in Austin isn’t like being in Texas anyway. What am I looking forward to? That feeling of not quite knowing how anything really works, you know everything’s a different colour, the buildings smell different, the seats on buses are a different shape, it’s hotter - I love it - being somewhere new before you get used to it and familiarity kicks in. But that’s not going to happen ‘cos I’m only over for 4 days. 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? Not entirely sure I’d be thinking of watching a film if I was up for being electrocuted after breakfast but - hypothetically - Jacques Tati’s Playtime followed by George Sluizer’s original version of The Vanishing; that might take my mind off it. 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? Well if I’m going to be really, really honest I’d have to confess that I’d never heard of South by Southwest before about 6 weeks ago. Perhaps I shouldn’t have said that, everything’s gone quiet. But the point is it can’t all be nepotism, can it. I think filmmakers work alone far more than people think, I’m not sure there is this big ‘club’ - maybe that’s a producer/financier thing or a US thing. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2009/2/27/40710.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/27/2009 6:01:58 PM
Body: The Time of Their Lives from redbird PRODUCTIONS on Vimeo. As SXSW 2009 approaches we’ll be asking filmmakers to spill the superficial details about their films, to tell us all the deep personal details of what makes them tick, and –– new this year! –– reveal who they had to sleep with, in the incestuous conspiracy-minded secret society that is the wider SXSW community, in order to get their film programmed at the festival. Today we take a look at Jocelyn Cammack’s Emerging Visions documentary The Time of Their Lives. Previously screened at Sheffield Doc/Fest, the film follows three female activists –– ages 88 to 102 –– living together in a home for active elderly adults. Watch the trailer above, and read Jocelyn’s answers to The 5 Questions We Ask Everyone below. 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. Why did I make it? Cos I spent an amazing afternoon talking to 102 year old Hetty who’s more articulate and human and fired up than almost anyone I’ve ever met - and who then told me she wished she were dead. She just got to me - big time - and I think she does the same with everyone. But the film was a very small affair, me and the producer basically and then later on a few crew days (2 crew + me) and a fabulous editor and composer/sound designer. So here’s 10 words: It’s Etre et Avoir meets One Foot in the Grave. They may not be a very good 10, thinking about it, cos One Foot in the Grave is a British sitcom about a couple in their 70s that might not have traveled to the US yet. But the film’s a kind of Etre et Avoir at the other end of life. This is old age from the inside - and the really surprising thing is, it’s not so different from what you or I feel; close your eyes and it’s not old faces you see but young minds you hear. Do you have a day job/a non-filmmaking occupation that raises money for your filmmaking efforts? Tell us about it. In the past I’ve worked as an AD and as a line producer but now I’m a part-time research student at the Royal College of Art in London - not that that makes any money either of course. If I’d thought about it I’d be researching how to make money. The Time of Their Lives took 2 years to make and for the first year I worked entirely for nothing - in fact most of the second too, come to think of it. It was fantastic once the BBC came on board because we were able to pay for an editor, a few crew days and a post house but it really has been a labour of love for us. 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? No, I’ve never even been to Texas before but from what I can tell, being in Austin isn’t like being in Texas anyway. What am I looking forward to? That feeling of not quite knowing how anything really works, you know everything’s a different colour, the buildings smell different, the seats on buses are a different shape, it’s hotter - I love it - being somewhere new before you get used to it and familiarity kicks in. But that’s not going to happen ‘cos I’m only over for 4 days. 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? Not entirely sure I’d be thinking of watching a film if I was up for being electrocuted after breakfast but - hypothetically - Jacques Tati’s Playtime followed by George Sluizer’s original version of The Vanishing; that might take my mind off it. 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? Well if I’m going to be really, really honest I’d have to confess that I’d never heard of South by Southwest before about 6 weeks ago. Perhaps I shouldn’t have said that, everything’s gone quiet. But the point is it can’t all be nepotism, can it. I think filmmakers work alone far more than people think, I’m not sure there is this big ‘club’ - maybe that’s a producer/financier thing or a US thing. Originally posted on:SpoutBlog
]]>Fri, 27 Feb 2009 23:01:58 GMTSpoutBlogSpoutBlog on spout.com2/27/2009 6:01:58 PM The Time of Their Lives from redbird PRODUCTIONS on Vimeo. As SXSW 2009 approaches we’ll be asking filmmakers to spill the superficial details about their films, to tell us all the deep personal details of what makes them tick, and –– new this year! –– reveal who they had to sleep with, in the incestuous conspiracy-minded secret society that is the wider SXSW community, in order to get their film programmed at the festival. Today we take a look at Jocelyn Cammack’s Emerging Visions documentary The Time of Their Lives. Previously screened at Sheffield Doc/Fest, the film follows three female activists –– ages 88 to 102 –– living together in a home for active elderly adults. Watch the trailer above, and read Jocelyn’s answers to The 5 Questions We Ask Everyone below. 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. Why did I make it? Cos I spent an amazing afternoon talking to 102 year old Hetty who’s more articulate and human and fired up than almost anyone I’ve ever met - and who then told me she wished she were dead. She just got to me - big time - and I think she does the same with everyone. But the film was a very small affair, me and the producer basically and then later on a few crew days (2 crew + me) and a fabulous editor and composer/sound designer. So here’s 10 words: It’s Etre et Avoir meets One Foot in the Grave. They may not be a very good 10, thinking about it, cos One Foot in the Grave is a British sitcom about a couple in their 70s that might not have traveled to the US yet. But the film’s a kind of Etre et Avoir at the other end of life. This is old age from the inside - and the really surprising thing is, it’s not so different from what you or I feel; close your eyes and it’s not old faces you see but young minds you hear. Do you have a day job/a non-filmmaking occupation that raises money for your filmmaking efforts? Tell us about it. In the past I’ve worked as an AD and as a line producer but now I’m a part-time research student at the Royal College of Art in London - not that that makes any money either of course. If I’d thought about it I’d be researching how to make money. The Time of Their Lives took 2 years to make and for the first year I worked entirely for nothing - in fact most of the second too, come to think of it. It was fantastic once the BBC came on board because we were able to pay for an editor, a few crew days and a post house but it really has been a labour of love for us. 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? No, I’ve never even been to Texas before but from what I can tell, being in Austin isn’t like being in Texas anyway. What am I looking forward to? That feeling of not quite knowing how anything really works, you know everything’s a different colour, the buildings smell different, the seats on buses are a different shape, it’s hotter - I love it - being somewhere new before you get used to it and familiarity kicks in. But that’s not going to happen ‘cos I’m only over for 4 days. 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? Not entirely sure I’d be thinking of watching a film if I was up for being electrocuted after breakfast but - hypothetically - Jacques Tati’s Playtime followed by George Sluizer’s original version of The Vanishing; that might take my mind off it. 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? Well if I’m going to be really, really honest I’d have to confess that I’d never heard of South by Southwest before about 6 weeks ago. Perhaps I shouldn’t have said that, everything’s gone quiet. But the point is it can’t all be nepotism, can it. I think filmmakers work alone far more than people think, I’m not sure there is this big ‘club’ - maybe that’s a producer/financier thing or a US thing. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2007/8/17/18302.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/17/2007 3:02:16 PM
Body: This week on The Media Diet, we check in with Andrew Grant and Aaron Hillis. Grant is the brain behind Filmbrain; Hillis is a freelance critic and reporter whose work can be found at Premiere, The Village Voice and his personal blog, Cinephiliac. Together, they’ve just launched Benten Films, a boutique DVD distribution company aimed at drawing attention to “overlooked gems that deserve greater recognition.” Benten’s first release, Joe Swanberg’s LOL, will hit stores on August 28 (more on that closer to the date). They’re also planning to release two films by Aaron Katz, Dance Party USA and Quiet City, sometime after both screen at The New Talkies festival in New York, which begins next week. SPOUT: We start each installment of The Media Diet with the old desert island question: you’re packing your suitcase for life-long seclusion on a tropical island that happens to have a full entertainment system. What records, books, movies, video games, websites, etc do you bring with? AARON: I’m a media whore, so this stream of consciousness might change in an hour: I’m watching Playtime, Once Upon a Time in the West, 2001, Wings of Desire, Suspiria, Penn & Teller Get Killed, and the collected works of Herzog, Buñuel, Altman, Godard, and the Marx Brothers. I’m listening to Bob Dylan, Radiohead, Zappa, James Kochalka Superstar, and the four actresses covering Blue Hearts songs in Linda Linda Linda. Also, if my island has internet and video games, who needs books? (Kidding!) ANDREW: I’ll try to keep this sensible, i.e., what I could reasonably carry in my backpack. The only book I’d need (the only book anybody needs for that matter) is William Gaddis’ The Recognitions, for it says everything there is to say about the human condition. I’d like to have every note recorded by John Coltrane, some Nick Drake, Brahms’ Ein Deutsches Requiem, and that Scarlett Johansson album of Tom Waits covers. (No, I haven’t heard it, but, come on…) Films, of course, are tough—give me complete box sets of Godard, Allen, Cassavetes and Imamura. Throw in The Big Lebowski, Lawrence of Arabia, and Xanadu and I’m set. (more…) Originally posted on:Spoutblog
]]>Fri, 17 Aug 2007 19:02:16 GMTSpoutBlogSpoutBlog on spout.com8/17/2007 3:02:16 PMThis week on The Media Diet, we check in with Andrew Grant and Aaron Hillis. Grant is the brain behind Filmbrain; Hillis is a freelance critic and reporter whose work can be found at Premiere, The Village Voice and his personal blog, Cinephiliac. Together, they’ve just launched Benten Films, a boutique DVD distribution company aimed at drawing attention to “overlooked gems that deserve greater recognition.” Benten’s first release, Joe Swanberg’s LOL, will hit stores on August 28 (more on that closer to the date). They’re also planning to release two films by Aaron Katz, Dance Party USA and Quiet City, sometime after both screen at The New Talkies festival in New York, which begins next week. SPOUT: We start each installment of The Media Diet with the old desert island question: you’re packing your suitcase for life-long seclusion on a tropical island that happens to have a full entertainment system. What records, books, movies, video games, websites, etc do you bring with? AARON: I’m a media whore, so this stream of consciousness might change in an hour: I’m watching Playtime, Once Upon a Time in the West, 2001, Wings of Desire, Suspiria, Penn & Teller Get Killed, and the collected works of Herzog, Buñuel, Altman, Godard, and the Marx Brothers. I’m listening to Bob Dylan, Radiohead, Zappa, James Kochalka Superstar, and the four actresses covering Blue Hearts songs in Linda Linda Linda. Also, if my island has internet and video games, who needs books? (Kidding!) ANDREW: I’ll try to keep this sensible, i.e., what I could reasonably carry in my backpack. The only book I’d need (the only book anybody needs for that matter) is William Gaddis’ The Recognitions, for it says everything there is to say about the human condition. I’d like to have every note recorded by John Coltrane, some Nick Drake, Brahms’ Ein Deutsches Requiem, and that Scarlett Johansson album of Tom Waits covers. (No, I haven’t heard it, but, come on…) Films, of course, are tough—give me complete box sets of Godard, Allen, Cassavetes and Imamura. Throw in The Big Lebowski, Lawrence of Arabia, and Xanadu and I’m set. (more…) Originally posted on:Spoutblog http://www.spout.com/groups/Totally_Over_rated/Re_Am_I_off/170/10174/1/ShowPost.aspx Post By: Jymkata
Post To: Totally Over-rated
Post Date: 6/5/2007 9:47:36 AM
Body: [quote user="Risselada"][quote user="Jymkata"] [/quote] Jason, I identify with you, although maybe with not as much good reason, as I've only seen one film by each of those two directors. But in the case of Godard it was enough to keep me from looking into any more of his films since then. I thnk I saw Breathless about five years ago, and was highly disappointed. I've been actually trying to figure out which movie of his I'll see next when I finally do, but I'm really not sure still. Alphaville seems to be maybe the best candidate from what I've seen. Obviously you aren't the one to ask though.As for Tati, I have seen Mr. Hulot's Holiday, and while I thought it was good, I definitely was confused like you how he could compared with Keaten or Chaplin. Well, I think if you are looking to compare then you will be disappointed. But when I looked at the movie as more of a chance to just relax and go for a short little vacation of you own, it seemed to settle better. There's nothing fast paced or even what you would call side-splitting (maybe to some people). I had a few laugh out loud moments though, but I think overall it was just sort of a chuckle and then soaking in the experience. I do have Mon Oncle on my list, and I hope I'll be in the right frame of mind when I see it.To add to your francophilic list, have you seen much from Bertrand Tavernier? I just saw my first film of his this weekend, Clean Slate. It was notable.[/quote]Rizzo, I have seen Clean Slate or Coup de Torchon and I liked it very much. I think Tavernier is a very notable director, even though Captaine Conan and The Judge and the Assassin were far more difficult for me to follow.I must admit that I liked Mon Oncle and even Traffic more than Mr. Hulot's Holiday - both films make fun of that late 50's and 60's atomic age culture of crazy inventions. It's a world that is at least visually fun to visit. I should clarify that I don't hate Tati - I just don't see why respected critics fall all over themselves declaring his films masterpieces. To me, they are minor films. You might get more out of Alphaville than I did, but I found it almost incomprehensible. I missed a lot of the satire and clever references that I've read about in reviews of the film - it just seemed like a stylistic mess. Again, I don't hate Godard, his films contain something of slight interest to me, but I don't really enjoy them. There are so many other great French directors ( like the ones mentioned above) that I just don't want to waste my film-viewing time on Jean Luc's plotless ramblings.
]]>Tue, 05 Jun 2007 13:47:36 GMTJymkataTotally Over-rated6/5/2007 9:47:36 AM[quote user="Risselada"][quote user="Jymkata"] [/quote] Jason, I identify with you, although maybe with not as much good reason, as I&#39;ve only seen one film by each of those two directors. But in the case of Godard it was enough to keep me from looking into any more of his films since then. I thnk I saw Breathless about five years ago, and was highly disappointed. I&#39;ve been actually trying to figure out which movie of his I&#39;ll see next when I finally do, but I&#39;m really not sure still. Alphaville seems to be maybe the best candidate from what I&#39;ve seen. Obviously you aren&#39;t the one to ask though.As for Tati, I have seen Mr. Hulot&#39;s Holiday, and while I thought it was good, I definitely was confused like you how he could compared with Keaten or Chaplin. Well, I think if you are looking to compare then you will be disappointed. But when I looked at the movie as more of a chance to just relax and go for a short little vacation of you own, it seemed to settle better. There&#39;s nothing fast paced or even what you would call side-splitting (maybe to some people). I had a few laugh out loud moments though, but I think overall it was just sort of a chuckle and then soaking in the experience. I do have Mon Oncle on my list, and I hope I&#39;ll be in the right frame of mind when I see it.To add to your francophilic list, have you seen much from Bertrand Tavernier? I just saw my first film of his this weekend, Clean Slate. It was notable.[/quote]Rizzo, I have seen Clean Slate or Coup de Torchon and I liked it very much. I think Tavernier is a very notable director, even though Captaine Conan and The Judge and the Assassin were far more difficult for me to follow.I must admit that I liked Mon Oncle and even Traffic more than Mr. Hulot&#39;s Holiday - both films make fun of that late 50&#39;s and 60&#39;s atomic age culture of crazy inventions. It&#39;s a world that is at least visually fun to visit. I should clarify that I don&#39;t hate Tati - I just don&#39;t see why respected critics fall all over themselves declaring his films masterpieces. To me, they are minor films. You might get more out of Alphaville than I did, but I found it almost incomprehensible. I missed a lot of the satire and clever references that I&#39;ve read about in reviews of the film - it just seemed like a stylistic mess. Again, I don&#39;t hate Godard, his films contain something of slight interest to me, but I don&#39;t really enjoy them. There are so many other great French directors ( like the ones mentioned above) that I just don&#39;t want to waste my film-viewing time on Jean Luc&#39;s plotless ramblings. http://www.spout.com/groups/Telluride_Film_Festival_2008/Re_Films_I_saw_at_Telluride/144/3029/1/ShowPost.aspx Post By: paul
Post To: Telluride Film Festival 2008
Post Date: 9/22/2006 9:27:36 AM
Body: Hi Aaron. I think I'll weigh in on what I saw as well.Little ChildrenMaldonneLonesomeRemorquesPlaytimeCivic LifeInfamousDay Night Day NightDodsworthI also attended a tribute to Walter Murch and a tribute to Alexander Corda. There were two Romanian short films in the Great Expectations program. The Tube with a Hat by Radu Jude and Marilena de la P7 by Cristian Nemescu. Both were exhilerating because they were distinct, fresh voices from a rather unheard of place in the world of cinema.I really wanted to see Ghosts of Cité Soleil the way everyone I talked to who'd seen it seemed awestruck by it. But my schedule just didn't work out.
]]>Fri, 22 Sep 2006 13:27:36 GMTpaulTelluride Film Festival 20089/22/2006 9:27:36 AMHi Aaron. I think I'll weigh in on what I saw as well.Little ChildrenMaldonneLonesomeRemorquesPlaytimeCivic LifeInfamousDay Night Day NightDodsworthI also attended a tribute to Walter Murch and a tribute to Alexander Corda. There were two Romanian short films in the Great Expectations program. The Tube with a Hat by Radu Jude and Marilena de la P7 by Cristian Nemescu. Both were exhilerating because they were distinct, fresh voices from a rather unheard of place in the world of cinema.I really wanted to see Ghosts of Cité Soleil the way everyone I talked to who'd seen it seemed awestruck by it. But my schedule just didn't work out. http://www.spout.com/blogs/wonga/archive/2006/9/9/2885.aspx Post By: wonga
Post To: wonga's filmblog
Post Date: 9/9/2006 8:48:00 AM
Body: FRIDAY EVENING: SEVERANCE - don't like horror/slasher movies so this was not fun. i can appreciate that it was clever and funny (i was laughing when i wasn't cringing) but it was not for me. i'm sure it will be very popular! Laura Harris (Daisy from Dead Like Me) was fun to watch and made it tolerable. SATURDAY MORNING: A TRIBUTE TO WALTER MURCH - liked this a lot. only tribute we made it to. after some clips there was an on-stage interview and although technical it was really fascinating. highlights for me were when he talked about how he redid Touch of Evil using Orson Welles' notes and how he edited the Godfather movies. great storytelling and behind the scenes info. could have listened for another hour. SATURDAY AFTERNOON: THE SENTIMENTAL BLOKE - one of my absolute favorites. i love silent films and this rare one from Australia i'd never heard of. very charming, with live original music from an Australian composer. Telluride is known for it's "hidden treasures" and it's one reason why film-lovers keep coming back every year. SATURDAY EVENING: LITTLE CHILDREN - i love this book and was a little worried they would screw it up but it was great. i didn't really like In The Bedroom (same director) but this was really good and i think will be a big hit on the art-house circuit. acting was wonderful, especially Jackie Earle Haley (Moocher from Breaking Away). ending was a little different than the book but i think i actually liked the movie version better. the director talked and answered questions afterwards. a highlight of the weekend for me. SUNDAY MORNING: CALLING CARDS - series of 8 short-format films from around the world. we try and hit this every year. really original and fun (also free)! my favorite was "Useless Dog" from Ireland. very charming and made me homesick for our dogs who'd been left behind for the weekend.SUNDAY AFTERNOON: THE NAMESAKE - this was a preview or whatever they call it when movies show up that are not on the program. my absolute favorite of the weekend i think. it made me cry. Indian movie from Mira Nair (Monsoon Wedding) with universal themes about family, etc. surprised to see Kal Penn (Harold and Kumar) as one of the leads but he was wonderful. the director talked afterwards and answered questions. it's supposed to be released early next year. SUNDAY EVENING: PLAYTIME - never heard of this but it was 70 mm and so we wanted to see it. we were on the 3rd row, which kind of cancelled out the big screen experience but i liked it a lot. there was a skunk incident but it was outside the theater (not inside as some have claimed) and was not that bad. kind of dragged in the middle but really fun. i want to see it again. reminded me of Airplane-type movies with all the visual jokes. MONDAY MORNING: 20,000 STREETS UNDER THE SKY - from the BBC and i guess is a mini-series. liked it a lot. three intertwining period stories based on three novels by Patrick Hamilton. interesting enough that i'm going to look for the books. this one was free also. MONDAY AFTERNOON: DODSWORTH - presented by TCM (and free). i'd never heard of this 1936 movie directed by William Wyler. great story and acting. seemed very different from other movies of that time, especially the ending (everyone in the theater cheered at the end). true underrated classic. MONDAY AFTERNOON: VENUS - i heard great things about this from others and was not disappointed. Peter O'Toole was fabulous. made me cry. very funny and wise about what it's like to grow old. my husband and i are still arguing about this one since he didn't like it as much as me!MONDAY EVENING: DIRECTED BY JOHN FORD - this was from TCM. i confess i don't like westerns much but this behind the scenes documentary by Peter Bogdanovich was really fun. featured interviews with all his films great actors (John Wayne, Jimmy Stewart, Maureen O'Sullivan, Henry Fonda, etc.) great storytelling and very fun. we live somewhat close to Monument Valley and it was interesting to see how they made all the great movies. will definitely watch for it again on TV.in summary, another great weekend, especially for not having a pass. we missed all the big premieres on purpose since we will get to see those later. did want to see Penelope Cruz but the lines were so long we didn't even try. monday is the best day to see films since they're usually all replays (TBAs) and a lot of people start home after sunday. we're now looking forward to the Denver International Film Festival in November!
]]>Sat, 09 Sep 2006 12:48:00 GMTwongawonga's filmblog9/9/2006 8:48:00 AMFRIDAY EVENING: SEVERANCE - don&#39;t like horror/slasher movies so this was not fun. i can appreciate that it was clever and funny (i was laughing when i wasn&#39;t cringing) but it was not for me. i&#39;m sure it will be very popular! Laura Harris (Daisy from Dead Like Me) was fun to watch and made it tolerable. SATURDAY MORNING: A TRIBUTE TO WALTER MURCH - liked this a lot. only tribute we made it to. after some clips there was an on-stage interview and although technical it was really fascinating. highlights for me were when he talked about how he redid Touch of Evil using Orson Welles&#39; notes and how he edited the Godfather movies. great storytelling and behind the scenes info. could have listened for another hour. SATURDAY AFTERNOON: THE SENTIMENTAL BLOKE - one of my absolute favorites. i love silent films and this rare one from Australia i&#39;d never heard of. very charming, with live original music from an Australian composer. Telluride is known for it&#39;s "hidden treasures" and it&#39;s one reason why film-lovers keep coming back every year. SATURDAY EVENING: LITTLE CHILDREN - i love this book and was a little worried they would screw it up but it was great. i didn&#39;t really like In The Bedroom (same director) but this was really good and i think will be a big hit on the art-house circuit. acting was wonderful, especially Jackie Earle Haley (Moocher from Breaking Away). ending was a little different than the book but i think i actually liked the movie version better. the director talked and answered questions afterwards. a highlight of the weekend for me. SUNDAY MORNING: CALLING CARDS - series of 8 short-format films from around the world. we try and hit this every year. really original and fun (also free)! my favorite was "Useless Dog" from Ireland. very charming and made me homesick for our dogs who&#39;d been left behind for the weekend.SUNDAY AFTERNOON: THE NAMESAKE - this was a preview or whatever they call it when movies show up that are not on the program. my absolute favorite of the weekend i think. it made me cry. Indian movie from Mira Nair (Monsoon Wedding) with universal themes about family, etc. surprised to see Kal Penn (Harold and Kumar) as one of the leads but he was wonderful. the director talked afterwards and answered questions. it&#39;s supposed to be released early next year. SUNDAY EVENING: PLAYTIME - never heard of this but it was 70 mm and so we wanted to see it. we were on the 3rd row, which kind of cancelled out the big screen experience but i liked it a lot. there was a skunk incident but it was outside the theater (not inside as some have claimed) and was not that bad. kind of dragged in the middle but really fun. i want to see it again. reminded me of Airplane-type movies with all the visual jokes. MONDAY MORNING: 20,000 STREETS UNDER THE SKY - from the BBC and i guess is a mini-series. liked it a lot. three intertwining period stories based on three novels by Patrick Hamilton. interesting enough that i&#39;m going to look for the books. this one was free also. MONDAY AFTERNOON: DODSWORTH - presented by TCM (and free). i&#39;d never heard of this 1936 movie directed by William Wyler. great story and acting. seemed very different from other movies of that time, especially the ending (everyone in the theater cheered at the end). true underrated classic. MONDAY AFTERNOON: VENUS - i heard great things about this from others and was not disappointed. Peter O&#39;Toole was fabulous. made me cry. very funny and wise about what it&#39;s like to grow old. my husband and i are still arguing about this one since he didn&#39;t like it as much as me!MONDAY EVENING: DIRECTED BY JOHN FORD - this was from TCM. i confess i don&#39;t like westerns much but this behind the scenes documentary by Peter Bogdanovich was really fun. featured interviews with all his films great actors (John Wayne, Jimmy Stewart, Maureen O&#39;Sullivan, Henry Fonda, etc.) great storytelling and very fun. we live somewhat close to Monument Valley and it was interesting to see how they made all the great movies. will definitely watch for it again on TV.in summary, another great weekend, especially for not having a pass. we missed all the big premieres on purpose since we will get to see those later. did want to see Penelope Cruz but the lines were so long we didn&#39;t even try. monday is the best day to see films since they&#39;re usually all replays (TBAs) and a lot of people start home after sunday. we&#39;re now looking forward to the Denver International Film Festival in November! http://www.spout.com/members/0/tags/comedy/MemberTagFilms.aspxcomedy
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