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Slacker (1991)
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Sundance Stories of Yore: Pi
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"Each day this week, Christopher Campbell will take a look back at a “classic” film that played the Sundance Film Festival. Today’s installment: Darren Aronofsky’s Pi (1998). Today’s story is a little shorter than the rest in this series, but it’s worth remembering because it involves another instance where one Sundance success directly resulted in the making of a later Sundance success (a la Slacker leading to Clerks). The earlier film in this case was Welcome to the Dollhouse, which Darren Aronofsky saw at the 1996 festival. In Peter Biskind’s book Down and Dirty Pictures, Aronfsky comments on the experience: “I thought it was such a unique, weird film, that it really gave me the courage to go back to New York and just try to throw something together.” That November he was in production on Pi. A little over a year later, the stylish black and white Pi premiered at "
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Sundance Stories of Yore: Clerks
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"Each day this week, Christopher Campbell will take a look back at a “classic” film that played the Sundance Film Festival. Today’s installment: Kevin Smith’s Clerks (1994). It’s only fitting to follow yesterday’s post on Slacker with the Sundance story of Clerks, since Kevin Smith was directly influenced by Richard Linklater’s film. And like Linklater, Smith nearly didn’t go to Sundance with his breakthrough indie, although in his case it was initially a matter of choice rather than rejection. According to Peter Biskind’s book Down and Dirty Pictures, Smith says about the decision, “We never even thought about Sundance. That was not a festival that we were meant for.” Instead, Smith and producer Scott Mosier figured their best bet was at the 1993 Independent Feature Film Market in NYC, where they disappointingly screened Clerks to an audience of only a few people. Incidentally, they might have had at least one additional significant "
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10 Worst Sundance Sensations
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"Getting ready for the Sundance Film Festival can be very exciting. As we await the event’s Thursday opening, we can’t stop wondering what will be the next big thing. Will this year’s hit be the highly-anticipated Michael Cera project Paper Hearts, or will it be something that we as of yet know nothing about? It’s easy to forget, however, that oftentimes the next big thing is also the next lamest thing. Sundance sensations, those films that are much-buzzed-about, that sell for a lot of money, that go on to be marketed like crazy and ultimately receive Oscar recognition, tend to lend themselves most easily to backlashes. Usually such derision is deserved, as in the case of the following ten films, each of which made a big splash at Sundance despite being bad. 10. Brick (Ria "
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Sundance Stories of Yore: Slacker
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"Each day this week, Christopher Campbell will take a look back at a “classic” film that played the Sundance Film Festival. Today’s installment: Richard Linklater’s Slacker (1991). Richard Linklater’s breakthrough film, Slacker, almost never played Sundance. According to John Pierson’s book Spike, Mike, Slackers & Dykes, Competition Director Alberto Garcia “did not particularly like the film.” In fact, Linklater was initially rejected when he submitted Slacker for the 1990 festival, at the time still called the US Film Festival. So, that summer, he self-released the film in his hometown of Austin, Texas, with much success. But the biggest success was yet to come. That same year the film was selected for at least one other film fest, Seattle, and after being reviewed there by Film Comment’s Robert Horton, Slacker acquired the interests of both Orion Classics and Pierson, who had already earned his reputation for being an indie film guru. However, even with a distributor and a high p ... "
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SLACKER on Hulu
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"In a post published today on Hulu’s official blog, Kevin Smith reminisces about his 21st birthday, which he spent driving from New Jersey to New York to see Richard Linklater’s Slacker. Inspired by J. Hoberman’s Village Voice review, Smith says, “the promise of a scene centered on a Madonna pap smear of questionable authenticity was bait enough to lure us from the Jersey ‘burbs into the wilds of Manhattan-after-dark.” 17 years later, thanks to Hulu, no one will ever have to drive an hour each way for the Madonna pap smear scene again. Slacker is embedded above. Originally posted on:SpoutBlog » Karina Longworth "
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Transformers and Gen-X Nostalgia
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"Over at PopMatters, Charles Moss has posted a lengthy consideration of Michael Bay’s Transformers as a “Generation X” phenomenon. An excerpt: Brian Goldner, Hasbro’s chief operating officer, realized that most of the boys who played with Transformers in the ‘80s are now adult men. He knew that we would be suckers for it. And we are. We’ve become nostalgia-loving adults who find it comforting to revel in childhood as a sign that we don’t take ourselves as seriously as our parents, the baby boomers, had. It’s not that we have refused to grow up, but like the transforming toys we loved so much, the transformation from childhood to adulthood is one which we want to take our time making, figuring out the right twists and turns, making sure every piece of our lives is in place. Oddly, though Moss’s piece has much to say about slackers, it’s got nothing to say about Slacker. "
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SLACKER on Hulu
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"In a post published today on Hulu’s official blog, Kevin Smith reminisces about his 21st birthday, which he spent driving from New Jersey to New York to see Richard Linklater’s Slacker. Inspired by J. Hoberman’s Village Voice review, Smith says, “the promise of a scene centered on a Madonna pap smear of questionable authenticity was bait enough to lure us from the Jersey ‘burbs into the wilds of Manhattan-after-dark.” 17 years later, thanks to Hulu, no one will ever have to drive an hour each way for the Madonna pap smear scene again. Slacker is embedded above. Originally posted on:SpoutBlog "
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10 More ’90s Indies to Franchise
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"Now that we know, courtesy of Stu at Defamer, that Werner Herzog’s remake of Abel Ferrara’s Bad Lieutenant is not so much a remake as it is like a new entry into a franchise, a la the James Bond movies, we at SpoutBlog wonder what other ’90s indie favorites could be continued with similar yet “completely different” installments. I remember back in the day thinking that Clerks should be a franchise, each film focusing on a different crappy job experience, but now that Clerks II has come and gone, that idea will likely never be realized. Of course, the concept of sequels unrelated to the original aren’t new — just look at any sequel title substituting the number 2 (or II) with the word Too. But nevertheless, here’s a few suggestions for other crazy foreign auteurs to take into consideration: Kids - Looking back, Larry Clark’s then-shocking debut is pretty tame. Nowaday "
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Siskel + Ebert + Roeper, Online ...
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"I’ve spent the morning playing around with AtTheMovies.com, a new site which serves up every existent episode of Siskel & Ebert and Ebert & Roeper online, for free. Just from a QA standpoint, it looks like there are a few bugs to work out: the above image is a screenshot of Siskel’s head from their Slacker review; the entire clip has that big black rectangle taking up half its frame. I also had a bit of trouble navigating from clip to clip; something about the way the site uses flash makes it difficult to get to a clip you’ve previously watched without searching for it all over again. But tech issues aside, watching the clips can be a lot of fun. It’s amazing to see Ebert casually parceling out historical context in a review of something like The Lost Boys, which he actually seriously considers on its own merits before ultimately giving it a thumbs down for being “too ambitious.” Can you imagine a contemporary TV critic praising the sta "
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SLACKER
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"Man, Salon just posted a piece on the movie Slacker (http://www.salon.com/ent/movi es/feature/2006/07/05/slacker/ ), and it really hit me a little hard. I was in college at the Wisconsin when I saw Slacker, and I think I enjoyed it more than any film I had ever seen at that point, and possibly more than any I've seen since. That is not to say I think it's the best film ever made (though I think it's in the running), but more that it was the exact right film for me at the time. I was living in a co-op with 30 other people, all working a little this and that (I worked at a record store, and as a courier for the art department of Wisconsin public radio), consuming various chemicals, going to school, contemplating art, and, well, slacking off. My life was never as easy or purely dedicated to slacking as the movie, but then movies aren't actually real, they just seem that way, right? And in this case the movie absolutely felt like the best parts of my real life. I was a little sad ... "
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