X-Files, the ultimate cult TV show last aired in 2002 and now some six years later comes the sequel to Fight the Future (1998), the first feature length outing for Mulder and Scully.

Chris Carter, creator, writer and director of the new flick has stated that the narrative will not feature the fabled X-Files mythology and will stand alone as its own story.

So enough of this guff that you already know… the main event here is the Mulder and Scully action that has been caught on camera presumably by some snap happy runner. So for now, drool over these pics until July 26th when the as yet untitled second feature hits cinemas in North America.

That’s it from me,

K

Gooood afternoon finger lickers! It has been a while. Life has been manic, and day after day has slipped away from me until, here we are, a topical comment site with out-of-date comment. In the interest of complete self-indulgence, today’s post focuses on Kevin Smith’s latest project Zack and Miri Make a Porno. As a long-term Smith-fanboy, while blogging for this site, I have often touched upon Smith’s indie film impact as well as his influences upon my own screenwriting.

While often accused of peddling lowbrow humour and possessing an unpolished directing style, since the release of Clerks in 1994, Smith has forged an extremely successful, if a somewhat critically patchy, career for himself. However, by building an army of dedicated fans that follow his every move, on an enviable online empire, Smith has assured himself fantastic DVD sales and a colossal cult status. These fans buy into Smith’s Viewaskew empire by fueling countless revenue streams peripheral to his filmmaking activity. Smith’s love of graphic novels, and the industry surrounding these fetishised items, formed the basis for his business model. Selling all kinds of merchandise, both online and in his two comic book stores, has allowed Viewaskew to diversify and generate repeat business in an industry where such luxuries are extremely rare.

Okay, you’re thinking, this is all well and good, but George Lucas was doing this stuff in the 70s. And yes, he was. However, this is what makes Smith different: fan interaction. Smith is famed for his marathon signing sessions, spending hours at a time in his New Jersey store signing for fans that queue around the block. He plays poker with fans from his online message boards, inviting them into his home, and thus providing a uniquely personal feel. He holds an annual party where his fans mix with the stars of his flicks and his family. He blogs. And by this I don’t mean he blogs solely about his latest filmmaking endeavour. He actually blogs, from his bowel movements to the number of times he beds his wife in a week, My Boring Ass Life is a no holes bared chronicle of his life. All these outlets provide the fan with an experience that Kevin has made his own, and as a result, he provides a unique insight into the life of a filmmaker.

Right, enough stroking the man’s ego. Lets talk porno. Starring the wonderful, if slightly over-exposed, Seth Rogen and the beautiful Elizabeth Banks, Zack and Mirri is the story of two friends that decide to make a porno to solve their financial woes. During the course of the production Zack (Rogen) and Mirri (Banks) start feeling a little more than just friendship for one another. Hilarity, I’m sure, will ensue. The flick has wrapped its shoot, and Smith is currently cutting the film back in LA. Smith normally likes to cut his films during the shoot, involving his cast and crew in editing decisions. However, there’s always more to do and according to Cinematical Indie he’s been working toward picture lock at his LA home. Last month, in an especially disparaging blog on spout.com, a viral video entitled “I’m fucking Seth Rogen” was ripped to shreds. The spout.com blogger claims that Smith ripped off Judd Apatow’s online video gimmic.

The “I’m fucking…” video series has been around for a while and the video featuring Smith, Rogen and Banks is a homage to said series, and according to a spout.com commenter Smith had little involvement with the video, except of course his small cameo. However, this is slightly beside the point. In accusing Kevin Smith of lifting Judd Apatow’s idea, the blogger asserts that Smith, the old has-been, has resorted to lifting Apatow’s fresh ideas. Honestly, how stupidly naïve and misinformed can you be? Smith has not only been at the online marketing game a hell of a lot longer than almost any other filmmaker, but also clearly has links to the Apatow camp with the casting of Rogen. Honestly, blogs like this smack of a new-guard fanboy having a tantrum because Smith gets in on a joke that feels less painfully elitist as a result. It’s like an ill-educated teen saying The Clash sound just like Green Day. Noooo, you maladjusted brace-face pipsqueak, Green Day sound just like The Clash! The ignorance of youth and knee-jerk critic reactions never fails to amaze and confound!

Zack and Miri is released in North America by The Weinstein Company this Halloween.

That’s it from me, more Porno news as I have it.

K

And here’s that I’m Fucking Seth Rogen video for you to titter over:

Left pane: Under the Stars part of EIFF 2007; Top Right: Kevin Smith on the red carpet; Bottom Right: EIFF and UK Film Council logos.

Afternoon Finger Lickers! It’s a sunny Monday in March and what have I got for you today? A £1.88 million cash injection from the National Lottery! None other than the Edinburgh Film Festival, my favourite film festival, is to get a wee boost from the National Lottery. For those that don’t know the British Lotto system, it’s run by the Camelot Group, and regulated by a government body called the Lottery Commision. Because the Lotto is run under license from the government, they insist that Camelot donate a percentage of their income to charities and other worthy organisations.

Various government-affiliated organisation including the UK Film Council, whose remit is to promote British film and filmmaking, are trusted to distribute these fairly hefty chunks of change. This £1.88 million is a percentage of the £4.5 million that the UK Film Council has dedicated to bolstering UK film festivals over the next three years.

In accepting the biggest Lotto investment in any UK film festival to date, the Edinburgh International Film Festival said they hope to use the dough to make them the leading talent discovery festival in the world. A couple of years ago I attended festival and had a rip roaring time. I was lucky enough to see the inspirational Kevin Smith do a marathon Q&A and caught the UK premiere of Clerks II. The festival is actually becoming quite the place to premiere flicks, with both Little Miss Sunshine and Ratatouille getting their first public airing in Scotland’s capital city.

This booster for the Edinburgh International Film Festival is nothing short of brilliant and the news that a further £2.62 million is going to other fests around the country is outstanding. We are extremely lucky to live in a country where not only the filmmakers receive government help, but investors get tax breaks and the festivals get financial support to boot. If you’re a UK filmmaker, investor, or film festival organiser you’d do well to check out the UK Film Council’s website.

That’s it from me kids,

K

Morning finger lickin’ fans! First up, an apology, I didn’t post yesterday because I was re-installing my Macbook. This, I realise is no excuse, but it’s all I got. This is also the reason for the limited imagery at the top of this post, I’ve still got to install CS3. Anyway, in other news, I really want an iPhone and while drooling over YouTube videos and coverflow prettiness in the O2 shop today, I got to thinking about Digital Film Distribution and decided it was about time that I gave you folks a run down of the current lay of the land in this particular area.

So, earlier this week I read that Lionsgate have struck a deal with Apple to make a digital copy of their flicks available at the same time as their DVD releases. This would mean that when their latest film hit the shelves in your local HMV you would also be able to buy the movie on iTunes. If this were to take off, which I suspect it will, it will not only do great things for lazy people who like to “click and download” rather than trudge through the rain to buy a DVD but will also go some way to reducing the film industries current impact on the planet. Less crazy plastic consumption, less packaging, no dirty aviation fuel and/or diesel pumping into the atmosphere from delivery vehicles. It sounds like good stuff but is it feasible to deliver the same range of choice and are consumers actually ready for this new development?

This move by Lionsgate, who already have digital versions of 3:10 to Yuma, Good Luck Chuck and War on iTunes as well as classics Dirty Dancing and Reservoir Dogs, is really good news for the future of digital distribution. These titles, together with their 12,000+ catalogue titles, will presumably be available via iTunes USA in the near future. However, as yet nothing has been said regarding a UK release for such digital products.

The types of devices that these products are available on is also a huge topic of debate. It’s great being able to watch a feature film on your mobile phone or handheld device, but are these really viable viewing mediums? It is one thing checking out a flick on your widescreen iMac or Macbook Pro. It’s a completely different thing watching Die Hard 4.0 on a 4″ screen. People still view the majority of their films on their television in their home. With this in mind Apple have created Apple TV a wireless device that allows you to access the iTunes film and TV show catalogue on your television. Not only can you download films and your favourite shows you can also rent films via this little silver box. However, to date, rental titles have been limited and growth has not matched Apple’s promises. So we’ll have to wait and see how that one pans out.

Finally, this expansion of iTunes and investment by Lionsgate actually bodes very well for the future for Indie film distribution. Should digital film follow the same trajectory as digital music, the major distribution companies should come on board and then based on the success of unsigned music artists on iTunes, Indie filmmakers will no doubt be able to submit their films for iTunes distribution.

If you’re looking for more information about digital film distribution or self distribution check out the links below:

Digital Film Distribution Guru Arin Crumley - http://www.arincrumley.com

Lance Weiler’s Workbook Project - http://www.workbookproject.com

From Here to Awesome - http://fromheretoawesome.com

That’s it from me,

K

Left pane: Mister Lonely poster; Top Right: Scene from Mister Lonely; Bottom Right: Harmony Korine.

Afternoon Finger Lickers! Harmony Korine is back! Yes you heard right, after an eight-year hiatus from filmmaking the Indie legend has returned with a feature entitled Mister Lonely. Korine, known as the writer of Kids and director of the famed Gummo has produced a suitably off-the-wall premise for his comeback. Mister Lonely stars Samantha Morton and Diego Luna and follows a group of celebrity lookalikes who live together in a truly bizarre commune.

Unlike Gummo the film conforms much more to a mainstream narrative, which interests and troubles me in equally measure. I am extremely intrigued to find out what almost a decade out of the game has done to Korine’s style and unique storytelling abilities.

The clip below was posted on the Guardian’s film blog where the exclusive of this story can be found. After some trouble embedding the original I just decided to repost to the Finger Lickin’ YouTube account. Take a gander at the clip and drop me a comment with your thoughts! Mister Lonely opens this weekend at cinemas across the UK.

Check out the film’s official website for a trailer and more information.

That’s it from me for now,

K

Left pane: David Gordon Green looking serious; Top Right: Seth Rogen, Jonah Hill, Michael Cera and Evan Goldberg; Bottom Right: Seth Rogen and James Franco in Pineapple Express.

After that epic post earlier this evening I thought I’d just drop a little tidbit your way. A couple of trailers for Indie director David Gordon Green’s new flick Pineapple Express starring Seth Rogen have hit the blogosphere. First came the unofficial leak of the redband trailer a couple of weeks ago and this week Columbia have released the official greenband trailer for consumption by all.

While this might come as a surprise to regular Finger Lickers, I am, in fact, quite a Rogen fanboy and have, in general, enjoyed Green’s films. The script is also by writing partnership Seth Rogen and Evan Goldberg, who I love and who have enjoyed much success recently. So while, to the indie world, this seems like a sellout flick for Green and yet another stoner comedy from Rogen. I think it might be a pretty cool combination. That being said the trailer has its moments but didn’t have me in stitches, however, I’m always moaning about trailers that steal the feature’s thunder, so who am I to complain right? Anyway, for now, check out the redband trailer below or get yourself along to slashfilm.com to watch the family friendly greenband version.

Evening Finger Lickers! Wow, what a title, one that is surely a matter of infinite academic debate, not some rather limited bloggage on what is admittedly a rather good, if somewhat up and coming, website in the darkness of the interweb. However, without wishing to mislead, I am not proposing one blog on this topic. I would like to begin a series entitled “The Trouble with Hollywood” in which I will discuss (rant about) the shortcomings of the industry. In an attempt to avoid complete negativity I will suggest ways in which Hollywood can learn from the Independents in terms of storytelling, production and distribution.

With the concept for this blog series in mind, I found myself in the cinema with some friends this weekend, viewing Vantage Point. This would not typically be my choice of weekend entertainment, however sometimes we film snobs have to go with the flow and embrace the mainstream.

Before I really get into things, here’s a little bit of film theory for us all to mull over: the difference between story and plot. Those of you who already know how to differentiate between these two facets of narrative should skip to the next paragraph. However, it’s always worth refreshing one’s memory. So, story (or fabula as film scholars call it) is the series of actions, in chronological order, within a narrative that the viewer constructs in his or her own head in order to make sense of what they are watching on film. Story is subjective, meaning that there can be as many stories as there are viewers. Plot (or syuzhet), on the other hand, is the order of events as laid down by the author (writer/director/editor); typically, there is only one plot that is perceived by all.

Warning! Outrageous spoilers ahead.

Right, firstly story… my understanding of the film’s basic premise is that the President of the United States is visiting Spain to announce a new initiative to eradicate international terrorism – sounds highly plausible so far. During the course of his public address the President is shot several times, and subsequently two explosions destroy both the stage and surrounding area. Luckily, for the future of the world, it transpires that the shooting victim was a Presidential double and that the big man is safe and sound in a nearby hotel. However, in a shocking twist, he is kidnapped from the hotel and is driven away from the scene disguised in an ambulance. The abduction of the President results in a high-speed chase sequence with the secret service, and the film culminates in the death of the terrorists and the president being salvaged, unharmed, from the back of said ambulance. God bless America! It fills you with a red, white and blue fuzzy feelin’ doesn’t it?

So with that I mind, let’s move onto plot. The film begins by restricting the viewers’ information to the points of view of eight of the individual characters attending the public address. The points of view are shown back to back with repeated CSI-style rewind sequences to demonstrate that this is the same period of time being replayed. Ultimately, the whole story is exposed divulging how each character’s actions interlock with one another.

My reason for dissecting this obviously shockingly poor film is to demonstrate where the Hollywood machine has gone wrong with this flick. The premise itself has potential. The two main elements that I’m particularly interested in are the perspective stuff, which is what semi-attracted me to the picture in the first place, and the political motives of the flick. As the film opened I was hopeful; we’re shown the proceedings from the point of view of Sigourney Weaver’s character Rex Brooks. My first inclination was that her perspective was included to show the role of the American media machine in such a situation, her character is a Producer for GNN a fictional TV station with an uncanny resemblance to CNN. As it turns out, this perspective is purely a rather shoddy plot device utilised later in the film. However, there is some particularly interesting dialogue, one of the news anchors talks about American media dumbing down of news content, and complains about the station not covering the anti-American protesters at the public address. However, shortly after, this obvious indiscretion puts her in a body bag. Hollywood’s retribution for anti-patriotic views is swift, and exacting it would seem. The only prominent character to die that isn’t a terrorist is the one to question the pure perfection of America and how it is perceived internationally.

The handling of terrorism is equally as tactless. The film clumsily hints at the terrorists being something along the lines of ETA the Basque nationalist separatist group, but obviously never really solidly confirms this, and then goes and links this group with names such as Darfur. It felt to me, at this stage, that the screenwriter was just dropping in the names of well known internationally atrocities in order to sell their monstrous nature. This is not only inaccurate, what ETA has to do with Darfur I’m not sure, but it’s also irresponsible.

Had this film taken the Indie approach to the subject matter you could have produced a true Rashomon narrative style and politically controversial flick. There was the potential to properly highlight the international perception of America; they used the protesters in the film as more of a hindrance to the secret service doing their job than individuals with valid political views. The president is painted as a Good Samaritan, desperate to do the right thing against the better judgment of his advisors, and the film ends leaving a dreadful propaganda aftertaste. Had Hollywood trusted the viewer to use their intelligence the hideously patronising rewind sequences would not be required, if a mainstream audience can understand Pulp Fiction’s fractured narrative then they can understand that the same period of time is being retold time and time again. Finally, and I think this is the most important point, if Hollywood understood that by Indie crediting its audiences with some intellect they open up whole new avenues for storytelling, and that keeps your product fresh.

That’s it from me finger lickers! God that was a long post!

K

Left pane: Jim Jarmusch; Top right: Bill Murray in Broken Flowers; Bottom right: Isaach De Bankolé in Night on Earth.

Gooood evening deadpan fans! There have been a number stories trundling around the Internet over the last few weeks about Mr. Jim Jarmusch, the director once described by me as the Marmite of indie film. I have been holding off talking about the story because a) I am somewhat of a Jarmusch fanboy and b) I didn’t really think I had anything to add. However, the temptation has proved too great, so here’s your Finger Lickin’ Jarmusch low down.

The reason for all the web chatter is that shooting has just got underway on Jarmusch’s first project since the magnificent Broken Flowers back in 2005. Way back in November he announced that he had secured funding and distribution from Focus Features for his new film The Limits of Control. The film will star Jarmusch regulars Bill Murray (Broken Flowers), Tilda Swinton (Broken Flowers) and Isaach De Bankolé (Ghost Dog, Night on Earth) along side newcomer Gael Garcia Bernal. As if that rip-roaring cast wasn’t enough, joining Jarmusch behind the camera is Cinematographer Christopher Doyle (Hero, In the Mood for Love) while Oscar winner Eugenio Caballero (Pan’s Labyrinth) is responsible for the film’s production designer.

Information about the exact plot outline is vague, however Focus announced that, De Bankolé plays a “mysterious loner, a stranger, whose activities remain meticulously outside the law.” They continue to explain that, “he is in the process of completing a job, yet he trusts no one, and his objectives are not initially divulged.” Sounds suitably ambiguous and wonderfully Jarmuschian to me. Cinematical Indie have also suggested that the film’s narrative will conform, in some way, to the road movie formula. An idea that is highly likely given Jim’s fervor for a good journey, both actual and metaphorical.

The film is currently in production in Madrid, Spain and will move to Seville and Almeria before the shoot wraps at the end of the month. Focus Features, who also distributed Broken Flowers, were obviously attracted to The Limits of Control because of the level of success that Broken Flowers enjoyed. This is a blessing for Jarmusch, because despite its tremendous cast, including Murray who is always a crowd pleaser, his films have had trouble finding distribution in the past, so this deadcert must be a weight off his mind. I fact, Focus Features have gone to great lengths to demonstrate their dedication to both Jarmusch as a director and this project. In a recent article in Paste Magazine Focus Features’ CEO James Schamus is quoted as saying:

“Jim Jarmusch defines what it means to be an independent filmmaker for audiences all over the world, and we’re delighted to rejoin with him following our success together with Broken Flowers.”

Paste also point out that this isn’t simple PR bullshit (they may have used a less vulgar noun) and describe Jarmusch’s impact upon independent film as being as significant as John Cassavettes, a statement with which I must whole heartedly agree.

If you haven’t sampled any of Jim Jarmusch’s work I highly recommend Broken Flowers and Night on Earth for starters.

Take it easy Finger Lickers,

K

Check out the Broken Flowers trailer:

If you’re in the UK click these links: Broken Flowers and Night on Earth

Broken Flowers
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Night on Earth - Criterion Collection
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Left pane: A real moustache on a real magician; Top right: Rocket crash lands in the eye of the moon; Bottom right: Méliès in his own film.

Morning Finger Lickers! Today I bring you news from the world of French film. No sighing at the back. French film is wonderful! No, no, really, if you’re moaning about subtitles you shouldn’t be on this site.

Parisian and 1900s filmmaker Georges Méliès is not only credited as the forefather of special effects but is also one of the first true independent filmmakers. He not only developed cinema technically but also narratologically, wowing audiences with such spectacles as Le Voyage dans la lune (1902), that’s A Trip to the Moon for all you linguistically challenged Finger Lickers. A Trip to the Moon also features the iconic image of a rocket crash landing in the man in the moon’s eye, a still which has become synonymous with filmmaking and is identifiable by film scholars worldwide. Méliès was a magician and owned the famed Theatre Robert-Houdin in Paris, he built the first film studio and the likes of D.W. Griffith and Charlie Chaplin credit him with a huge debt of gratitude.

This is man that was hugely powerful as both an entertainer and an innovator. His work is inspirational and magical. And now through the power of DVD you can see a huge number of his films restored, stablised and re-scored. The box set, entitled Georges Méliès: First Wizard of Cinema, features 173 of Méliès films that have been collected from all over the world by Lobster Films in Paris and were found in the possession of the likes of the British Film Institute, the Academy Archives and private collectors. Really, truly, honestly if you care about film in any way at all you must see Georges Méliès work. The DVD, as usual, seems to be only available in North America at the moment but that shouldn’t stop us Finger Lickers. Lets face it folks, the US dollar is like Monopoly money these days, God bless George W. for helping us feed our DVD habit.

That’s it from me for now,

K

Check out A Trip to the Moon here, and remember folks, it’s 1902!

Buy yourself a copy of the DVD box set:

Georges Melies: First Wizard of Cinema (1896-1913)
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Evening finger painting Finger Lickers! So, I have some great news for all you documentary fans. Buzztastic flick My Kid Could Paint That, which premiered at the Sundance Film Festival, has been released on DVD in North America by Sony Pictures Classics.

The film itself follows the amazing story of four-year-old Marla Olmstead who caused a huge stir in the art world when her paintings started selling for big money. Marla, who loved to paint with her father, was suddenly thrown into the media spotlight when the New York Times got hold of the story. Inspired by what he read in the press, New York documentary filmmaker Amir Bar-Lev sprang into action and gained the Olmstead’s permission to document Marla’s story.

At first all seems well, then shortly after Bar-Lev’s arrival USA TV show 60 Minutes runs a probing investigation into whether it is actually Marla or her father doing the painting. Bar-Lev, wondering what he has stumbled upon, begins to investigate the claims himself and ultimately ends up producing an unusually balanced picture. The film has, in fact, been praised for its ethical journalism, at no time does Bar-Lev demonize Marla’s parents or take a purely accusatory stance in his investigations, however, the overtone does seem to suggest that something shady is going on in Binghamton, N.Y.

So, what can you expect from the DVD? Well, in addition to the feature length documentary, you also get an audio commentary by director Amir Bar-Lev, and two behind-the-scenes features. All you British Finger Lickin’ documentary fans need to bear in mind that this is only available as a region 1 DVD from the USA. So, ensure you have a multi-region DVD player, and then check out the Amazon link below to get your hands on this critically acclaimed documentary.

That’s it from me,

K

Check out the My Kid Could Paint That trailer:

My Kid Could Paint That
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