Archive for the ‘film’ Category

Huge: SFMOMA, SFFS ANNOUNCE “WERNER HERZOG AND ECSTATIC TRUTH” Starts Feb 9 at SFMOMA’s Phyllis Wattis Theatre

Tuesday, January 10th, 2017

As much Werner Hertzog as you can possibly handle:

“SAN FRANCISCO MUSEUM OF MODERN ART AND SAN FRANCISCO FILM SOCIETY ANNOUNCE WERNER HERZOG AND ECSTATIC TRUTH STARTING FEBRUARY 9 AT SFMOMA’S PHYLLIS WATTIS THEATER

Second Season of Modern Cinema Runs for Three Weekends in February and Explores the Nonfiction Work of Herzog and Several of His Contemporaries

SAN FRANCISCO, CA—The San Francisco Museum of Modern Art (SFMOMA) and the San Francisco Film Society (SFFS) announce the second season of Modern Cinema, the collaborative film series that explores the dynamic relationships between the past and present of cinema as one of the modern era’s essential art forms. Season two, entitled Werner Herzog and Ecstatic Truth, starts February 9, 2017, and is dedicated to the nonfiction work of legendary filmmaker Werner Herzog. It also includes important documentaries from other filmmakers that consider the world from a poetic, dream-infused and existential perspective. All screenings and talks take place in the newly renovated Phyllis Wattis Theater at SFMOMA, and several programs will feature special introductions by notable Bay Area figures, to be announced at a later date.

“For nearly 50 years, Werner Herzog has brought us amazing stories and images from the far ends of the earth and the limits of human experience,” said Dominic Willsdon, Leanne and George Roberts Curator of Education and Public Practice at SFMOMA, “It’s exciting to able to celebrate his work in this way, alongside other great hunters of rare and vivid truths.”

“Werner Herzog is a unique master of cinema, combining fiction and nonfiction filmmaking to make a bracingly fresh art form entirely his own,” said SFFS Executive Director Noah Cowan. “We have taken inspiration from him for our own unique collaboration with SFMOMA to bring a new perspective to the history and culture of cinema as a treasured art form, embedded within the larger story of art-making. It’s a perfect follow-up to the smash success of Modern Cinema’s first season, paying tribute to the Janus Films / Criterion library alongside the contemporary work of Apichatpong Weerasethakul.”

Modern Cinema seeks to highlight the ongoing dialogue between the critically acclaimed filmmakers of today—particularly those showcased in contemporary visual culture—and the great masters of cinema’s past, in an attempt to shine a light on the historical continuity and ongoing impact of this modern art form. The second season explores the boundaries of nonfiction filmmaking—between “fact” and “truth”—in the work of Herzog and in other canonical works in which the filmmaker’s powerful point of view similarly bends the rules of traditional documentary storytelling.

In his 2010 essay “On the Absolute, the Sublime, and Ecstatic Truth,” Herzog put forth his feelings about veracity in life and documentary filmmaking, stating that he “can only very vaguely begin to fathom the Absolute; I am in no position to define the concept.” Distinguishing between the factual and what he calls “ecstatic flash” of truth, he writes, “What moves me has never been reality, but a question that lies behind it: the question of truth.”

Taking Herzog’s idea of the Ecstatic Truth as its organizing principle, the second season of Modern Cinema combines a vast range of this master filmmaker’s documentaries with complementary works that operate along similar lines. A number of the films presented are seminal works from early in Herzog’s career. Whether it’s the unforgettable landscapes and nightmarish visions of Fata Morgana and Lessons of Darkness; the probing looks at preaching and spirituality in Huie’s Sermon, Wheel of Time and Pilgrimage; or some of his more recent investigations into the natural world, Herzog’s films almost always seek to surprise and provoke in how they approach their topics.

The films by other directors presented alongside Herzog’s work share some of his interests while reflecting their creators’ own particular styles. From idiosyncratic portraits of unique individuals (Shirley Clarke’s Portrait of Jason and Herzog’s Little Dieter Needs to Fly) to unforgettable depictions about spirituality (Philip Gröning’s Into Great Silence and Herzog’s Bells from the Deep) to behind-the-scenes stories of filmmaking itself (Les Blank’s Burden of Dreams and Herzog’s My Best Fiend), the subjects presented in Werner Herzog and Ecstatic Truth offer visionary realizations of nonfiction work.

WEEK ONE

THURSDAY, FEBRUARY 9
6 p.m.—Burden of Dreams (Les Blank, USA, 1982, 95 min.)
8:30 p.m.—Grizzly Man (Werner Herzog, USA, 2005, 104 min.)

FRIDAY, FEBRUARY 10
6 p.m.—The Great Ecstasy of the Woodcutter Steiner with How Much Wood Could a Woodchuck Chuck (Werner Herzog, Germany, 1972/1976, TRT 92 min.)
8:30 p.m.—The Gleaners and I (Agnès Varda, France, 2000, 82 min.)

SATURDAY, FEBRUARY 11
3 p.m.—Jag Mandir: The Eccentric Private Theatre of the Maharaja of Udaipur (Werner Herzog, Austria/Germany, 1991, 85 min.)
5 p.m.—Bells from the Deep with Pilgrimage (Werner Herzog, Germany/UK, 1993/2001, TRT 78 min.)
8:30 p.m.—My Winnipeg (Guy Maddin, Canada, 2007, 80 min.)

SUNDAY, FEBRUARY 12
3:30 p.m.—Into Great Silence (Philip Gröning, Germany, 2006, 162 min.)
7:30 p.m.—Lessons of Darkness with La Soufrière (Werner Herzog, France/Germany, 1992/1977, TRT 83 min.)

WEEK TWO

THURSDAY, FEBRUARY 16
6 p.m.—Land of Silence and Darkness (Werner Herzog, Germany, 1971, 85 min.)
8:15 p.m.—Poto and Cobengo (Jean-Pierre Gorin, USA/Germany, 1980, 73 min.)

FRIDAY, FEBRUARY 17
6 p.m.—Fata Morgana (Werner Herzog, Germany, 1971. 79 min.)
8 p.m.—Gates of Heaven (Errol Morris, USA, 1978, 83 min.)

SATURDAY, FEBRUARY 18
3 p.m.—Goshogaoka (Sharon Lockhart, USA/Japan, 1997, 63 min.)
5 p.m.—Into the Abyss: A Tale of Death, A Tale of Life (Werner Herzog, USA, 2011, 107 min.)
8 p.m.—Encounters at the End of the World (Werner Herzog, USA, 2007, 99 min.)

SUNDAY, FEBRUARY 19
3 p.m.—God’s Angry Man with Huie’s Sermon (Werner Herzog, Germany, 1980, TRT 87 min.)
5:15 p.m.—Close-Up (Abbas Kiarostami, Iran, 1990, 97 min.)
8 p.m.—The Emperor’s Naked Army Marches On (Kazuo Hara, Japan, 1987, 122 min.)

WEEK THREE

THURSDAY, FEBRUARY 23
6 p.m.—Wodaabe: Herdsmen of the Sun (Werner Herzog, France, 1989, 52 min.)
7:30 p.m.—The Lion Hunters with The Mad Masters (Jean Rouch, France, 1965/1955, TRT 105 min.)

FRIDAY, FEBRUARY 24
6 p.m.—Cave of Forgotten Dreams (Werner Herzog, Canada, 2011, 90 min.)
8:30 p.m.—Happy People: A Year in the Taiga (Werner Herzog and Dmitry Vasyukov, Germany, 2010, 90 min.)

SATURDAY, FEBRUARY 25
3 p.m.—Portrait of Jason (Shirley Clarke, USA, 1967, 105 min.)
5:30 p.m.—A Man Vanishes (Shôhei Imamura, Japan, 1967 130 min.)
8:30 p.m.—My Best Fiend (Werner Herzog, Germany, 1999, 95 min.)

SUNDAY, FEBRUARY 26
5:30 p.m.—Wheel of Time (Werner Herzog, Germany, 2003, 80 min.)
7:30 p.m.—Little Dieter Needs to Fly (Werner Herzog, Germany, 1997, 80 min.)

Tickets and Information
General public tickets are $12 and will be available online as of 10 a.m., January 17, 2017, or onsite at SFMOMA during regular business hours. Modern Cinema tickets do not include admission to SFMOMA galleries. Ticket-holders for Modern Cinema should enter through the museum’s Joyce and Larry Stupski Entrance on Minna Street (between Third and New Montgomery Streets). For up-to-date program information and tickets, visit sfmoma.org/modern-cinema.

About the Phyllis Wattis Theater at SFMOMA
As part of the opening of the new and expanded SFMOMA in May 2016, the Phyllis Wattis Theater also received a major renovation and system update creating one of the most enjoyable places to see film in the Bay Area. A new, state-of-the-art NEC digital projector offers Modern Cinema the ability to present films on a 24 x 12-foot screen with the capacity to show aspect ratios of 1:37, 1:66, 1:85 and 2:39. The Wattis Theater can also screen films via new Kinoton projectors in 16 and 35mm formats. Because sound is integral to the cinematic experience, a new Meyer Sound Cinema Surround System enhances the nuance and precision intended by the filmmaker. Comfortable new seating with cup holders round out the Wattis Theater experience.

Supporters
Modern Cinema’s Founding Supporters are Carla Emil and Rich Silverstein. Generous support is provided by Nion T. McEvoy and the Susan Wildberg Morgenstein Fund.

San Francisco Museum of Modern Art
SFMOMA is dedicated to making the art for our time a vital and meaningful part of public life. Founded in 1935 as the first West Coast museum devoted to modern and contemporary art, a thoroughly transformed SFMOMA, with triple the gallery space, an enhanced education center and new public galleries, opened to the public on May 14, 2016.
www.sfmoma.org

San Francisco Film Society

The San Francisco Film Society champions the world’s finest films and filmmakers through programs anchored in and inspired by the spirit and values of the San Francisco Bay Area. Building on a legacy of nearly 60 years of bringing the best in world cinema to the local audiences, SFFS is now a national leader in film exhibition, media education and filmmaker services.

The Film Society presents more than 100 days of exhibition each year, reaching a total audience of more than 100,000 people. Its acclaimed education program introduces international, independent and documentary cinema and media literacy to more than 10,000 teachers and students. Through Filmmaker360, the Film Society’s filmmaker services program, essential creative and business services, and funding totaling millions of dollars are provided to deserving filmmakers at all stages of their careers.

The Film Society seeks to elevate all aspects of film culture, offering a wide range of activities that engage emotions, inspire action, change perceptions and advance knowledge. A 501(c)3 nonprofit corporation, it is largely donor and member supported. Membership provides access to discounts, private events and a wealth of other benefits

For more information: sffs.org

This press release is available online at sffs.org/press/releases.

Word on the Street: This Star Wars Rey Figure “Looks Like a Man”

Monday, January 2nd, 2017

According to one passerby, in SoMA:

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His GF also had a thumbs down. So no sale for these two fans…

Hollywood is Back, Now Filming in Golden Gate Park – But Double Parked Mercedes-Benzes Block Area Cyclists – A Yuuuge Production

Thursday, November 10th, 2016

[UPDATE: Oh, it was for Herbalife?]

I’ll tell you, Hollywood just doesn’t get our local parking rules:

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Anyway, this is a large production, with many people and vehicles on site today near our Rose Garden

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Of course, RPD has Rangers on site, but they’re sitting around far away near Stow Lake. And really, the requirement to have them is more of a jobs program than anything else. (So as long as Hollywood pays RPD’s high fees I don’t think a Park Ranger cares what they do – nobody’s likely to try to enforce rules on our paying guests.)

So the “creatives” from Los Angeles County feel put upon because they have to pay big bucks to work in a very expensive place* and then our locals resent the Angelenoses’ general cluelessness.

And it’s like, “We’d be better off in Vancouver,” and I’m like yes! Maybe you all would be…

*NBC’s Trauma was like this. Filming on location was an attempt to make it special but that meant that it couldn’t survive with anything less than yuge ratings

Permit Shmermit! – How to Film a Scene in Chinatown, 30 Seconds at a Time, In Between Red Traffic Signals

Wednesday, August 3rd, 2016

(I think this is how Coppola Daughter made Lost In Translation in Japan, one step ahead of the cops sometimes.)

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You can’t get more verite than this…

Famous Gretchen Mol Graces the Twitterloin – Frisco’s “Seedy Underbelly” Stars in New Hulu Drama “Chance” – Filming on Leavenworth

Tuesday, August 2nd, 2016

Here’s the scene at 60 Leavenworth:

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Gretchen Mol – it totally looks like her, right? She’s pertty:

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Signage:

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Get all the deets from @gerikoeppel on the Hoodline

Coming Attractions: “JUDGES: (Un)Faithful People, (Un)Relenting Mercy” – Plays This Sunday, Prolly

Friday, June 3rd, 2016

Rather theatrical, non?

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A Pickup Truck So Long It Requires an Expensive SFPD Police Escort – Life in This “World-Class” City

Thursday, May 19th, 2016

IDK, filming something, prolly.

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And the flat black paint reduces reflections, that’s what I’m going with.

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But when you film in SF, you face a lot of costs. That’s what killed Nash Bridges after a few years and that’s what also helped to kill Trauma after a few months worth of shows got aired.

Anyway, we’re no Vancouver, that’s for sure…

Come See the 1979 “White Night Riot” Reenacted at City Hall – ABC’s “When We Rise” Miniseries to Disrupt Traffic Friday Night

Thursday, April 28th, 2016

Here’s the background and here’s your traffic advisory

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It’ll be just like when they shot that Milk movie…

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…except without Sean Penn

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FILMING NOTICE: “Etruscan Smile” on the Waterfront – Feb 18th – Be on the Lookout for “Pirate Waiters” and “Woman in Mermaid Costume” Making $19 Per Hour

Tuesday, February 16th, 2016

This operation needs 50 parking spaces, apparently:

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DRIVERS with CARS
Etruscan Smile – Background Feature Film SAG Background $157/8 with car bump $35 SAG-AFTRA 02/15/2016
Male or Female / All Ethnicities / 25 – 65 /
Must have driver’s license and be comfortable driving. Please only submit if you have cars that are NOT BRIGHTLY-COLORED, OR RED, WHITE, OR BLACK. Please indicate in ‘Notes’ section what kind of car, year, color, you have. Car must be clean and in good shape.
Golfers – MUST HAVE golf attire and own clubs
Etruscan Smile – Background Feature Film SAG Background $157/8 plus bump for clubs $12 SAG-AFTRA 02/15/2016
Male or Female / All Ethnicities / 30 – 60 /
Please indicate in ‘Notes’ section your level of golfing ability and if you have your own clubs.
Pirate Waiters
Etruscan Smile – Background Feature Film SAG Background $157/8; Non-union $12.25/hour SAG-AFTRA 02/15/2016
Male or Female / All Ethnicities / 20 – 40 /
Wearing pirate costume and serving food and drink at children’s catered birthday party.
Woman in Mermaid Costume – must be fit
Etruscan Smile – Background Feature Film SAG Background $157/8 SAG-AFTRA 02/14/2016
Female / Caucasian / 20 – 30 /
Will be wearing an Ariel-type costume.

Janis Joplin Biopic Set to Film On Location in Frisco – “Get It While You Can” – And CA Taxpayers are Subsidizing Production, Yay!

Thursday, February 11th, 2016

Why on Gaia’s Green Earth should we pay Hollywood millions to make a Janis Joplin biopic on the streets of San Francisco? Well, that’s what we just did.

Like what, otherwise they’d film in Vancouver, Canada? Well, OK fine. If that’s the way you want to do it, Hollywood. Of course, your feature will look a lot better if you come to Noe Valley (aka “Upper Mission” as some called it, back in the day) and the 94117, but it’ll cost you big bucks, since SF is one of the most expensive places to shoot in the world.

But this tax giveaway makes things easier for you, I s’pose, oh well. (I don’t approve of this arrangement, obvs.)

Moving on.

To this, on this flick’s IMDb entry:

“I am a hard core Joplin fan, so of course I was really excited when I heard they where making a Biopic… that is until I found out they are casting Amy Adams as Janis. WTH? This is a joke right? Why would they disgrace Janis with this broad? I have seen Amy’s movies… She in no way can play this part. Surely they could think of someone else!?!? Dana Fuchs would have been a better choice, or even Gabby West. NOT Amy Adams. What a shame.”

Say hello to your new Janis Joplin:

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Hey, what if it turns out that JANIS: Little Girl Blue or Janis (1974) , both of which didn’t cost us anything, not millions anyway, are much much better films? Mmm…

All right, get all the deets here.