John Lichman, Vadim Rizov, and Keith Uhlich discuss Masters of the Universe, Vadim wanting to watch Toys as a six-year-old, the incompetence of Mark L. Lester, and more. This podcast will sound to you like a David Letterman sketch that takes forever to get to the Top 10.
The summer keeps going as we talk shop with Robert Greene and his new documentary Fake It So Real, which opens tomorrow at Rooftop Films in Brooklyn with a special post-screening wrestling match. We talk a bit about his previous doc, Kati with an I, and delve a bit into wrestling terminology just to make Vadim’s eyes gloss over like a good mark would.
Then we go into a minor spoiler about the film, which you’d otherwise never learn; the cinema of grown men slapping each other around; and the rather intimate presentation that Greene brings to the week-in-the-life of this cultural event that is slowly becoming more and more commercial despite the local roots of the thing. I’d also add [INSERT COMMENTARY ABOUT INDEPENDENT FILM AND WRESTLING HERE]. It’s very apt, no? But we go into the day-to-day of these men who want nothing more than a chance to break into an industry dominated by a single conglomerate (WWE) that does get name-checked—and has been in the news recently as one of their more high profile stars audibly broke character and then left.
Our first of order of business—can you find the moment where I flubbed the original recording and had to do a hard audio edit? If you can, the winner gets to buy me a Brooklyn Lager at Grassroots during Happy Hour!
But more importantly, after we discussed basketball, we brought Michael Tully back to talk in depth about his—technically—third feature, Septien, which opens tomorrow at BAMcinemaFest and in New York and Los Angeles on July 6. So there’s a whole bunch of technical stuff we could go into—technically I work for Tully doing HammerToNail on VOD stuff every month, we’ve had Tully on this podcast almost three times prior, etc etc. But let’s face it, to ignore Septien as a film is to bury one’s head in the sand and claim there’s nothing interesting playing this summer. But first and foremost, what went into Septien? We tackle that, along with The Land of Bad Ideas, which will be on the film’s DVD.
As always, if you see us at the bar or BAM buy us a drink!
We’re back with episode 3—which you’re going to hear first due to timeliness before Episode 2—and are joined at Grassroots Tavern by Alex Ross Perry, director of The Color Wheel, which premieres this Sunday at BAMcinemaFest. This is the second time we’ve had Perry on (the first for his feature Impolex, which you can download here) and we even allow him the distinct honor of rating us via the Pitchfork Scale.
But we do go into the nature of awkward party scenes, obscure references thanks to Chris “Wheels” Wells and a little into the Shaw Brothers’ The Boxer’s Omen. Regardless listen onward, mind the spoilers toward the end and do your damndest to get tickets to this Sunday’s screening. If you don’t, the gargoyles will cry and the dolphins will smile.
As always, if you see us at the bar or at the BAM, buy us a drink! Or a ticket! Or a meal! please.
This is the sixth(!) season premiere of our glorious little time at my beloved bar that we’re all very sure you’re excited about. We start on Tyler the Creator’s Goblin and then remember to introduce our special guest Grady Hendrix (writer, New York Asian Film Festival co-founder, literally breathless film introducer) who coins “Ka-renge” in case you’ve been lacking titles for an I Saw The Devil/Man From Nowhere think piece (you’re welcome). We delve—i.e. ask Grady and he drops bon mots like “How Sarah Palin believes in Jesus, Korea believes in higher education”—into the emerging world of independent Korean cinema, like the anti-Love Exposure that is Cafe Noir, the nature of Takeshi Kitano’s post-tsunami needs, and Tsui Hark, who is the big focus of this year’s New York Asian Film Festival—full line-up here, from July 1-14.
This episode was recorded a scant two weeks ago, way back when the Claire Denis retro was winding down at IFC Center. I was in town to celebrate Thrashgiving and get down with all my friends—coincidentally when the Golan/Globus series was about to start at Lincoln Center.
But who cares about that? They’re all over. So instead: for this podcast we grabbed Michael Tully, writer-director-Terps fan (and now, Park City bound for Sundance 2011) to open up about his beloved team the night before they played in the Coaches Versus Cancer series at the Garden. But we also go over the $13 cost of Tully and Vadim’s cinephilia while ignoring any four-hour long Taiwanese films. Mainly we marvel at U.S. Go Home’s use of pop music along with the film festival standard of—as Tully describes it—“the 90-minute thing.” And in return, we remember a simpler time when Kelly Reichardt made THE SLOWEST CREDITS SEQUENCE EVER for Wendy and Lucy just to eke into “feature-length” status—not to mention a surprising addition to this trope from Wes Craven.
We do go into the art of dealing with your independent film, talk a bit about how Putty Hill’s recent sound woes and background music can be the unofficial knee capper of most independent film.
We come to you “live” this time not from the hollow hall of Grassroots Tavern but downtown Washington, DC. For reasons beyond our mortal comprehension, our friend and fellow House contributor (along with being the invaluable “foreign correspondent” for a certain Ebert) Ali Arikan was briefly in town and graced us with his presence. So Vadim took a slow boat from Bushwick and joined us in a podcast at the Ritz-Carlton hotel bar. The bar so fancy, you can order on your iPad!
But as for what we discuss, the film talk gives way to debating Mad Men (note: recorded the day prior to the season finale) and the very nature of TV versus film criticism and appreciation that Noel Murray and Scott Tobias argued about on The Onion A.V. Club. We also namecheck Hipster Hitler.
And we have a very special closing song if you listen closely.
So as always if you happen to be in DC and want to buy us drinks at The Ritz-Carlton hotel bar, we’ll be more than happy to drop everything and produce your podcast. Or I will, since I’m stuck here. Vadim will handle the Bushwick end, which involves PBR, whiskey shots and The Rent Being Too Damn High. (JL)
Summer is officially over and all the kids are going back to school. Such is the case with friend of the podcast Akiva Gottlieb, who is off to make Ann Arbor his new home for some graduate program in thermonuclear dynamics and relating to Eric Rohmer. I’m not really sure.
But before that we discuss the nature of geographic cinema—in that how does one leaving New York for Michigan and continue to watch rep cinema? Do they wait for an IFC release to trickle out there, or do they resort to the Internet and torrenting? Does such a thing upset a director, as we ask Preston Miller (God’s Land), whose movie will play at the Buffalo Film Festival next month.