Legendary director Sidney Lumet weighs in what he perceives as an inevitable shift from celluloid to hi-def digital production at a Q&A following a press screening of his latest film Before the Devil Knows You’re Dead at the 2007 New York Film Festival. I’ll be running a review of the film in the coming days as well as the complete audio recording of this Q&A session.
83 and still getting excited about new technology! The man’s amazing.
Sunday night was the occasion of one of my favorite parties of the film festival calendar, that being the New York Film Festival closing night fiesta at the Stone Rose Lounge in the Time Warner Building at New York’s Columbus Circle, brought to you this year by our friends at Kodak. The party was well-hosted by Kodak’s Anne Hubbell, pictured on the right here as 1/2 of my own personal “If Life Were Only Like This” display. Helping to make me look good is the IFC Center manager Katie “I’m kickin’ Your Ass In Fantasy Soccer” Trainor.
I don’t care that Sofia Coppola‘s Marie Antoinette presents us with yet another spin on the “poor little rich girl” theme, although it is a played out genre and hasn’t really been done well since Clueless. I also don’t care to analyze how much Ms. Coppola did or did not identify with Marie A., due to her privileged upbringing. Apparently many critics have a problem with that potential aspect. “Write what you know,” is an early lesson taught in class, so why anyone should criticize Ms. Coppola for that is beyond me. Also, I actually liked that this historical “drama” was set to 80’s New Wave music (I did, after all, come of age in the 80’s) and I was only mildly irked that the film completely trivializes the actual events of the times and nary a revolutionary is spotted in the film’s slightly more than 2-hour running time. After all, the film isn’t called The French Revolution and no one claimed that it was going to be a serious retelling of the times. All of these are things that have irked critics since the films bow at this year’s Cannes Film Festival (where it was reportedly greeted with a fair amount of boos mixed with a smattering of applause at its first press screening) and none of them are on my “Reasons Why I Hate Marie Antoinette” list. What is on said list, you might ask?
The black tie opening night screening and party of the New York Film Festival brings out some of the glitterati and glamerati of the NYC film world, along with a sizable contingent of the NYC indie film crowd. It’s a fun time for all, although for something like the 8th year in 10 I missed out on the seared tuna at the after party held at New York’s Tavern on the Green. Note to the Film Society of Lincoln Center: Next year, more tuna!
The NYFF opening night is a rare chance for those of us in the independent film community to really dress up to the nines. As far as “black tie” goes, Oscar night, Cannes and this event are the big three for the tux. That said, in terms of sartorial display, this year was the worst that I have ever seen. On display at the screening of George Clooney’s Good Night, And Good Luck were jackets over t-shirts, jeans and (gasp!) sneakers! A brief instruction…when the invite reads: Black Tie, Wear a fuckin’ tux and if you’re not going to do that, a suit and tie are mandatory!
Mo’ pix after the jump: