This week on IFC News:
Aaron Hillis interviews one Crispin Hellion Glover:
Are there any major misconceptions about you or your work that bother you?
It’s going away in general, but there have been conceptions â€” and you
see it written on the internet â€” that people think I’m insane or
psychotic. It felt for a while that that was almost a majority of
opinion. But I mean, I’ve been in the business professionally since I
was 13. Is that almost 30 years? Is that possible? I’m 42, or 43? I
can’t even remember how old I am. What year is this? [laughs] I was
born in ’64, and this is 2007, so yeah, 43. I started in film when I
was 18, so that’s a long time to have been around. I’ve now published
four books, I’ve had a record out, and I’ve produced, directed and
edited two different films that I’m proud of. It’s like, at a certain
point, how genuinely insane can someone who’s done all that be?
Michael Atkinson on "I Am Cuba":
I’ve had suburban college students, otherwise prone to dozy
dismissiveness at the very notion of a black-&-white, subtitled
movie, weep openly at "I Am Cuba." Once you’re confronted with the
famous, two-and-a-half-minute one-shot funeral march sequence, in which
seemingly the entirety of the city of Havana is participating, and in
which the camera climbs buildings, passes over rooftops and through
windows and finally flies out over the crowd in mid-air, without a
single cut, you’ve begun to understand how the film certainly
represented a kind of cinematic frontier for filmmakers like MiklÃ³s
JancsÃ³, Andrei Tarkovsky, Alexander Sokurov and Theo Angelopoulos, and
still does, in many ways, today.
On the podcast, we discuss screenwriters on screen.
Matt Singer reviews "I’m Not There": "I deeply respect its intentions, admire both its filmmaker and its subject, but have very little affection for the finished product."
And Christopher Bonet has what’s new in theaters.
Happy Thanksgiving, all!