3 things about David Swift’s HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING

How to Succeed in Business Without Really Trying [1967]

1. “But lemon is my favorite drop!”
2. The frills on the top of her dress bounce up and down as she walks. Kind of waving at you.
3. “This is my favorite floor!”

3 other things.

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3 things about Clarence Brown’s NATIONAL VELVET

National Velvet [1944]

1. She practices riding using a string while lying in bed.
2. “Everyone should have a chance at a breathtaking piece of folly once in his life.”
3. Bits of shredded hedges on the ground.

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3 things about Joe Dante’s GREMLINS

Gremlins [1984]

1. Melting fireplace Gremlin.
2. Gambler’s moll Gremlin.
3. Flasher Gremlin.

3 other things.

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3 things about Travis Knight’s KUBO AND THE TWO STRINGS

Kubo and the Two Strings [2016]

1. Skull studded with swords..
2. Paper, leaves.
3. They all tell him he’s the kind of person they want him to be, and that’s what he becomes.

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3 things about Ben Wheatley’s HIGH-RISE

High-Rise [2015]

1. The pool becomes at first a place for clothes-washing and then a corpse disposal site.
2. “The walls have ears,” she says, and then nibbles his ear.
3. A plan to colonize the lower floors.

3 other things.

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3 things about Stanley Kubrick’s EYES WIDE SHUT

Eyes Wide Shut [1999]

1. Snackwells, a glass of milk, cigarettes.
2. Motif: glowing Christmas trees in empty rooms.
3. The way he spins the cue ball on the table. A nervous gesture.

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To juxtapose is to connect: Marianna Milhorat joins ROY’S WORLD.

I am thrilled to announce that Chicago-based filmmaker Marianna Milhorat will be editing Roy’s World: Barry Gifford & Chicago. I first came across her work earlier this year when I attended Chicago Film Archives’ annual Media Mixer at the Hideout. Drawing from more than 40 hours of footage culled from the collections of CFA, she collaborated with sound artist Brian Kirkbride to create a stunning video called “Sky Room.”
It immediately struck a chord with me. It’s eerie and funny and somehow poignant. And of course since CFA is going to be an important source of materials for Roy’s World, I also honed in on that. In describing her approach, she’s written, “I intercut multiple images, decontextualized from their particular geographies, into unified portraits of contemporary and shifting landscapes and environments.” In other words, putting the viewer into a visceral time and place. Exactly what I want my own film to do. The way her work straddles the (arbitrary) divide between “experimental” and “documentary” is really exciting. I know that her skills and perspective are going to be perfect when it comes to shaping Roy’s World.

Also, this will be the first time I haven’t edited my own workand to be honest, it’s about time!

Her video this is not an anchor, this boat is not an anchor is screening this Sunday evening as part of Channels: A Quarterly Film Series at Cinema Borealis. I can’t wait to watch it on the big screen. Mark your calendar!

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