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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3 things about Robert Redford’s QUIZ SHOW

Quiz Show [1994]

1. Standing on the sidewalk watching some strange family’s TV set through the window.
2. Paul Scofield: what an accent!
3. “Cheating on a quiz show, it’s like plagiarizing a comic strip.”

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3 things about Otto Preminger’s THE HUMAN FACTOR

The Human Factor [1979]

1. Smashing an owl.
2. He gives him the injection, cheerfully adding, “No need for you to suffer.”
3. Ratty fur coat.

It’s just not very good. Preminger’s approach (passionless, almost clinical) is usually an asset, but here it’s dull rather than delicate. He seems terrified to have us identify with the characters and that’s exactly what makes Greene’s novel work! Iman doesn’t have the dramatic chops to carry her role. The music is all wrong. Yet I find it curiously difficult to hate the film.

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3 things about Richard T. Heffron’s FUTUREWORLD

Futureworld [1976]

1. Come on … Spaworld?
2. “Are you going to do it?
“Do what, Ron?”
“Have sex with a robot?”
“Not this trip, Ron.”
3. Melancholy, faceless Clark.

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3 things about Michael Crichton’s WESTWORLD

Westworld [1973]

1. “Begin bar fight.”
2. The river gradually transitions from the old West into Romanworld. Broken statuary.
3. Smoldering face cavity.

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3 things about Gordon Douglass’s SINCERELY YOURS

Sincerely Yours [1955]

1. An exterior shot of Madeleine Elster’s apartment from Vertigo!
2. “Do you want to touch me?” The woman reaches out and gingerly pokes him on the leg. “A little higher, honey. About here is where I get the message.”
3. Bubble bath banter with William Demarest.

Bonus: “Where did you practice your scales? Reaching for martinis?”

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It is happening again.

On Sunday, December 10: another Chicago screening of Pause of the Clock. It’s at Transistor in Andersonville and it’s free! My film pal Michael Glover Smith will be on hand to introduce the movie and then lead a Q & A afterwards. So come join us!

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