A quick roundup between catching films at SXSW (I hope to post a first round of notes before the day is out), and we begin with an essay in East of Borneo by Silvia Maglioni and Graeme Thomson: “Castaways of a new cosmic catastrophe. This was the phrase Félix Guattari used in his sci-fi screenplay, Un amour d’UIQ, to describe the community of squatters who make contact with what he called ‘the Infra-quark Universe.’ I forgot to mention it when I spoke on the phone to Michael. It was thirty seconds into the conversation and I was already on first name terms with Michael Phillips, the producer of Steven Spielberg’s Close Encounters of the Third Kind (1977), to whom Guattari sent the first draft of his screenplay in 1982. But then I remembered it was only in 1986 that the phrase appeared in a note accompanying the third and final version of UIQ, submitted to the Centre National du Cinéma et de l’image animée [CNC] where it’s clear that Guattari wasn’t on first name terms with anyone. Anyway, it turned out, not surprisingly, that Michael didn’t remember the script, didn’t know who Guattari was, and yet his producer’s instincts remained somewhat intrigued by the notion of an Infra-quark Universe. And so I found myself pitching the film back to him, a strange re-enactment of something that never occurred.” Maglioni and Thomson’s film essay In Search of UIQ recently premiered at REDCAT in Los Angeles.
Last October, while Ne change rien screened in London, David Jenkins sat with Pedro Costa in a bar and chatted about DCP, Costa’s path to directing, David Fincher, and rounding up financing for future work.
David Davidson pages through the latest issue of Cahiers du Cinéma and considers the magazine’s championing of Paul Verhoeven over the years.
Cinephilia & Beyond‘s found two terrific collections of interviews of screenwriters who wrote many of Hollywood’s enduring classics from the 1940’s through the 60’s.
One+One Filmmakers Journal shines a spotlight on Antonello Branca, whose What’s Happening (1967), “a wonderfully evocative documentary portrait of New York’s artistic scene at the end of the 1960s,” is now online.
At HiLobrow, Jacob Mikanowski‘s celebrating Hollis Frampton’s birthday; he’d have been 77 today.
Ioncinema posts a Pavilion package, with Jesse Klein‘s review, Eric Lavallee‘s interview with Tim Sutton, and Sutton’s all-time top ten.
New York. “Though [Isabelle Adjani’s] output has slowed considerably since Queen Margot (1994), she remains a peerless interpreter of derangement in the cinema of the 1970s and ’80s,” writes Melissa Anderson for Artforum. BAMcinématek’s Adjani series is on through March 21.
Tomorrow at Light Industry: Christopher Wilcha’s The Target Shoots First (1999).
In the works. Danny Boyle’s “mooted sequel to Trainspotting [1996], the adaptation of author Irvine Welsh’s own sequel, Porno, is back on,” reports Rodrigo Perez. “Boyle told The Playlist he hopes to make the film in 2016 and thinks he can get the entire original cast, including Ewan McGregor, back on board.”
Viewing. “Here’s how much of Brick had elapsed when I decided there was no way in hell I was leaving that theater until it was over: 68 seconds.” Mike D’Angelo describes how Rian Johnson’s 2005 debut feature won him over—with commentary by Johnson himself.
More browsing? John Wyver‘s got plenty.
For news and tips throughout the day every day, follow @KeyframeDaily on Twitter and/or the RSS feed. Get Keyframe Daily in your inbox by signing in at fandor.com/daily.
