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  • The Playlist
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    "It's Too Much Madness To Explain In One Text"; First Trailer For 'Attack The Block' Rocks

    Plus Watch Two Clips From The FilmAlien invasion is very much in vogue at present, with "Battle: Los Angeles" imminently following on the footsteps of "Skyline," and "Cowboys and Aliens" and "The Darkest Hour" on their way later in the year, among others. But there's one film we've been looking forward to over and above all the others: "Attack the Block," the directorial debut of British comedian/screenwriter Joe Cornish.

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  • Hope for Film
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    The Path To The New Model: Join The Community

    It is easy to speak and to write of community, but how do we actually work together to make it better? We are dispersed across the globe, some professional, some amateur, but all driven by passion for a more diverse and ambitious film culture. We have the tools. We have the know how, but we still have a long road before us. Stepping down the path requires us to put one foot in front of the other, and make some progress, even if it might be in the wrong direction. Today's guest post is from filmmaker and lecturer James Fair, a regular contributor to this blog and discussion.

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  • The Playlist
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    Alcon Entertainment Secures Rights To 'Blade Runner' Prequels & Sequels

    What's that? You have an iconic piece of cinema? But what? It's only a stand-alone piece of film, but it's so cherished you could milk it for a zillion more dollars because it's so well respected and beloved and you haven't done that yet? Cha-ching! Sorry, people this is how it now works. Ridley Scott's "Blade Runner" has just too much damn brand equity to simply squander in the pantheon of words and sentiments that say, "lord, that's such a classic movie." Modern business thinking demands that you quantify brand equity into some kind of capital and thus more "Blade Runner" films await us even though most of us are thinking we should all just leave well alone.

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  • Peter Bogdanovich
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    Father of the Bride

    One of the most difficult things to pull off in a movie is having a character talk directly to the audience, looking into the camera lens as they do. The suspension of disbelief for the rest of the film is heavily imperiled by so blatantly breaking the fourth wall and including us, the usually unacknowledged watchers. Whereas the device has widespread and easy currency in the theatre—-from the Greek’s Chorus to the Elizabethan’s, from Feydeau’s farcical asides to Thornton Wilder’s Stage Manager in Our Town—-the movies being a far more realistic medium, I can only think of four instances when this has worked with complete success: In the very first musical comedy, Ernst Lubitsch’s The Love Parade (1929), Maurice Chevalier brilliantly, wittily, aristocratically, made the audience complicitous with his romantic indiscretions and self-justifications—-repeated similarly in the Lubitsch-Chevalier One Hour With You (1932). Michael Caine managed smoothly to make his misogynist working-class anti-hero, Alfie (1966), equally effective in his confidences to the audience. And then there’s Spencer Tracy as the amusingly long-suffering title character in Vincente Minnelli’s delightful and human 1950 comedy of the middle-class, Father of the Bride (available on DVD).

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  • The Playlist
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    Jessica Alba Is Basically 'A Beautiful Mind' In 'An Invisible Sign' Picked Up By IFC

    Ok, so even though she was awarded a Razzie for Worst Supporting Actress, we'll give Jessica Alba some credit here. While the quality control was off, we can't think of any other actress last year whose resume was as varied as Alba's that had "Valentine's Day," "The Killer Inside Me," "Machete" and "Little Fockers" on it. At least she's mixing it up. But there are some roles she might have to leave untouched. Such as playing a math teacher.

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  • Thompson on Hollywood
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    Oscar-Winner Portman "Proud to be Jewish," Speaks Against Galliano's Rant, Gitai's Free Zone Screens

    Natalie Portman may start wearing and selling another perfume. She's standing up for Israel and Judaism as a proud Jewish woman who debuted as Anne Frank on Broadway in 1997. Oscar-winning Portman has cut her ties to Dior's now-fired chief designer John Galliano after his anti-Semitic rant (he'll have to stand trial).

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  • The Playlist
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    Review: 'Uncle Boonmee Who Can Recall His Past Lives' Is A Very Difficult, But Deeply Rewarding Film

    The following is a reprint of our review from the Cannes Film Festival.

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  • Thompson on Hollywood
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    Focus Features' Africa First Program Accepting Entries

    In its fourth year, Focus Features' Africa First Program is accepting entries May 16 - August 22. The initiative gives grants of up to $10,000 to emerging African filmmakers making narrative short films within continental Africa, and seeks to unite filmmakers with each other as well as advisors and mentors within the African film network.

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  • The Playlist
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    'Rio' Soundtrack Features will.i.am, Jamie Foxx, Taio Cruz, Bebel Gilberto, Sergio Mendes & More

    Last spring, it was announced that Brazilian bossa nova legend Sergio Mendes and pop music poison will.i.am were working on the score and songs respectively for the forthcoming animated film "Rio." And that was all we pretty much heard, but with the release date now around the corner, the full list of contributors has been revealed and while most of it is certainly stuff that would never appear on our iPod at least it's not a kids movie on a default musical setting of: Randy Newman.

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  • Hope for Film
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    Marketing Is King (Yes, It Is Still So...)

    Today marks the final installment of Orly Ravid's 3-part "If I Was A Filmmaker Going To Sundance..." series. I have been fortunate to have been able to host Orly's look at filmmaker options, both before Sundance, afterwards, and now in reflection. Whereas Part One considered the DIY approach, and Part Two evaluated the sales and how they may benefit the filmmaker or not, today examines what added value a digital partner may bring you. It is a rare glimpse inside the process, and who better to give it than the co-founder of The Film Collaborative, the filmmaker's true friend, the first not-for-profit distribution partner out there.

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