By Andrea Chase
The Climb begins with life-long friends Mark (director and co-writer Michael Angelo Covino) and Kyle (co-writer Kyle Marvin) cycling up a steep hill in the south of France. Mark is ahead, though both are panting heavily with the exertion. Kyle, who is about to be married, is thanking Mark for suggesting the ride, while also waxing rhapsodic about the bucolic beauty of the scene. Mark, the more experienced cyclist, is giving Kyle advice on how to pace himself. Then, while Kyle extols the virtues of his intended, Mark drops the bomb.
A candid conversation with the film programmers at the Berkeley Art Museum Pacific Film Archive (BAMPFA).
By C.J. Hirschfield
When the feature documentary Word is Out: Stories of Some of Our Lives was released in 1977, it rocked my world. I already loved documentaries, but this one–widely considered to be the first feature film about lesbian and gay identity–by gay people, quickly became a symbol of the emerging gay rights movement. I was living in glorious San Francisco at the time, where the film premiered at the Castro Theater. Directed by six people collectively known as the Mariposa Group, it took five years, and over two hundred interviews with gays, to complete the historic project.
American director Philip Kaufman is hard to pin down: a visual stylist who is truly literate, a San Franciscan who often makes European films, he is an accessible storyteller with a sophisticated touch. Celebrated for his vigorous, sexy, and reflective cinema, Kaufman is best known for his masterpiece The Unbearable Lightness of Being, the astronaut saga The Right Stuff and an eclectic series of films including The Wanderers, Henry & June, The White Dawn and his remake of Invasion of the Body Snatchers.
Sam Shepard as Chuck Yeager, the first man to break the sound barrier; on location with Phil Kaufman for The Right Stuff.
By Gary Meyer
For twenty years my office was in the Saul Zaentz Building in Berkeley. In addition to the movies Saul produced, there were award-winning documentary filmmakers plus post-production talent set in a wonderful environment there that resulted in high profile narrative filmmakers preferring to do their post-production at the facility rather than at the Hollywood studios. You might see a celebrity.
One day in early 2000 I was going to lunch with director Gus Van Sant. Landmark has been an early supporter of his work launching “Mala Noche” and “Drugstore Cowboy” when others were not interested. As the elevator door opened on the ground floor I looked out at the people waiting to get on and in my mind I could hear my bad impersonation, “Bond—James Bond.”
Ideas for a Political Movies Festival
By Gary Meyer
I think it is much healthier to watch reruns (WEST WING, JOHN ADAMS or VEEP) than the returns on Election Night.
Or better yet revisit some great movies.