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foggy eyes wrote:Heads up for Londoners (or other interested parties in the UK): the BFI Filmstore (at NFT) is now stocking loads of Zipporah discs for quite reasonable prices. I picked up Near Death for £25 (after 10% member's discount) which, thanks to the current exchange rate, works out about £10 cheaper than importing. Other titles can be had for just under £20.

NOVEMBER 4-17
LA DANSE
THE PARIS OPERA BALLET
Directed & Edited by Frederick Wiseman
FRANCE / USA 2009 158 MINS IN FRENCH & ENGLISH WITH ENGLISH SUBTITLES
ZIPPORAH FILMS
Documentary master Frederick Wiseman’s 38th film in a career that has spanned more than that number of years, turns his attention to one of the world’s greatest ballet companies, the Paris Opera Ballet. John Davey’s camera roams the vast Palais Garnier, an opulent 19th century pile of a building: from its crystal chandelier-laden corridors to its labyrinthine underground chambers, from its light-filled rehearsal studios to its luxurious theater replete with 2,200 scarlet velvet seats and Marc Chagall ceiling. LA DANSE devotes most of its time to watching impossibly beautiful young men and women – among them Nicolas Le Riche, Marie-Agnès Gillot, and Agnès Letestu – rehearsing the choreography of Mats Ek, Wayne McGregor, Rudolf Nureyev and Pina Bausch. For balletomanes and the curious alike, LA DANSE serves up a scrumptious meal of delectable moments, one more glorious than the next, made even more precious by their ephemeral nature.

Oedipax wrote:Haven't seen this discussed anywhere (though I admittedly haven't looked too hard) but La Danse appears to be Wiseman's first non-1.37:1 film in... ever, right? Except perhaps the narrative Seraphita's Diary, about which I know very little. Anyway, going off the trailer and the stills released from Zipporah, La Danse is 'European widescreen,' 1.66:1. Negligible to most I'm sure but a big deal for Wiseman fanatics (like myself), no? Perhaps it's simply a practical concession to the more horizonally-oriented subject matter - judging from the trailer the film makes lovely use of the wider frame.

Oedipax wrote:I thought parts of the trailer looked like HD as well - but then Dennis Lim in the NYT made a comment about Wiseman's status as one of the few documentary filmmakers still shooting on 16mm, so maybe not? [...] The move to Avid would certainly indicate there was perhaps some digital material integrated into the whole.

bearcuborg wrote:I thought the questions weren't so bad, (the one about the people being self aware seemed true the Paris ballet director seemed acurate), but it was quite funny in spots and of course beautifully shot. His quip about the bee scene was quite funny.

Elephant wrote:

bearcuborg wrote:I thought the questions weren't so bad, (the one about the people being self aware seemed true the Paris ballet director seemed acurate), but it was quite funny in spots and of course beautifully shot. His quip about the bee scene was quite funny.

I forgot about that one!

Q: Why did you include a scene showing bees on the roof?
Wiseman: I wanted to show that there were bees on the roof of the Paris Opera Ballet.

Hilarious. I also thought that the people in the film seemed a little more aware of the camera than usual, and when that question was asked I saw two people in front of me nodding their heads as well. Seemed to miff Wiseman a bit. It was nothing I could point to but given that it was a film about performers--because even the administration were former dancers who obviously love the stage--and was full of mirrors and people flying about, I guess it makes sense that you might feel people were more aware of the camera than usual.

Frederick Wiseman
January 20–December 31, 2010
To celebrate the recent acquisition of newly struck prints of 37 films by Frederick Wiseman (b. 1930, Boston), The Museum of Modern Art presents a comprehensive retrospective of the director’s work. Featuring three to four films each month, this yearlong survey opens with Basic Training (1971), introduced by Wiseman, and spans his entire career, from Titicut Follies (1967) to his two most recent projects, La Danse—The Paris Opera Ballet (2009) and Boxing Gym (2010).

tavernier wrote:Boxing Gym (2010)

tavernier wrote:Year-long retro at MOMA:

Frederick Wiseman
January 20–December 31, 2010
To celebrate the recent acquisition of newly struck prints of 37 films by Frederick Wiseman (b. 1930, Boston), The Museum of Modern Art presents a comprehensive retrospective of the director’s work. Featuring three to four films each month, this yearlong survey opens with Basic Training (1971), introduced by Wiseman, and spans his entire career, from Titicut Follies (1967) to his two most recent projects, La Danse—The Paris Opera Ballet (2009) and Boxing Gym (2010).

Gregory wrote:Has anyone contacted them recently to check in about the restoration and release of Cool World?

I wish I had news for you regarding THE COOL WORLD, but I’m afraid 2009 has come and gone and we still do not have a release scheduled. We have been dealing with the release of Frederick Wiseman’s latest documentary, and it has taken precedence. I do assure you that as soon as something further has developed, we will update our website accordingly.

bearcuborg wrote:I thought the questions weren't so bad, (the one about the people being self aware seemed true the Paris ballet director seemed acurate), but it was quite funny in spots and of course beautifully shot. His quip about the bee scene was quite funny.

colinr0380 wrote:A late reply but I've only just listened to it - the Q & A talked about above is available as a podcast here.

Dadapass wrote:According to Film Comment, Wiseman spent 10 weeks last year shooting at the Paris nightclub Le Crazy Horse. This new film will document the making of a cabaret show called Désirs and will be released via Zipporah Films.