Our good pal Kate reminded about this gem from 1986 that stars Kevin Bacon as a hotshot stockbroker who loses it all and becomes a bicycle messenger on the mean streets of San Francisco. Check out the trailer to also catch a glimpse of him racing a young Lawrence Fishburne down some speedy SF hills!
Also, more people need to be doing this in front of bars:
And it’s hosted by Peaches Christ and Sam Sharkey, so you know it’s definitely going to be a raucous occasion! The fun starts tomorrow at 7pm at the Victoria Theatre, and you can check out all the details and also get tickets here.
“The whole video landscape has changed since DFF launched 7 years ago. Back then, making a film on your cell phone was a weird, experimental idea. But now the revolution has happened and disposable has completely mainstreamed, with films like SEARCHING FOR SUGARMAN shooting on iPhone,” said Festival Cofounder and Executive Director Carlton Evans. “Our focus has changed with the times too. We’re still committed to showing fresh approaches and techniques, but the days of counting pixels are long gone. Disposable is the new reality of filmmaking.’
Be there as the festival kicks off tonight at 8pm at the Castro Theater with the Competitive Shorts program. Get advance tickets here!
All of your nostalgic comments pertaining to the demise of Giant Value seems to have elicited a similar reaction from distinguished reader David, who contacted us with a blast from the past:
All this recent talk of thieves on roofs and yesteryear’s Mission (Value Giant) makes me think of Crackers, that 80s B movie caper flick starring Donald Sutherland and a young Sean Penn and set on 24th and Alabama, right where Discolandia would later come and go. Recently found the whole movie on YouTube. Really fun to pick out the shops that are still here (hey Casa Lucas!).
Wow, he’s right! And look, just down the street is La Palma (only the best place to buy tortillas en todo el mundo)! If the avocados at Casa Lucas are sometimes 5 for a dollar these days, I wonder how cheap they were in the 80s? Anyway, let us know what other spots are to be found after you watch the whole thing here:
Tomorrow night, as part of SF Sketchfest‘s pre-festival events, director Terry Zwigoff (of Crumb and Ghost World fame, swoon) will be presenting his director’s cut of Bad Santa (2003) at the Castro Theatre. After the film, Zwigoff will be holding a Q&A with actors Tony Cox and Lauren Tom. Tickets are available here.
We had the opportunity to chat briefly with Zwigoff, where we talked to him about Robert Crumb, Dan Clowes, the ties between comics and old-timey things, cynicism, and San Francisco’s changing landscape. Read the rest of the interview after the jump.
MM: You lived in San Francisco in the 70s, can you tell us what it was like and how it’s changed over the years?
TZ: [Laughs] I laugh because I hardly leave my house. I’m probably not be the best person to ask. But I’d say it’s more gentrified. In my neighborhood, anyway.
MM: What was the Mission like then?
TZ: It was a working class neighborhood. It’s strange to see it it now, especially Valencia Street. It’s like restaurant row now, like the Village. Mission Street still feels the same, especially around 16th Street. With the check-cashing stores and drug addicts and homeless people. Now, the homeless are being pushed towards Market Street. The skyline has changed, I liked it so much better before, it used to remind me of the San Francisco in Alfred Hitchcock’s Vertigo. Now there are all of these awful skyscrapers and condos.
The Found Footage Festival is a riot. They scour video stores and garage sales all over the country and turn their findings into a tight little incredibly hysterical cinematic presentation each year. And then they take it on tour. Nick and Joe host the screenings, and they’re pretty funny too, so it’s like live comedy and a YouTube K-hole rolled into one.
Here are some highlights new for 2012:
-A mysterious video found in Vancouver last year titled “Hand Made Love”
-A video featuring a woman whose enthusiasm for craft sponging borders on psychotic
-A new collection of exercise tapes, including one called “The Sexy Treadmill Workout”
-Never-before-seen clips from the Kenny “K-Strass” Strasser yo-yo pranks that the FFF hosts pulled on news stations in the Midwest last year
-An “opening act” of found classroom films from the ‘60s and ‘70s, curated especially for the show by renowned collector Skip Elsheimer of A.V. Geeks
And she’s got a lot to say, namely that Lee Harvey Oswald was NOT the lone assassin of JFK. Someone get Oliver Stone on the line! In the meantime, destroy all electronic devices that have accessed this communication, and don’t be surprised if the CIA pays you a visit after you check out all the details after the jump…
“The Comedy” is premiering in San Francisco at the Mission’s very own Roxie theater this Friday, November 23rd, and you’re in for a treat: Tim Heidecker will be hosting a Q&A after the screenings on both Friday and Saturday. It is playing at the Roxie until the end of the month.
The film is about Swanson, an aging, Williamsburg-living, PBR-swigging hipster-type on the cusp of inheriting his wealthy father’s estate. In his boredom, disconnection with the real world, and subliminal grief, he and his buddies engage in some truly awful behavior at the expense of a world presenting him with endless options. Hmm entitled, trust-funded, society leeches hiding behind a cloud of irony? We wouldn’t know anything about that around these parts, now would we?
I recently got an opportunity to chat with writer/director Rick Alverson and actor Tim Heidecker about the film’s mixed reception, how scripted dialogue is so passé, experiencing the end of comedy (9/11-unrelated), and about PBR as a cost-cutting production technique.
Mission Mission: I understand some other SF publications declined the interview after seeing the film and that it had the most walk-outs at Sundance. Were you expecting such a polarized reaction?
Rick Alverson: I suppose we knew it was possible. It’s sort of designed in some way and we kind of embraced it. It’s a little confusing from the get-go and maybe provocative because of some of that confusion. But you know, it’s definitely uh… hell, I don’t know.
Tim Heidecker: Yeah, first of all I think the notion of “the most walk outs in Sundance” is a bit of an exaggeration. I don’t know if anyone was standing out the door with a clicker. We had tremendous screenings at Sundance and SXSW and the reaction for the film certainly isn’t unanimously positive, but amongst a certain demographic it’s very positive. It’s a film that appeals to a generation that can dial in to not only the humor that’s in the film, but the underlying subliminal quality that the film has. And frankly, there’s an older establishment out there that’s incapable of embracing some of the themes in the film. But I’ve had plenty of conversations with people that I respect and come to watching films from an open-minded place and nobody that I know has a problem with it and considers it a successful film. So if you’re somehow angered by this film or offended or anything… you’re probably gonna be a person that I don’t want to know.
MM: Yeah, I think it’s very similar to the Tim and Eric show in that there’s a sort of person that will get this and someone who would probably walk out after getting the eyeful on the opening scene. It certainly wasn’t what I expected. I think I was expecting something more Tim and Eric-y but instead I got something that was funny but also incredibly dark.