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It's not exactly the hip neighborhood, but working out of Deep Focus World Headquarters in Sleepy Hollow, NY, has its advantages. One of them is the proximity of the Jacob Burns Film Center, an arthouse triplex in nearby Pleasantville that's several times more comfy than any similar venue in Manhattan. (Well, with the possible exception of the fairly posh Sunshine Cinemas downtown. And the similarly appointed IFC Center, also downtown. But you get my meaning.) Tonight, the Burns center hosted Werner Herzog for a screening of his documentary about Antarctic research stations and the scientists who inhabit them, Encounters at the End of the World. In the course of a highly entertaining Q&A, he held forth on his Bad Lieutenant remake, described his rescue of Joaquin Phoenix in early 2006, and told the audience what he really thinks about film theory.

How desperate does Hollywood have to be to vandalize its own movies?. According to the usually reliable projectionist crowd over at Film-Tech.com, Deluxe sent out film prints of Indiana Jones and the Kingdom of the Crystal Skull that had the audio tracks deliberately fucked up as part of some monumentally misguided plan to catch pirates down the line by tracing the audio glitches in their pirated recordings. (The audio tracks of bootlegged movies are often of much higher quality than the video, since pirates have figured out how to tap directly into theatrical sound systems.) The mob at boingboing reports what seems like a high occurrence of anecdotes about screenings of the film where the soundtrack fell back to analog -- or dropped out entirely. If this is true, it's a massive "fuck you" to moviegoers, much worse than those annoying orange dots that serve the same supposed anti-piracy function. My local theaters have a hard enough time maintaining the integrity of picture and sound without the distributors making their lives even more difficult. Just unbelievable. (Via Movie City News.)

I can only hope that reports of Mike D'Angelo's death are, once again, greatly exaggerated. Even if they come from Mike D'Angelo himself.

Not movie-related, but kinda fascinating, I'd think, for content geeks of any stripe: A Usenet-based team of music obsessives -- known, apparently, as The Whitburn Project -- has been not only working on creating a huge (illegal) archive of post-1890 pop songs, but also maintaining a huge spreadsheet database of song data, including song length, BPM, label, and more. Andy Baio (Waxy.org) is running the numbers. Today, Baio charts average song duration over time, but promises more to come.




Zhang Ziyi appears in a Mercedes commercial. In China.

Check out this slideshow: Liberty City vs. New York City. What's especially interesting is, at low resolution, it's sometimes hard to tell the live-action shots from the videogame grabs.

Sweeeeeet. The "e" stands for "electronic" as well as for "English". Mais oui. Now I don't have to keep typing sentences into translate.google.com and hitting just to figure out what those crazy French critics at Cahiers du Cinéma are on about this month .... Google Video has Iraq: The Hidden Story, an utterly engrossing hour-long piece from Channel 4 on the difficulties television journalists are having getting the real story out of Iraq — as well as the general squeamishness of television producers in the U.K. and the U.S. when it comes to airing graphic war-zone footage (some of which is included here, so be warned) that could influence public opinion of the current military escapades in the Middle East .... If you're like me (and you have a decent computer and a fast Internet connection), you've already loaded up and become mesmerized by the globetrotting wonders of the Google Earth software. Well, Google Earth became a huge time sink for me over the Presidents Day weekend as I found this old post at WFMU's Beware of the Blog in which DJ Mark Allen discusses various film locations that can be viewed from a satellite's eye using the system. I was most fascinated by the overhead images of the park from Blow-Up, but he has instructions for finding locations from La Dolce Vita, Heathers and even Friday the 13th. A category search for film locations at Google Earth Hacks turned up more time-wasting goodies, including the houses from E.T. The Extra-Terrestrial and Poltergeist. (I am a child of the 80s. I can't help it.) The dudes who wrote Deja Vu totally had a copy of Google Earth loaded up — I actually started getting frustrated that the system wouldn't let me move forward and backward in time.

If you find yourself walking through midtown Manhattan after dark during the next month, I'd encourage you to take a detour into the sculpture garden behind the Museum of Modern Art (enter from 54th Street), where a number of short films made by Doug Aitken are being projected simultaneously onto various glass facades of the building from 5 p.m. to 10 p.m. every night through February 12. (There's also a projection on the front wall of the museum, on 53rd Street, and another on the wall of the nearby American Museum of Folk Art.) The project is known as Doug Aitken: sleepwalkers.

Bill Chambers was kind enough to send me word earlier in the summer of an impending exhaustive, four-disc (!) version of Dust Devil coming from Subversive Cinema. (I wrote about this and its predecessor, Hardware, at Cinemarati in December.) You might think the last thing the world needs is a fuggin' four-DVD version of what amounts to a solid B horror movie, cult following or no. But it looks definitive -- sure, it's got the two versions of the film, with audio commentary and a "featurette." But it's also got several unrelated documentaries by director Richard Stanley, on the subjects of Afghanistan, Haitian voodoo, and the search for the Holy Grail. Of course it's possible they all suck. But maybe not. And it can't help but be a big upgrade from the German DVD I picked up at Mondo Kim's on St. Mark's last year. For $29.95, I think I'll take the chance. Scarecrow Video has it listed as a 9/26 release and is taking pre-orders.

I don't know who the hell Cox & Combes are, but the funniest thing I've seen lately is this blunt, oddly hilarious music video directed by Brad Neely dealing with the outsized exploits of the first president of the United States. Nicely short-circuits the main drawback of YouTube -- lousy video quality -- by relying solely on lo-fi cartoon images.

"George Washington"
"George Washington"
"George Washington"

PItchfork links to 100 "awesome" music videos at YouTube. Most of them are, in fact, pretty awesome. Since there's not a chance in hell of anyone getting a chance to legally compile a collection of this scope, well, viva the Internet bootlegs.

Off the top of my head, I'd add the following:
Jonathan Demme's video for New Order's "Perfect Kiss"
The Flaming Lips' "Turn It On"
Monster Magnet's "Spacelord"

When is The Industry going to figure out a way to make shit like this happen legally, and for a reasonable price? I mean, come on -- two bucks to buy a music video at sub-VHS quality just so you can watch it on your iPod? At that rate, the Pitchfork list would run you $200, and that's just silly. Carry on.