Tullycast

This is a Class War That's Been Leveled Against the Working People of This Country

Tullycast

This is a Class War That’s Been Leveled Against the Working People of This Country

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Mini-Documentary on Pro-Gamers ~Fascinating

Tullycast

Below is a video featuring Dan. Dan can’t do a single pushup. Dan quits his job every year to play video games.Why?Because in other parts of the world, like South Korea where Dan currently lives, games are treated to their own television channels and endorsement deals, similar to conventional professional sports in the United States.Because the WCG Tournament (World Cyber Games, the USA’s main digital sport organization), this relatively small gathering of elite gamers fairly removed from the mainstream represents the huge untapped future of competitive gaming.Because Dan loves the competition and wants to be the very best he can be.Here is an interesting look at Dan’s, or I guess “Artosis’s,” world:FROM TRIGGERSTREET

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Chris Christie for president? Governor throws his weight around

Tullycast

Chris Christie for president? Governor throws his weight around

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Real Time With Bill Maher ~ Feb 18, 2011

Stories

Get your Tullycast on! ~ Watch audience member at Bill Maher’s Real Time program shout out slew of objections about Predator Drones in the middle of the live taping: (Part Three)

Real Time With Bill Maher ~ Feb 18, 2011

Banksy (Yes, Banksy) on Thierry, EXIT Skepticism, Documentary Filmmaking as Punk

Tullycast

ALL THESE WONDERFUL THINGS

BY A.J. SCHNACK

Banksy

Banksy

Note – The second in a series of interviews with the directors of some of our favorite nonfiction features of 2010…

Whenever the subject of EXIT THROUGH THE GIFT SHOP has come up in casual or not-so-casual conversation over the past year, a vigorous discussion has followed. I’ve seen master filmmakers, newcomers, film critics and non-pros all engage in excited, lengthy dissections of the film – sometimes about what’s real, what they suspect is not – often about the film’s profound take on art and commerce. In the end, no matter what point of view the individual holds, the conclusion seems to always be that it’s a major work in the nonfiction canon.

One would be forgiven for not expecting all this when Sundance announced EXIT as a late addition to the 2010 festival. The debut film by Banksy – the anonymous British artist who gained notoriety and fame for his often-politically charged work that would turn up in some very unusual places (inside museum galleries, on the West Bank wall that separates Israelis and Palestinians) – EXIT would leave the festival spurring numerous distribution offers and go out on its own, working with sales agent John Sloss and distributor Richard Abramowitz to bring the film to theatres in the spring. And after a somewhat surprising (relief was more like it) inclusion on the Academy’s Documentary Feature shortlist, the film finds itself smack in the middle of Best-of-the-Year conversations. It’s nominated for the Documentary prize at the Film Independent Spirit Awards and it’s up for 6 awards at next months Cinema Eye Honors, including Outstanding Feature and Outstanding Debut, not to mention the numerous film critics prizes its been garnering (yesterday, it was announced as the Best Documentary and Best First Feature on indieWIRE’s annual critics poll).

Over the past month, we’ve had the opportunity to spend some time with the team behind EXIT – producer Jaimie D’Cruz and editor Chris King – including hosting the duo at a screening here in Los Angeles at Cinefamily earlier this month. In their presence, I witnessed numerous others trying to find out what Banksy thinks of this or that.

I had my own questions and Banksy and team were kind enough to get me his answers (via email, of course)…

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