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Uncle Steezo
12-14-2010, 04:17 AM
just watched this tonight. it was dope. basically a french dude was vidtaping street artists and banksy flipped the script and made a doc about the frenchy cause he was interesting.

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[www.tnttorrent.info] Exit Through The Gift Shop 2010 [DVDRip.XviD-miguel] [Ekipa TnT]

Uncle Steezo
12-14-2010, 06:40 AM
maybe i should elaborate.
frenchy (theirry), by accident(dumb luck), gained exclusive access to some of the most prolific street artists like space invader, fairey (giant obey), and banksy. he spent 8 years following cats around te world and meeting new cats.

in a twist of fate he started creating his own stuff under the moniker "mr. brain wash".

this is where it gets bizzare...

Fatal Guillotine
12-21-2010, 03:11 PM
mear one should drop a doc him or daim

alot of people like banksy its mostly linear drawing or gesture

dad
12-21-2010, 05:35 PM
Thierry (Mr Brain Wash) realized towards the end, he could make money from this shit. Now, Obey and Banksy hate this dude. lmao

LoTec
12-23-2010, 02:12 PM
I watched this morning on netflix shit was entertaining. Than I just did some googling of the dude and found a lot of speculation that MBW might be a hoax perpatrated by Banksy.

shaolinsword
12-23-2010, 02:34 PM
I really don't like Banksy but this does sound like a cool film

DirtMcgehrk
12-23-2010, 02:36 PM
I watched this morning on netflix shit was entertaining. Than I just did some googling of the dude and found a lot of speculation that MBW might be a hoax perpatrated by Banksy.

At this point it's pretty much fact that both the documentary and the actual show was all an elaborate hoax. Thierry Guetta is a fictional character created by Banksy. Essentially he's a "Banksy proxy". The whole idea behind the LA show was to expose how street art has pretty much imploded on itself as it has entered the mainstream, and has become the exact opposite of what it started out as. Basically the documentary is making fun of how gullible people in the art world are today. They see something and will spend a huge amount of money on it whether they like it or not, just as long as it's surrounded by hype or spectacle.

Shepard Fairey discusses this a bit early on in the film. He says basically that no matter what the image is, if you put enough of it up, it's going to start to command power among those who see it in the public. It's the same idea behind propaganda. Banksy was trying to make this point with his fake show helmed by Thierry, except using lots of ridiculously overhyped, overproduced art to command people on a monetary level. Basically tricking people into thinking that the art was good.

dad
12-23-2010, 03:26 PM
At this point it's pretty much fact that both the documentary and the actual show was all an elaborate hoax. Thierry Guetta is a fictional character created by Banksy. Essentially he's a "Banksy proxy". The whole idea behind the LA show was to expose how street art has pretty much imploded on itself as it has entered the mainstream, and has become the exact opposite of what it started out as. Basically the documentary is making fun of how gullible people in the art world are today. They see something and will spend a huge amount of money on it whether they like it or not, just as long as it's surrounded by hype or spectacle.

Shepard Fairey discusses this a bit early on in the film. He says basically that no matter what the image is, if you put enough of it up, it's going to start to command power among those who see it in the public. It's the same idea behind propaganda. Banksy was trying to make this point with his fake show helmed by Thierry, except using lots ridiculously overhyped, overproduced art to command people on a monetary level. Basically tricking people into thinking that the art was good.
Yeah, this is true.
:clap:

Longbongcilvaringz
01-03-2011, 03:58 AM
At this point it's pretty much fact that both the documentary and the actual show was all an elaborate hoax. Thierry Guetta is a fictional character created by Banksy. Essentially he's a "Banksy proxy". The whole idea behind the LA show was to expose how street art has pretty much imploded on itself as it has entered the mainstream, and has become the exact opposite of what it started out as. Basically the documentary is making fun of how gullible people in the art world are today. They see something and will spend a huge amount of money on it whether they like it or not, just as long as it's surrounded by hype or spectacle.

Shepard Fairey discusses this a bit early on in the film. He says basically that no matter what the image is, if you put enough of it up, it's going to start to command power among those who see it in the public. It's the same idea behind propaganda. Banksy was trying to make this point with his fake show helmed by Thierry, except using lots of ridiculously overhyped, overproduced art to command people on a monetary level. Basically tricking people into thinking that the art was good.

Actually, no, it's purely speculation.

That's an interpretation which you have and some other people have put out there in attempt to not be "caught out" by a Banksy hoax.

But it's still just speculation, with no grounding in evidence.

It's not necessarily wrong, but it's just your opinion.

http://edendale.typepad.com/weblog/2010/12/banksy-yes-banksy-on-thierry-exit-skepticism-documentary-filmmaking-as-punk.html

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

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 (http://www.banksy.co.uk/) - 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 (http://edendale.typepad.com/weblog/2010/11/oscar-goes-bigger-in-2011-exit-4-other-million-dollar-grossers-lead-shortlist-pack.html) (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 (http://www.indiewire.com/survey/annual_critics_survey_2010/best_documentary_2010) and Best First Feature (http://www.indiewire.com/survey/annual_critics_survey_2010/best_first_feature_2010) 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 (http://www.cinefamily.org/) 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)...
All these wonderful things: One thing I've heard repeatedly from members of your team was that, early on, you were alone in your conviction that Thierry could and should be the narrative focus of the film - long before his show in LA that concludes the movie. What drew you to Thierry as a film character and, aside from the fact that he had a lot of archival material about street art at his fingertips, why did you think that he could sustain the film's narrative arc?

Banksy: Thierry’s entertainment potential wasn’t difficult to spot - he actually walks into doors and falls down stairs. It was like hanging out with Groucho Marx but with funnier facial hair. Thierry arrived at a point when my world was becoming infested with hipsters and heavy irony, so his exuberant man-child innocence was fun to be around. Maybe I convinced myself Thierry was a good subject just because I liked him. I’d be lying if I told you the first time I met him I thought ‘this man’s life will deliver a good narrative arc’.

From the outset there are problems with any movie about graffiti because all the good artists refuse to show their face on camera. I needed the film to be fronted by a personality the audience could engage with. The producer Robert Evans said that ‘vulnerability’ is the most important quality in a movie star and that’s a hard thing to portray if all your interviewees have masks over their faces.

ATWT: It's clear in the film that you rely on a team of people to create your artwork. What, if anything, was different about the filmmaking process, and the work you did with that team - Jaimie and Chris and others? And how did you know when you'd found the right collaborators?

B: I paint my own pictures but I get a lot of help building stuff and installing it. I have a great little team, but I tell you what - they all hate this fucking film. They don’t care if its effective, they feel very strongly that Mr Brainwash is undeserving of all the attention. Most street artists feel the same. This film has made me extremely unpopular in my community.


ATWT: When I saw the film, it didn't strike me as anything but a true documentary (http://edendale.typepad.com/weblog/2010/10/artists-activists-and-the-enigma-seven-of-2010s-essential-nonfiction-features.html). Perhaps because I live in Los Angeles and I've seen MBW's art in my neighborhood and remember his big show, but also because it's clear that the scene where Thierry meets Shepard Fairey is at least nine years old (there's now a big movie theater complex across the street that doesn't exist in the footage that Thierry shot). Yet, particularly when the film was opening last spring, there seemed to be this undercurrent of suspicion, perhaps because of the press' desire to paint you as a prankster, that the film was trying to pull one over on us. How much of that conversation have you been paying attention to and what was your take on it?

B: Obviously the story is bizarre, that’s why I made a film about it, but I’m still shocked by the level of skepticism. I guess I have to accept that people think I’m full of shit. But I’m not clever enough to have invented Mr. Brainwash, even the most casual on-line research confirms that.

Ordinarily I wouldn’t mind if people believe me or not, but the film’s power comes from the fact it’s all 100% true. This is from the frontline, this is watching an art form self-combust in front of you. Told by the people involved. In real time. This is a very real film about what it means to ‘keep it real’.

Besides, if the movie was a carefully scripted prank you can be sure I would’ve given myself some better lines. I would’ve meticulously planned my spontaneous off-the-cuff remarks. I love that famous Jack Benny come-back to a heckler - “You wouldn’t say that if my writers were here.” But I’ve always wondered - did his writers tell him to say that?

ATWT: One of the more electrifying and sometimes terrifying moments for any filmmaker is seeing their work with an audience for the first time. Have you seen EXIT with an audience and, if so, what was that experience like?

B: Unfortunately I haven’t seen it with an audience. The nearest I got was going to the cinema to see ‘Precious’. They played my trailer beforehand and someone two rows in front shouted ‘OH MY GOD, BANKSY IS SUCH A SELL-OUT’ and I shrank into my seat.

ATWT: What do you think that you discovered about the form of documentary while making this movie and is there any correlation to your other artistic work? Were you a fan of documentary prior to making the film and, if so, what were some of your favorite films? Did any of them influence what you did on EXIT?

B: I’m from a generation for whom documentary isn’t a dirty word. It doesn’t have to mean endless shots of penguins set to classical music. Michael Moore and Morgan Spurlock seemed completely punk to me. And the most punk thing of all was they brought their story undiluted to the multiplex.

Documentaries have an important role in recording culture that’s unlikely to make it into the history books. DOGTOWN AND Z-BOYS was the Bill of Rights for skate culture. Having said that, my film was never going to be an authoritative history of street art. Or even an authoritative history of the selling-out of street art. We realized halfway through the edit that the ending needed to be as unresolved as possible. I’ve learnt from experience that a painting isn’t finished when you put down your brush – that’s when it starts. The public reaction is what supplies meaning and value. Art comes alive in the arguments you have about it. If we’ve done our job properly with EXIT, then the best part of the entire movie is the conversation in the car park afterwards.

ATWT: Do you think that there are specific challenges for you and your team due to your anonymity? Did that ever make the process easier or more difficult in a way that other documentary filmmakers may not suspect?

B: Deciding who to work with is a balancing act between people’s abilities, and their ability to keep their mouth shut. We’ve had some pretty sensitive footage of different artists go through our hands. Thankfully it’s all been burnt now.

My inability to go around schmoozing people might have hurt the film on one level, but on another level I’m a volatile drunk and it’s probably been an enormous blessing.

ATWT: The Toronto Film Critics recently named EXIT as the Best First Feature of 2010, which begs the question of whether there will be another film in the future - and, particularly for my own curiosity, would it be another documentary? If so, would you seek out a subject or would you wait for something to cross your path that ignited your desire to create a film about it?

B: The art I make is similar to film - my paintings are essentially freeze frames from movies that are playing in my head. I think its pretty clear that film is the pre-eminent art form of our age. If Michaelangelo or Leonardo Da Vinci were alive today they’d be making Avatar, not painting a chapel. Film is incredibly democratic and accessible, it’s probably the best option if you actually want to change the world, not just re-decorate it.


Most people who are more than casual observers of Banksy consider the film to be basically genuine.

http://moviecitynews.com/2010/10/exit-through-the-gift-shop-producer-jaimie-d-cruz-editor-chris-king/

You can read the editor and producer's details diaries online also, if you are inclined.

Scroll down this page ~ to the part about Thierry's clothing store.

http://banksysforum.proboards.com/index.cgi?board=film&action=display&thread=1099&page=2

The huge amount of tapes he has is always a problem for people who think the movie is entirely a hoax.... has Banksy been planning this movie for 7+ years.... and getting Thierry to film thousands of hours of footage.... to that end?

I'm not saying there isn't some manipulation of events in the film, but to talk about it as a complete hoax and conspiracy is ridiculous, without giving evidence to support it.

Longbongcilvaringz
01-03-2011, 04:10 AM
The movie though... is cool.

The best part is opening credits.

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I don't have much time for Thierry, real of fabrication, he irritates me a bit.

The way they call him 'Terry' annoyed me also.

I thought it was good to just see how Banksy worked, the first half of the film is much more interesting than the last.

Longbongcilvaringz
01-03-2011, 04:30 AM
"hipsters lined up to buy 'destroy capitalism t shirts"

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