Name:              Chris
E-mail:             shenaniganz@hotmail.com

Hey Josh,

Regarding that picture i gave you the link to (The picture of you from an interview), you said "That's from the extra DVD in the first season box set of Xena". I have the first season of Xena and there is no Extra Disc (unlsess you meant the CD-ROM, which i checked.). I have the first season set that is sold on amazon. Is there another season one set that has interviews and things or did you make a mistake?

Thanks.

Name:              Dab Barney
E-mail:             dabboy@prootney.com

Dear Josh:         

As per the recent question you received about movies that speak of the evils of religion, here are two recent documentaries:

* "Flight from Death: The Quest for Immortality" (which is coincidentally about the socio-political theories of another Becker, that is Ernest Becker). This one is out on DVD.  I bought it at Borders.  Highly recommended.

* "Jesus Camp," which I haven't seen yet.  This one is still in theaters as far as I know.  It's about a camp for born-again Christian kids that trains them to hate others as badly as those extremist Muslim schools that train terrorists.

Name:              JAN WARD
E-mail:             JWARD7405@YAHOO.COM

JOSH,

I JUST WANTED TO LET YOU KNOW I ENJOYED VISITING YOUR SITE, VERY INFORMATIVE. HOWEVER, JUST WANTED TO LET YOU KNOW THAT THE 3 ANIMALS YOU HAVE LISTED WITH A STAR ARE LASSIE, RIN TIN TIN AND GOODHEART. I BELIEVE THAT GOODHEART IS SUPPOSED TO BE STRONGHEART.

THANKS!!!

Name:              Tony Schwartz
E-mail:             schwartz-associates@comcast.net

Dear Josh:         

Other than The God Movie - Brian Flemming and Dawkins - Root of All Evil are there any available movies that speak of the evils of religion

Name:
E-mail:

Dear Josh:         

Are you interested at all in Lynch's new film, "INLAND EMPIRE."  He shot sporadically on DV for over 2 years and now is going to self-distribute (apparently because he didn't receive any offers, or at least good ones after showing at the Venice and New York film festivals). It's apparently his most incomprehensible film yet.  That could either be a really good or bad thing.

At any rate, I'm curious, despite the fact that I can't imagine DV serving well for a director who's 35mm work is so lush.

Have a good one.

Blake

Name:              Sara Harmer
E-mail:             pdo@plastecine.net

Dear Josh:         

How does it make you feel that more women would let Martin Scorcese see their nipples than would let you see their nipples?

Pretty bad, right?  HA!  NO NIPPLES FOR YOU!

Name:              Scott
E-mail:             sspnyc66@mac.com

Josh,

With regards to "The Departed" and your comment, I understand the young actors part of your comment, but "new"?

There is nothing new about this film and the fact that it is more or less a remake of a pretty decent film doesn't put it in the category of "new" by any means.

It appears to have all the Scorsese clichés, although, this time they are old hat and don't really give the film any strength and many (such as the annoying unmotivated pop songs) actually weakened the film for me.

So, what's new about it?

Scott

Name:              Si
E-mail:

Josh

Here's a link to an article written by The Sunday Times' American correspondent, Andrew Sullivan, last June:

http://www.timesonline.co.uk/newspaper/0,,176-1705823,00.html

It's well worth reading - I found myself agreeing with a lot of Sullivan's points when I first read it in the paper itself last year, and I still agree with a lot of them today. I'd be interested in hearing what you think of it.

Name:              Steven Millan
E-mail:             stevmedia@aol.com

Josh,

With the recent mid-term elections(which proved to be mightily successful for the Democrats)now finished,the Presidential elections will be coming up(in two years,no less),for since Hillary Clinton,John McCain,and Rudolph Giuliani look to be the main front-runners for President,I was wondering which one of these three do you think will likely become our next President?

Name:              Michael
E-mail:

Hello Josh,

I had a few questions regarding casting. I want a young, reasonably out the door French actor for my independent film, and I'm not sure how these kinds of deals work for foreign actors. I know you'll probably say, "find his agent," but I was hoping you might have some other insights into this kind of endeavor.

However, if you answer is simply "find his agent," do you know where I can search for contacts of the sort? Usually you can't just find this stuff online, unless you know specific people in the business...and since he's from France, there might be other ties. Hope you have some insight.

And...what budgeting software do you recommend?

Thank you in advance.

Best,
Michael

Dear Michael:

Contact one of the production companies for which this actor has made films and see if you can't get a name of an agent, manager or lawyer, then contact them and make an offer.  Good luck.

Josh

Name: Scott
E-mail: sspnyc66@mac.com

Josh,

I went to see "The Departed" yesterday which is called "Os Infiltrados" here in Brazil.

I agree with your criticisms of the film and I felt the pacing and the length specifically was a mess. The editing was not very good and I agree the act of throwing popular songs under each scene without any motivation to them was extremely weak and it annoyed the shit out of me throughout the entire film.

The only strength of the film is the premise of the original idea from the Hong film "Internal Affairs" for which this film was based upon, which is the different twists of fate and infiltration or corruption which involves each character and the ending was taken straight from "Internal Affairs".

There were no other original ideas added by Scorsese and I think he is becoming a parody of himself.

I also felt Matt Damon's performance was weak, but Leonardo DiCaprio was strong and seems to get better with every film I see with him.

I never much liked him all that well with the exception of "What's Eating Gilbert Grape" and "The Basketball Diaries" and Mark Wahlberg plays the same character as he always plays which was pretty boring.

The film dragged and it never had to be 152 min. This story could have been easily told in 120 minutes and from an editing standpoint, I found the film to be severely flawed and don?t think the good reviews of this film are justified at all, but people are starving for better films, and why something as mediocre as this can excite peopl e is beyond me?

Scott

Name: Tim
E-mail: NansemondNative

Good Afternoon Josh.

I know you can't stand superhero movies but the other night one of my kids had borrowed a movie from one of her friends and it was entitled "X Men 3 - The Last Stand" or something to that affect.

It's a Stan Lee production.

The movie was mostly about special effects and admittedly, to me, they were impressive particularly anything having to do with the mutant Jean Grey. This actress was extremely hot by the way...Super sexy!

What struck me the most about this movie was the credits.

The end credits rolled for what seemed like an eternity and then they finally got around to crediting the second unit crew.

They must have had 5 or 600 names on that roster.

The drivers alone equated to the population of Rhode Island.

Is this unlimited budget gone wild? Why on earth would you need so many people to put together a flick like this?

I guess it is hard for me to fathom possibly because I'm not thinking on a large enough scale. The most people I have ever had together was 15.

Just an observation. No need to post.

Thanks for lending an ear.

Tim

Name: Diana Hawkes
E-mail: crazyfelinelady@yahoo.com

Dear Josh:

I just saw an announcement on the movie review show "Reel Talk" that, next year, Turner Classic Movies will begin showing 6 RKO Radio Classics from the 1930's, not shown on T.V. for over 40 years, that were "uncovered after a long copyright dispute." They include:
-- "Double Harness" with William Powell and Ann Harding
-- "Rafter Romance" with Ginger Rogers
-- "One Man's Journey" with Lionel Barrymore and Joel McCray
-- "Living On Love" with James Dunne
-- "A Man To Remember" with Anne Shirley
-- "Stingaree" (spelling?) with Irene Dunn and Richard Dix

Comments? I wasn't sure what they meant by "uncovered." Able to be aired again, presumably?
Any of these you'd like to tell us about?
I'll look forward to the Ginger Rogers performance, and finding out what the deuce "Stingaree" means.

Name: L.A. Guy
E-mail:

Dear Josh:

What are you doing in L.A.? I thought you were living in the Detriot area. Are you working on another project in L.A. or are you working on some existing piece of work? Or are you simply just visiting somebody?

I really want to know. <3

Name: Aaron
E-mail:

Dear Josh,

What does thematic writing mean to you, and how would you personally define it?

Thanks.

Name: Dean
E-mail:

Mr Becker,

I caught "If I had a hammer" on Youtube ( I did buy your book so you should get at least some of my cash this year, i was the schlub whining about distribution not really being covered and Orson Welles in an earlier post ).

Just wanted to say I really enjoyed it ( despite a shaky start ) and it is a crime that it has so far not had any distribution.

I very much like how the film has a very youthful sense about it without using the common techniques to appeal to young people in some insulting manner ( quick cuts, shaky cam ).

I was also impressed with the subtext, or at least my perception of a subtext, that the lead male was ba sically everything good and bad about Rock and Roll and what it would mean to the generations that would grow up with it.

It seemed like you where putting forth the idea that folk music's idealism and conscience was crushed by the ignorance and hedonism of rock and roll....also the key word Apathy, which is the hugest problem here in the U.K at the moment.

"Everyone stands for something, even if they don't realise it". ( poorly quoted )

The characters where all well realised and it is a story that would be very relevant today ( sadly it would need to be shot in a "quirky" manner to appeal to the generation I find myself a part of ).

Easily your best work, the only bad point is the slightly rocky start, which smoothes out about seven minutes in.

You should be proud, I am sure you are, I hope someday to make a film of equal quality.

Sorry I don't have any questions.

Name: Aaron Stroud
E-mail: coppolas_cocaine@hotmail.com

<< the very best way to view it, but it's better than nothing. I invite everyone who's interested in seeing the film to watch on YouTube, then let me know what you think.>>

If you have a decent speed connection you can view it all in one go. Just add them to your YouTube Quicklist (the little + box in the corner of the video picture) in numerical order and click play all. I'm sorry Lisa Records career didn't take off earlier. Although it amused me that Brett Beardslee's father in the film was one of the special optical effects people in THE TERMINATOR and FROM DUS K TILL DAWN.

Name: Tim
E-mail:

Dear Josh:

What was particularly nice about seeing "Sons and Lovers" with a big crowd was to hear the reactions from the kids (late teens, early twenties) after it ended...they all seemed to love it.

"Black Narcissus" is beautiful. The juxtaposition of the colors themselves (blues on whites, reds amid oranges, purples and browns, etc.) is transcendent, but the lighting is particularly awe inspiring. I love the matte shots as well. And the final twenty minutes...my God! I remember first seeing that as a kid, not knowing where the hell the film was taking me and being completely thrilled with the progression. It's too good.

Anyway, I hope "If I Had a Hammer" gets a legit release soon. I'll watch it on YouTube in the next few days, then pass the word along to my friends, all of whom support independent filmmaking. I'll tell you what I think when I see it. It certainly sounds like my cup of tea, so I look forward to it.

Name: Aaron
E-mail:

Dear Josh:

Do you still keep in touch with Lisa Records? The only evidence online of her existence is her role in "If I Had a Hammer," which is a shame, because she was so good.

Name: Bob
E-mail:

Dear Josh:

What's your take on the Congressional elections? Are you surprised at the results? It seems that a lot of the new Democrats in Congress are so called 'New Democrats', which means more conservative than the current leadership of the party. This could impact all sorts of issues, from legislation to confirmation of Supreme Court justices.

Name: Tripp
E-mail:

Dear Josh,

Did you see "Shogun Assassin" in theatres when it was first released in America? I see it in your favorite films list, and it's always sounded interesting to me.

Name: Scott
E-mail: sspnyc66@mac.com

Josh,

"Topsy-Turvy" is a lot of fun and Mike Leigh is one of my favorite directors and he had been wanting to make that film for a long time befroe he made it.

I found "All or Nothing" to be a very good film as well.

I like his films because he does very good stories about regular people and his characters are very believable in my humble opinion.

"Vera Drake" had potential, but it was just an ok film.

I agree with you that "Life is Sweet" is a very good film, but I also liked "Naked" and "Secrets & Lies" as well. I really thought the actor David Thewlis that played Johnny in "Naked" was very good.

Scott

Name: Harry
E-mail:

Dear Josh:

I have a two part question. First part: Do you believe that a movie can have a flawed structure and still suceed in being a good movie? Second Part: How does one, in your opinion, use music properly in a motion picture. Any examples would also be nice. :)

Thank you so very much.

Name:              Jeff
E-mail:

Dear Josh:         

I was flipping channels over the weekend and happened on The Great Escape. What a well done movie. I've seen it before and was planning on watching just a couple of minutes but got sucked in for the whole thing.

At the end when they throw up the graphic "This film is dedicated to the fifty" and "The End" -  fade to black, it just hits you in the gut. By not going to end credits it seems to make such a stronger impact and I've noticed that with many movies from that period.

Do you know when movies went from just beginning credits of the major players, to tacking on credits for everyone involved in the production at the end? Did it started with a specific movie or was there a particular reason? Thanks!

Name:              Lilly
E-mail:             summer_lunix@yahoo.com

Dear Josh:         

Now I have read your diary-like essay I really laughed out (I am Bulgarian btw) and I am really sorry we havent met in that park as you call it =]. Anyway, wish you all luck

Name:              Tim
E-mail:

Dear Josh:

I recently arranged a screening of Cardiff's "Sons and Lovers" for some people in the biz and some college students, and everybody was floored. The print was prestine B&W 'Scope and it looked gorgeous, with Freddie Francis' Oscar-winning cinematography. A very good literary adaptation, with a wonderful cast. Very memorable score, too. It's also a film David Lynch loved as a kid that ultimately led to him hiring Freddie to shoot "The Elephant Man" when the question of the DP on that film arose.

Alas, it's not on DVD in the US yet, but Jack seems interested in a commentary. As far as his livliness goes, he joins Morricone and Harryhausen...when you're around these guys they're so energetic you forget how old they are...which I love, and it's great that they're still around.

And yeah, kudos to Scorsese for organizing another epic cinematographer gathering for a concert film. I can't wait to see how it's all edited together.

Name:              John
E-mail:

Dear Josh:         

What's your opinion of the 70s band Badfinger?

Name:              Chris
E-mail:             shenaniganz@hotmail.com

Hey Josh,

I was just looking up stuff on youtube right, and i searched your name just to see if anyone had uploaded any short films of yours or something and guess what...

Someone has uploaded "If I Had A Hammer" on there in about 13 parts. I havn't watched it since i just watched my VHS of it last night so I don't know if all of it is there but still...Just letting you and everyone else here know that it's there.

Name:              ismail
E-mail:             xadeolax@hotmail.com

Dear Josh:         

Good job, it feels good to listen to the opinion of someone who says what he believes, as opposed to lying to his own conscience and only saying things because he is afraid of going to hell. Religion is dishonest and hypocritical. If you think about it what religions preaches is impossible. All people thinking the same thing, and agreeing to the same laws: If this ever  happened, people would cease going to hell rendering practicing religion an exercise in futility.

Name:              Diana Hawkes
E-mail:             crazyfelinelady@yahoo.com

Dear Josh:         

Holy Guacamole, that *is* puzzling.  I'll send him your link, then. He already has books on Puller.  He even insisted on naming his dog, a Dashound mind you, "Chesty."

Off topic - this just came up today chatting with my Xena friends:  There are various points in many episodes, both in close ups and longer shots where oddly they are apparently on equal footing, when Lucy appears as tall as two of her co stars: Marton Csokas, who played Borias, and Kevin Smith.
Yet in other scenes she appears shorter than both of them. Lucy I think is ~ 5'10", Csokas is 6'2", and Kevin was 6'3".

I suggested it was the result of different directors for the different episodes having the freedom of simply choosing to present them either as with a "Me God, You Mortal" height difference, or conversely- as more or less equal in height to help sell the idea that she was "on his level" power-wise.

Was that ever a consideration when you were filming Soul Possession?

Name:              John Hunt
E-mail:             Chowkidar@aol.com

Josh,

First, on your "Studio" essay, what sources are you distilling from?  I really appreciate early in the essay the motives you present for various companies to relocate to Southern California.

I was wondering if there was a similar set of motives for the various inter-California moves.  You tell us that there was a period of stability for thirty-odd years (if I recall correctly) but not why that period was stable nor why it ultimately fell.  I'd certainly appreciate your thoughts on the trends and historical themes which drove particular studios in or out at particular moments, i.e, what motive made the facts of the later essay inevitable, and what can we now expect based on those trends and themes.  This is not criticism of what you've written, but appreciation of what you might yet write.

I just read Andy Summer's memoir, "One Train Later".  It's a very engrossing read and covers much of the ground that is often covered in this discussion site.  For what it's worth, I would give Summers' book a strong recommendation to anyone interested in the development of Rock and Roll from the fifties through the eighties, the Police in particular.  He has a lot to say about other cultures as well, up to and including our current government.

I watched "Longitude" with Michael Gambon and Jeremy Irons.  It was, I believe, three hours long, though not intended for a single sitting.  I thought it well done, the first part especially so.  I've also recently watched "To Serve Them All My Days", set in the same time period, and throughly enjoyed that.

Has anyone ever done "Stalky and Co." by Kipling?  There, again, is a story you could tell particularly well.

Well, thanks again for the essay and do look into Andy Summers' book.  I think you will find the mood of the book rather familiar.

John

Name:              David R.
E-mail:

Dear Josh:         

Have you seen any of Pedro Almodovar's films? He gets a lot of good press, though I haven't watched any of his movies. At imdb I was reading some of the plot summaries and they sound awfully eccentric and/or just plain weird. But I guess I'd be willing to put up with some weirdness so long as Penelope Cruz takes her clothes off. =)

Name:              Tim
E-mail:

Dear Josh:         

Not a question, but a discussion starter.

So Martin Scorsese wrapped up a documentary about the Rolling Stones this week that also including performances for Bill Clinton's 60th birthday party. It was shot at the Beacon Theatre in NYC and will be released by Paramount next year.

But I was impressed by the the call sheet of the camera department which had apparently had 17 camera packages.

Bob Richardson was the DP
Camera operators included:
Mitchell Amundsen
Pat Capone
Stuart Dryburgh
David Dunlap
Robert Elswit
Chris Haarhoff
Tony Janelli
Lukasz Jogalla
Emmauel Lubeski
Anastas Michos
Declan Quinn
Andrew Rolands
Gerard Sava
John Toll
Ellen Kuras
Andrew Lesnie

Impressive, but I guess they didn't have a quorum

with 30 camera assistants
8 loaders
16 runners

And that was just the camera department.

Meanwhile, I just thought you also might be interested in that I produced an interview with Jack Cardiff for a documentary this year. Even well into his 90s, Mr. Cardiff is still frequenting Poland, Edinburgh and LA for various film/cinematography based festivals, lectures and such. Very busy shedule. He's also been visual consultant on a few films.

You rule.

Name:              Neuro
E-mail:

"Was there any reason on earth why a trivial little piece of fluff like "Pirates of the Carribean" should be 2 hours and 45 minutes long?"

Good God no, but as you said, even at 90 minutes it would've been a piece of fluff (albeit an enjoyable one), but at 2.5 hours it's unbearable. I must admit I didn't even bother to finish it. I liked Johnny Depp though, who was clearly having a good time in the role.

As for "Topsey Turvey," it's been too long since I last watched it and I didn't remember the exact running time, although I should've checked just to make sure before posting. Anyway, I'd say it's Mike Leigh's best movie, and yes, it's not only a 180º turn from his usual approach but also a complete utilization of all his abilities and talents. Certainly one of the best films ever made about life in the theatre.

Name:              Ben
E-mail:             sphere6@earthlink.net

Dear Josh:         

I just finished reading your journal you wrote while working on the Evil Dead. I was wondering how you guys got the camera attached to the wood for the ram-o-cam, and the other various "cam" shots" other than the ones where it was taped to Raimi's hand? It's been bugging me.

Name:              Diana Hawkes
E-mail:             upon request

Dear Josh:         

My brother, who is a captain in the Marine Corps (currently serving in Fallujah- Gah!), enjoys reading biographies of noteworthy corps leaders and battles.  He even tried to get me interested in a book of old maps to battle situations as they appeared to commanders at the time.  My eyes glazed over.

What books would you recommend for him about Sgt. Daly?

Name:              Bob
E-mail:

Dear Josh:         

Great article on the history of the Movie Studios. It could be the outline for a good book.

There was a PBS History Detectives episode about the location of the first movie studio in LA. Here is the URL to the transcript if you are interested in reading it.

http://www.pbs.org/opb/historydetectives/pdf/204_studio.pdf

Name:              Neuro
E-mail:

"and there hasn't been one movie in the past 20 years that's needed the extra length for any reason at all"

Mike Leigh's "Topsy Turvey," which is on your favorite films list, was three hours...wouldn't that be an exception?

Name:              Harold Cohn
E-mail:             hc@cohnheadz.com

Josh, you recently wrote regarding films that last longer than 120 minutes:  "there hasn't been one movie in the past 20 years that's needed the extra length for any reason at all."

I don't understand the term "need" in this context.  We're talking about entertainment, right?  As far as "need" goes, we don't really "need" movies, in the harshest sense of the term.  Aren't movies about "want" rather than "need?"  The sexual act doesn't "need" any more than insemination of a womb, but people typically prefer it to be longer than that and involve other time-prolonging acts which lengthen the act of sexual congress beyond that which is "needed."  If someone doesn't want to go to a movie that's longer than 120 minutes, the don't "need" to go. They can go to a shorter movie, and leave the longer movies to us who don't "need" to go to the bathroom as often.  Or they can wait for the DVD and use the pause button.

Name:              George R.
E-mail:

Dear Josh:         

What is it about long movies that makes you mad? Personally, if a movie was entertaining enough, I'd sit through 4 or more hours of it.

Just askin'.

Name:              Steve  Donovan
E-mail:

Hi Josh:

Love your site.

I'm a huge horror fan.  Have you seen any of the films by Mark Savage, whom I believe was one of your posse back in the Evil Dead days?

Name:              Neuro
E-mail:

Dear Josh:         

What are a few of the films that you make sure to watch once a year?

Name:              John Trehorn
E-mail:             trehorn@johnstown.net

Dear Josh:         

Have you ever been tempted to dress up your sex life with role-playing of some sort, specifically by dressing up as Xena, with your girlfriend dressing as Gabrielle, or vice-versa?  The weirdest and possibly most exciting part is that if Ted were into threesomes you could have the real Joxer in the mix...  I'd definitely buy the video (if it were LoDuca scored, that is).

Name:              Si
E-mail:

Josh

The other day I stuck on some of my favourite numbers from the film musical of Little Shop Of Horrors. Not brilliant by any means, and I think they copped out a bit in the end, but still a very good show. Did you enjoy it?

I'm not really sure what my favourite film musical would be now. My Fair Lady would be among them, I guess, but I've seen it too many times. I do rate Fiddler On The Roof and Guys and Dolls pretty highly, though. (Especially Fiddler for having more substance than your average musical.) What do you think of all those? Not surprisingly, I was disappointed with the film of Chicago... Rob Marshall wasted a good opportunity to expand the show beyond its stagey origins.

Si

Name:              Batdad
E-mail:

Dear Josh:         

Where is your book being sold?  Does your publisher have deals with certain bookstores?  Do you recommend the hardcover or paperback?  Are any other books in the pipeline?

Name:              Si
E-mail:

Hello Josh

Long time, no write...

Just a couple of thoughts. Pity that you weren't more taken with Family Guy (otherwise I would've asked you what your favourite scenes were) but in a way I can understand your indifference towards it. For all the really funny moments I believe there are, there's also quite a few dead spots, and the parodies tread a very fine line between being genuinely funny and pandering to those who were born in the early '80's (me included). Examples? The appearances of He-Man and Action Man. Recreating the end of Star Wars. Virtually recreating the beginning of The Naked Gun. etc. etc.

Sometimes, nostalgia can be a bad thing. It won over most critics in the case of Superman Returns (which you'll probably not see anyway, so I hope you don't mind if I drop mild spoilers)... the use of John Williams' theme music, the opening credits from the Christopher Reeve era recreated, Eva Marie Saint and Marlon Brando reunited (kind of)... undeniably memorable though these moments are, they do have a hint of pandering (there's that word again) about them.

The way I see it, filmmakers (and artists in general) should stop trying to recreate old history and create new history.

What do you make of it all?

Si

Name:              Zapp Rothstein
E-mail:             zr@cabal.net

Dear Josh:         

In a recent post you described the work of Antonioni as "dull and pretentious."  Man, oh man, do you need to see a movie I just watched (the first half of):  "Damnation" by Bela Tarr.  My god, it was like a parody of art films.  The director made almost every shot a pan, and those pans moved at this incredibly slow speed.  For instance, if a guy left the room, the camera would move at about a centimeter a minute after him until it reached the door he left, and then slooowly move back to the other two people he was sitting with, whereopon they would resume their conversation on how "life is suffering and decay."  I broke out laughing several times, such as when the hero's love interest is introduced singing in a nightclub and she's draped over the microphone singing about how life is meaningless and she will never see her lover again and he was no good anyway.  She looked like she needed about twenty Prozacs.  Every line of dialogue in the movie was a Deep Philosophical Statement, and every single line of dialogue or lyric sung by the many musicians in the film were all depressing, and almost every outdoor shot was in the dark and rain on unpaved muddy streets, with stray dogs wandering everywhere.  Holy crap, do I not want to go to Hungary after seeing this film.

Name:              Kara
E-mail:             DrainedBlue12@gmail.com

Dear Josh,

I went back into the question archives quite a bit, but didn't see mention of the film Session 9. I was wondering if you'd seen it & if so, what are your thoughts?

I finally saw it after having it recommended to me numerous times & it has very much given me hope that scary movies can still be made...psychological horror hasn't completely been overruled by cheap scares yet.

Name:              Jack
E-mail:

Dear Josh:         

How do you feel about parody films? Like the work of Mel Brooks and the Airplane films and Naked Gun movies and that ilk.

While on the subject, what's your opinion of parody songs? Do you enjoy Weird Al's music at all?

Jack in the Box

Name:              John Hunt
E-mail:             Chowkidar@aol.com

Josh,

I just watched "Topper" for the first time in a long while (I'm trying to expose my kids to good movies).  Everyone remembers Roland Young, of course, and Cary Grant, but Constance Bennet caught my eye this time around.  I was also struck by the Hoagy Carmichael cameo. He's there, playing the piano with the drunken Kirbys, and he is clearly someone you should know.  He had presence; your eye was drawn to him.  I only realized it was Carmichael when George Kirby staggers off and says, "Thanks, Hoagy".  Charisma is such an intangible yet powerful thing.

You would have done an excellent job directing "Topper" I think; comedy is a forte of yours. I do hope you get to do some of your newer scripts. This world needs far more good honest laughs than it needs good, honest politicians and we're in desperate need of those.  Besides, Lucy needs to be in front of a steady-cam.  Her scenes in "Gallactica" look like they were shot by a three-year old (I speak from on-going experience).

I want to see the new Hellen Mirren film about the Queen. The premise is, at least, interesting.

Best of luck with everything, and may all of your pots come to boil, as it were.

John

Name:              Peter Strausse
E-mail:

Dear Josh:         

Here is a link to my list of all-time favorite films:
http://abbatazappa.mailbolt.com/Top100DVDWorld.html

Are there any you disagree with strongly? Any you feel are missing? Let's start a discussion....

Name:              GARY MAZIN
E-mail:             ComicBookWorm@Comcast.net

Dear Josh:          

I'm not looking to learn how to write a script. I already went to school for tha. My problem is trying to get my foot in the door and find an agent and/or Manager to sell my script. Can you help me with this?
                                                    Gary Mazin

Name:              Dan Yuma
E-mail:

Dear Josh:         

Longtime lurker, first-time poster; we have in common a fondness for the work of Jerry Goldsmith, and someone mentioned seeing "an advance" of his daughter's upcoming biography, but didn't, I think, mention where you can read two chapters of it, with probably more to come until publication:

at his older son Joel Goldsmith's website freeclyde.com. It's really breathtaking stuff; Goldsmith evidently saw that his end was near and so decided to spill the beans about everything, from his opinions of John Williams and Elmer Bernstein, to what it was like to meet Sinatra the first time. I'm sure the finished book will be spectacular.

And now a technical question: I haven't directed an amateur picture in a long time (and that's all I've ever done in directing, dinky little 20-minute things), but I wonder what your policies are about line readings and improvisations. I discovered that with amateur actors at least, sometimes they'd come up with a reading or an alternative, even at the spur of the moment, that felt better than what I'd written; but then I had no network or studio to please, and could let them get by with it. Have you had similar experiences? (I haven't yet seen "Running Time" but that one looks like you'd have had to block and rehearse fairly intensively.)

(I don't mean I was a total pushover; if I wanted a specific effect, you bet I'd do my best to get them to give it to me, but there were surprises I wasn't expecting in the actual actors' delivery. The better ones give you more than you even thought to ask for, though. Having worked with as many as you have, I am just curious to hear your take.)

Name:              Trey Smith
E-mail:             cobra_commander_of_cobra@yahoo.com

Dear Josh:         

I finally saw "Easy Rider" last night after picking up the DVD from Wal-Mart. The film had an extremely powerful affect on me. After the film ended and the credits started to roll I sort of just sat there in complete silence until my DVD shut itself off.

The ending, which thankfully remained unknown to me for all these years, really shocked me. I sort of saw it coming after the death of Nicholson's character George, but it wasn't something I was emotionally prepared for after getting to know these two characters for 90 minutes.

I can't even imagine the impact the film must have had on you after viewing it in '69 on the big screen. I know you've said in an essay or two that you went home and sewed an American Flag on your jacket, but could expand on your immediate feelings after viewing the film a little? Were they similar to my reaction or different?

On a lighter note, as I was watching the film it really made me want to take a long road trip with an awesome classic rock soundtrack playing the entire way. To be free like Fonda and Hopper were throughout Act II of the film. I also understand why you wanted to sew the American flag on your jacket now.

Hope you have a good day.

Name:              Bob
E-mail:

Dear Josh:         

I just viewed West Side Story again.  It's about my favorite musical, and one of my favorite movies.  I read that Elvis Presley was considered for the Tony character, and that Elvis regretted turning it down. Thank God for that. Do you think it is among the best musicals?

Name:              Bobby
E-mail:             gnign@hotmail.com

Hey Josh,

Watched an amazing print of "Days of Heaven" just the other night---a perk of working part-time in an old arthouse cinema.  It got me thinking about Malick--- people can have any opinion they wish about his work, but I do think most people would have to agree that his films look gorgeous.  Does this come from having a great cinematographer each time out, or is it pretty much to Malick's credit?  I know it must be a collaborative effort to some extent---in your own films, do you ever feel that your cinematographers improve upon your vision, or is it just a matter of getting them in synch with what you want?

Name:              Honda Jesus
E-mail:             peterbilt@romeovoid.com

Hey, Becker!

I was wondering about your opinion of Spielberg's "Duel."  I've heard this touted as one of Spielberg's true masterpieces, unladen with any fantasy or sentimental bullcrap, however I just watched it last night and it wasn't that great.  The scene which really shows the hallmark of Spielberg excessive audience manipulation is the part where Dennis Weaver stops to make a phone call and it just so happens that the only phone booth is in the middle of a bunch of rattlesnake cages at a roadside combination gas station and rattlesnake selling emporium.  The truck smashes into the phonebooth and not only does Weaver have to jump out of the way to avoid getting killed, but then there's killer rattlesnakes all over from the truck smashing open their cages.  This pretty much sent the film squarely into the realm of the absurd.  Perhaps it was intended to be funny -- if so, mission accomplished.  However my sense was that it was supposed to be scary rather than laughable.  Maybe I'm wrong.  Also, the musical score for the film rips off Hitchcock's "Psycho" worse than any DePalma film...
Oy!

Name:              John
E-mail:

Dear Josh:         

In a nearly empty theater, I saw "Flags of Our Fathers" tonight and I have to say I was greatly disappointed. While isn't a disaster, it is a muddled movie.

Essentially, there are three stories here: 1. A recounting of the battle of Iwo Jima 2. The story of the lives of three of the six soldiers and 3. A look at the inner machinations and politics of WWII. The most fascinating of the stories is the third, which consequently, is the least focused and expanded upon.

The Iwo Jima scenes were quite astonishing. The second story is very good as well, but interspersed with the battle sequences the terrible choice of intermittent voiceover, is told an agonizingly disjointed fashion. It's hardly used in the first 2/3 of the movie and then used almost exclusively to hold up the last 1/3 of the film.

There is a great movie in here about the media, politics and machinery of selling and "winning" a war but Eastwood is oddly didactic here.

The score is great.

How about you? Any comments about this, and have you seen anything lately that's good, or even okay? Thanks.

Name:              Rob
E-mail:             habejr@mac.com

Hey Josh,

It's been a while since I wrote in, and today, if you please, I have two.

First, I just saw Marie Antoinette. If I recall, you aren't a fan of Sophia C. I didn't like Lost in Translation so I'm right with you. However, this film was a great surprise to me. The cinematogrpahy was exceptional (Lance Acord, who also did Adaptaion and Being John Malcovich). I'm wondering if you plan to see it.

Next question: I was just browsing imdb and I ended up on their worlwide box office records page. I noticed that in the top ten, only two films (Titanic and Jurassic Park) were made prior to 2002. What does one make of this?

Thanks again. I hope to write in more often.

-Rob

Name:              tinalouise
E-mail:

mr. becker,

what's the deal on using other movies in your movie? say you have a character flipping through the channels on television and its just 5 seconds on each station. do you have to pay for what is used?

also, what about on using other movie posters for props? do you have to pay to use those?

Name:              Bob
E-mail:

Dear Josh:         

Are you looking forward to seeing Flags of Our Fathers?

Name:              Scott
E-mail:             sspnyc66@mac.com

Josh,

Ok, now I see why you don't like "The Last Temptation of Christ".

I did not think Jesus was portrayed as "a creepy asshole", I think it portrayed his struggle to accept his fate as a martyr and how it affected him.

Whether you believe he is the son of God or not (I don't), I felt the point of the film was to show how these decisions he was making were affecting him and all his followers and how he suffered with these decisions and his beliefs which all humans do as well.

As far as New York actors in the film, the only New York actor with a main role was Harvey Keitel as Judas, so I am not sure what you mean? Willem Defoe is from Wisconsin. The apostles were played by a mixed bag of actors, some were New York actors and some were not, and then there is David Bowie as Pontius Pilate, and Mary Magdalene was played by Barbara Hershey etc...

I think the film suffers from length, but I was not bothered by most of the performances with the exception of Keitel as Judas.

Anyhow, moving on to my next question...

Do you know what feature films were made about Orson Welles famous radio broadcast of "The War of the Worlds". I remember seeing one a long time ago, but I think it was a made for TV movie, however, for the life of me I can't remember the name of it.

I am curious to know if you know how many others were made?

Scott

Name:              Scott
E-mail:             sspnyc66@mac.com

Josh,

You actually never discussed whether you like "The Last Temptation of Christ" before with me, but now I realize your position on it.

I actually feel that the film should be in Scorcese's middle realm as your grading goes. I feel it is a much better film than "Gangs of New York," "The Aviator,", and "Bringing Out the Dead," and I think it is a much better film than "Casino". That film should be put on the bottom barrel of Scorcese's career.

I liked "The Last Temptation of Christ" and I think it is too long, but I felt the performances were strong, and the only other problem I had with it is he tried to make the dialogue too contemporary, but it was the only film that attempted to portray Jesus as he really was which was a man and a real human being. Even though Defoe is not a Jew, I liked his performance.

I also believe the film was true to the book for the most part and I felt the book was decent.

As for 'The Departed" it is just a re-make of a pretty damn good Chinese film; "Mou gaan dou" (Internal Affairs), and for the life of me I can't figure out why Scorcese can't come up with more original material, but I think you hit the nail on the head when you said he is old as I think he lost his mojo with "Goodfellas" as well.

I think he should stick to documentaries as that has become his strength in his later years.

Scott

Name:              Aaron Stroud
E-mail:             coppolas_cocaine@hotmail.com

<<I have the film out to Rhino Records and films, but I haven't heard a word back.  My questions is, if it's out there on YouTube for free, why would anyone ever go to the trouble of distributing it?  Not that anyone seems even slightly interested, mind you.  What do you think? >>

On one hand, it probably wouldn't help get it distributed, but it just might get it to the right audience (it worked for your book). Your film is a seriously mixed bag. It's a comedy and a musical, but its also a discussion piece (with a bit of allegory, much like THE FOUNTAINHEAD and EMPEROR OF THE NORTH), not to mention a folk movement and beatnik film (with a nice jazz score).

However, to quote Howard Roark: "a man who works for no payment is a slave". Why should a bunch of people get to see it for free, when they had the chance to buy it, but didn't? Best movie I've seen lately is GANDHI, and just an hour ago, TOP HAT.

Name:              James
E-mail:

Hi Josh.

When someone describes a movie as having wonderful "texture," are they referring to the layers of meaning (often subtextual) within the story or are they talking about the mise en scène?

Thanks.

P.S. I recently watched a Robert Osbourne TCM interview with ex child star Margaret O'Brien and she revealed that her very first date as a shy, sheltered teen was with none other than Dennis Hopper. Can you imagine those two together? Natalie Wood hooked them up because she was concerned about Margaret's lack of a social life. Not surprisingly, the match did not fare well. Too funny.

Name:              Angel
E-mail:             aesparz2@depaul.edu

Dear Josh,

I'm quite surprised that you didn't condemn "The Departed" outright. I love Scorsese and I've seen each of his recent film's on opening night with that faint hope that "this one might be good." I found "The Departed" wholly deplorable and after the screening I walked across the lobby of the cineplex into another movie just to get the taste out of my mouth. If it wasn't for 'Gimme Shelter' being used at least three times, I would not have even imagined this to be a Scorsese film. The camera movements, shifting the frame rates, and (as you mentioned) the way music is just smeared all over the piece as if it were a cheap rental. It was all off. The greatest departure of all in this film was between Scorsese and his craft.

(Spoilers Herein)

The only reedeming point of this movie, for me, was walking to the train after I left the theatre. I thought about everything I hated in this movie; the absurdity that the gang knows there is a rat among them and nobody suspects the man that, until recently, was a known police officer. Why? Because he had his cast broken and cried. The cellphone being a central plot device (I know it may seem petty, but I hate the way the cell phone is used to propegate any action/situation in movies. It's replaced the hand of god and become an easy-out for writers.). And the closer that Costello (Nicholson) recorded every phone conversation. That was the ulitamte fuck-you to the intelligence of the audience and works to stregthen the one suspension of disbelief per movie theory. I ran these and other things through my head and wondered, had I not found this site and read your essays on structure and lurked on the Q & A boards during my lunchbreak over the past several years, would I have been cheering along with the rest of the audience?  You've truly introduced me (and I'm sure quite a few of your readers) to a more analytical appraoch to viewing film, and not just accepting what's presented, but sending it back; knowing what's good and what's bad.

Thanks,
Angel

Name:              Chris Beeler
E-mail:

Dear Josh:         

Thank you Mr.Becker for anwering my question about negative films. That really helps me out alot.

Yes I do have one more question but this time it is more about writing.

I have seen a couple of times on here where you say that you didn't care about the character or that you didn't think the character was believable.

So let's say you have a multi-character story you are thinking about and there is a main character along with 3 or 4 others. It seems like a lot to me to write so that all characters are cared about or believable.

Could this story work with only the main character eventually end up being cared about while the others are despised. My idea is really all about the main character anyway. The other 3 characters are supposed to be bad and despised.

I am thinking that as long as you have that one character people can relate to, care about or believe then it might actually turn out OK? Or should there be something in all of the characters that people can relate to or potentially care about?

Do caring and believabilty share the same importance when writing a story or is there any one that is more important that the other?
Thank you again.

Chris Beeler

Name:              Jon 'big Running Time fan' Cross
E-mail:             gimmesugar@hotmail.com

Josh,

Do you write and direct films that you would go and see?
Do you write and direct films that you just want to make, for fun etc?
Do you write and direct the films you do, because the money happens to be available (when it is) for those types of films? or is it a combination of all three?
JC

Name:              Jonathan Moody
E-mail:             jondoe_555@hotmail.com

Dear Josh:

"I'd be even less interested (if that were possible) in a remake of "First Blood," then another useless sequel. Stallone is too old for Rambo or Rocky anymore. These films are nothing more than desperation moves by a panicked former movie star trying to hold onto his shred of fame and fortune."

I agree whole heartedly. Stallone shouldn't play Rambo or Rocky. In fact they don't need any more sequels. But Stallone is apparently working on a bio pic on Poe which could be cool if he doesn't be a dumbass and cast himself. I liked his writing back in the day. When he wrote Rocky and the first Blood but now he's lost it. So maybe Poe won't be so good. Would you be interested if you started hearing good things about it?

Your fan,
Jonathan

Name:              Chris Beeler
E-mail:

Mr.Becker,

I am starting to experiment with 16mm film and there is something I do not understand about the negative film.

For instance the few rolls I have shot I have played back on my Dad's old 16mm projector in the garage.

I want to try the negative film because there are so many more options as far as speeds and flexibility go.

The question though is after you shoot it then what?

It evidently doesn't play through a projector so how do you get it to a point where you can view it and edit it if need be.

I'm sure to you this is a rather ignorant question but it's all greek to me right now and I need all the help I can get.

Thank you.

Chris

Name:              Jaime
E-mail:

Josh,

Have you (or Craig) seen Rusell's The Devils? Sadly it can only be seen on VHS (cropped from 2.35:1) since there is no R1 DVD yet. But it's worth seeing because it's Rusell's take on the abuse of power and many other things.

Let me join the "Altered States" fan club. Great film, and the hallucination visual effects and Dick Smith's make-up kick the crap out of CGI.

Meanwhile, while I agree with you, Josh, on the dialogue delivery, Paddy Chayefsky did disown the film because of this (I believe). I know that it's based on his novel and I have a feeling that he disowned the film because it went over the top in parts because of Ken Russell's flamboyance. But thats part of the reason why I think the film works so well.

The Conrad Rooks film is only worth noting because Sven Nykvist shot it.

Name:              Bridgewater
E-mail:             k-i-o-u@hotmail.com

Dear Mr. Becker:

I am writing to inquire about the "optioning" process. Though I believe all of your scripts are original, you are perhaps familiar with the steps one must take in order to option a book, especially if the author is no longer with us.

Thank you.

Signed,

Tom Bridgewater

Name:              Thomas H
E-mail:             thillgren@hotmail.com

Dear Mr Becker!

When you made Thou Shalt Not Kill... Except, was it sometimes during production that you needed to be creative and make fast decision. And did you learn anything when you shoot that movie.

Name:              David R.
E-mail:

Dear Josh:         

Treasure Island (1934 -- directed by Victor Fleming) has (finally) been released on dvd. I am a fan of Mr. Fleming's films, particularly "Captain's Courageous", but have not yet seen TI. Do you recommend it?

Name:              Aaron Stroud
E-mail:             coppolas_cocaine@hotmail.com

<<If you can get that to work for you, great.  There are enough unproduced screenplays out there to fill the Grand Canyon, and most of them aren't worth the paper they're written on, let alone being turned into comic books.>>

Actually, I heard that's how they got WHO FRAMED ROGER RABBIT made. It started out as a screenplay, which NOBODY understood, then the guy had it turned into a novel, which was then adapted back into a film. Weird eh? Since I'm watching all the Best Pictures lately I sat through THE DEER HUNTER (shudder). It occured to me somewhere in the middle of the film that this was actually a better film than Spike Lee's MALCOLM X (which isn't a good thing).

On your What Could've Won, What Should've Won list, you mention a film called THE PATRIOT that you've never seen but swear its better than BROADWAY MELODY (just watched that too). What was it about? Why is it no longer in existence? And is there any footage left from it? It's kind of spooky hearing Hank from BROADWAY MELODY had a role in THE HUNGER.

Name:              Scott
E-mail:             sspnyc66@mac.com

Josh,

I know you really like "The member of the Wedding" both film and book.

We discussed this before, but I also find it fascinating that the film is so well done and it takes place in only one location.

I think the film proves that if you have a great story and good dialogue, you don't need much else to drive a film including multiple locations.

I saw "Reflections in a Golden Eye" many years ago and it is a weird film, but it is one of her novels I haven't read, however, I think I will have to read it now.

The film had a great cast and it was directed by John Huston (As I am sure you know).

The thing I like about McCullers books is that she wrote stories about the outcasts and the underdogs of society and she did it very well as I think she felt she was one herself.

Scott

Name:              Craig
E-mail:

Dear Josh:         

Watched "Altered States" last night for the first time in around twenty years. I still quite like it, though it's not the truly amazing landmark film it probably should have been; Ken Russell fucked around with Chayefsky's script and had the dialogue mumbled by the actors, but it's still a very interestin