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

Dear Josh:         

I'm reading EASY RIDERS, RAGING BULLS right now. It's funny to know as crazy as Dennis Hopper was, that John Wayne wanted to strangle him on the set of TRUE GRIT whenever an anti-war demonstration broke out. Did you see THE LAST MOVIE in theaters? It's not on dvd and $40 on vhs. It says the film wound up being so bad that one of the candy counter girls nicely asked Dennis Hopper if he was the director, then punched him in the face.

Name:              Andy P.
E-mail:             cocheezy@hotmail.com

Dear Josh,

I've done some artwork for Troma the best couple of years, and if I remember correctly on here a few years ago, you said that they wanted to distribute TSNKE when it first came out.  I was wondering what that experience was like?  Also, I know for a fact that they don't pay the filmmaker for distribution and I was wondering if that was the same in your case.  Thanks alot.

Name:              AJ
E-mail:             ajky1111@hotmail.com

dear Josh,

Have you seen the films of director/writer/actor  Alejandro Jodorowsky?If so what do you think of them?Supposedly he was a big underground driector in the 60s and 70s. A friend and I were discussing him today and his two films "El Topo" and "Holy Mountain" today, which after years of waiting, are finally being realeased on video this spring. I am interested in seeing them. I would be even more interested if they were Becker aproved though. I trust your opinions above all others and appreciate your time in reading and answering this.

Name:              Allan
E-mail:

Josh,

You don't enjoy smoking. No one does. Over the years of smoking you've developed a belief system about what the cigarette does for you. You tell yourself that smoking relaxes you, helps you handle stress, relieves boredom etc. But if this were genuinely true then smokers would be more relaxed, less stressed and less bored than non-smokers.

These percieved benefits are illusions. If you smoke to relieve boredom, for instance, then why do you also smoke when you aren't bored? And why don't non-smokers, who have the same stresses and strains as smokers, need a 'crutch' to get through life?

Did you enjoy your first cigarette? Doubtful. Most people gag, cough, or puke. You force your body to adjust to the poisonous weed and then you're "enjoying it" is really just your relieving of the withdrawl pangs that your last cigarette caused. It's a cycle...one that you can break but also one that you're incredibly frightened to break. If I were a smoker as long as you've been one, I'd be afraid too...

Don't excuse this deadly disease and addiction as an enjoyable hobby. You're only fooling yourself.

Name:              DREW (Andy P.)
E-mail:             cocheezy@hotmail.com

Dear Josh,

I don't know if you remember me or not, but it's me DREW, and I used to frequent this board quite alot in the early days of your site.  Just wanted to say thanks for always taking the time to answer my questions, and your "Smoking" essay went over big in my speech class back in the day. Alien Apocalypse was great, as was your commentary, and I can't wait for the TSNKE SE to come out.  Sad to say, I sort of took a 180 degree direction in my career and became a Cartoonist instead of a Filmmaker, and have been doing well in that direction.  Films are still a major escape pod for my mind, and I'll have to keep checking back here to keep up on what your doing.  Anyhow, thanks again.

Take care,

DREW (Andy P.)

www.myspace.com/cocheezy123

Name:              Alotta Fagina
E-mail:             alottafagina@home.com

Dear Josh,

I'm sorry for the threats you have/may have received on this site (I've found Muslims to be inherently aggressive). I won't try to change your mind on religion, only wanted to say sometimes things can exist that cannot be explained by logic or reason, and that there may be realities our senses and minds simply cannot perceive.

Could I ask what you think of Bryan Singer directing television and would you have confidence in this, given your experience?

Alotta

Name:              Jose
E-mail:             flowist@optonline.net

Hello Josh,

Buying a Bolex EBM hope to shoot synch dialog. Hearing it's noisey. Ever use one as such? Brlow budget film maker B/W 16MM film. Blimp it or bleep it?
Jose

Name:              Seth Kutner
E-mail:

Dear Josh:

How do you think of the titles of some of your scripts?

For instance, where did "Thou Shall not..." come from? How about Ball Breaker? That's a funny title.

Name:              anonymous
E-mail:

Dear Josh:         

the poem abote the guy who was fat and skinny and had blue eyes had better not be about mohammad(peace be upon him) because if it is you shall..................

Name:              Bob
E-mail:

Dear Josh:         

I have to take exception to your general statement that Religion is Evil.  The aspects of religion that you cite as being the cause of the evil, namely, that people tend to think themselves better than others are not necessarily religious in origin, but social.  I would say that religion is evil only in the respects that it causes human beings to coalesce around ideologies that create self-identities to the exclusion of others. If it is shown that religion is a major impetus in that than your hypothesis may have validity. However, I believe that even with the exclusion of religion that people will group themselves into separate groups, and regardless of the provability of any particular religious tenet, that all preserve irreplaceable cultural traditions.

Name:              Kristie
E-mail:

Hey Josh,

I was wondering if you planned on posting another volume of old reviews, including some of the ones you regularly refer to that you wrote in the 70s, such as the one for "A Woman Under the Influence?"

Best.

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

<<"The Departed" is third-rate Scorsese.>>
That scene with DiCaprio bitching for a prescription is the worst acting ever. I've just seen too many bad movies lately.

Meanwhile, I loved this little filmmaking gag in LIVING IN OBLIVION. The first 30 minutes are in B&W with the only color being when they are rolling the film. After so much shit goes wrong, Catherine Keener finally gives a good performance, only just as it dawns on us that the footage we're watching is still B&W, the cameraman comes out of the bathroom in the middle of the take. I loved that moment. All those bits when Steve Buscemi had to charm the actors to calm them down were probably shot just for you.

Name:              Miss B
E-mail:             babs_cro@yahoo.co.uk

Hello Josh,

Are you at all familliar with the work of European director Emir Kusturica? I'd love to hear your observations on his style and approach.
Many thanks!

Name:              Alotta Fagina
E-mail:             alottafagina@home.com

Dear Josh,

I read the recent interview with Kevin Sorbo and could I ask from your perspective is the affair thing between Lucy and Rob true? Hadn't she divorced Garth already? Also have you heard of Bryan Singer's new ABC show Football Wives and Lucy getting the lead role, and what do you think of that? Thanks.

Alotta

Name:              J.D.
E-mail:

Dear Josh:         

I was just wondering at what point in your career did you feel like you had become a legitimate director/writer and not just a kid fucking around with his friends?

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

Hey Josh,

It has been awhile, but fortunately, I have been busy as I was flown up to NYC at the beginning of Feb. for two weeks to do some commercial work.

Anyhow, the NYC publisher Taschen has released a great series of books on Directors and genres of films and I picked up the "Film Noir" book put out by them and I loved it. like all Taschen books, this one is heavy on photos and it is no secret to my friends how much I love the "Film Noir" > genre.

First, I was wondering which "Film Noir" films you like the most? Second, I could not agree with you more about "The Departed". At the Golden Globes Scorsese said that he had always wanted to make a "Film Noir" inspired film properly because he enjoyed that genre and it had a big influence on him (as well as his contemporaries), and that he was fortunate to have done that with this film.

Maybe, but I still thought the film was a parody of his better work and "Goodfellas" seems more "Film Noir" inspired than the mediocre film. I still like the original Hong Kong film that the script was based on, "Internal Affairs" better than "The Departed".

Anyhow, I am also finished with the book you recommended to me of Harlan Ellison's shorts stories; "Angry Candy" and I am enjoying his writing and it has inspired many story ideas for me. I hope to make a couple shorts this year in Brazil if all goes well, so this was a great help.

Also, did you ever dig old radio shows like "The Inner Sanctum"? I quite like that one among others. I helped produce and participated in a few radio shows at college and I really had fun doing that. I prefer the visual medium of film, but I liked doing the radio shows because I feel it always left something to the imagination which seems to be something that is absolutely lost now in our culture.

Scott

Name:              Danielle
E-mail:             58ldd@concentric.net

Dear Josh:         

It's too bad Kevin Sorbo and Sam Raimi are not bosom buddies. They appear to have so much in common:

http://www.fundrace.org/neighbors.php?type=name&lname=sorbo&fname=kevin&search=Search+by+Name

http://www.fundrace.org/neighbors.php?type=name&lname=raimi&fname=sam&search=Search+by+Name

Meanwhile, the lovely Lucy Lawless chooses a different path:

http://www.fundrace.org/neighbors.php?type=name&lname=lawless&fname=lucy&search=Search+by+Name

Don't you just love how Sorbo denounces XENA for its violence, while personally supporting our idiot president and his fatal deeds? WTF?!

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

Dear Josh:         

I wanted to pass along some recent spectacular sour grapes from Kevin Sorbo and get your comments:

http://www.filmstew.com/showArticle.aspx?ContentID=15501

This isn't the 1st time he's clumsily offered unkind words for Ren Pics, et al.
The first whiff was back in 2001, just as Xena's last season wrapped:
http://www.xenaville.com/marka_sorbo.html
Then, years later around the time Herc's Season 4 DVD set was released:
http://www.ugo.com/channels/dvd/features/hercules_season4/kevinsorbo.asp

It's not just that he's harboring resentment, but that he's expressing himself like some preteen doofus.
The Herc/Xena fans are just stunned.

Name:              David R.
E-mail:

Dear Josh:         

After seeing the profile of Barack Obama on 60 Minutes earlier tonight, I have to say that I'm pretty impressed. This guy shows more class than any politician I've seen in years. I'd much rather he wins the Dem nomination than  Hillary. You have any thoughts?

Name:              Bob
E-mail:

Dear Josh:         

I watched Elmer Gantry tonight and Burt Lancaster definitely deserved an oscar for his performance.

It seems that your beef with the quality of the movies lies mostly with the directors and writers, but do you think the actors today are of the caliber of Burt Lancaster, or others of his generation?

Name:              Richard
E-mail:             filmfan_1@hotmail.com

"I guess it would be "Point Break," which looked as stupid as any film ever made from the trailer (a surfer cop), but it's so well-made that I've seen it about six times."

I can't tell you how happy that makes me! Of all the films you don't like or loathe that are discussed on this site, I thrilled that one you like is Point Break.

I also think Point Break is a heckuva lot of fun, and I didn't even realize I liked it so much until I had seen it several times like you.

It suddenly just clicked that this was meant to be a silly, fast-paced, fun action film...and it was!

Name:              Tim
E-mail:             tlrboulder@gmail.com

Dear Josh:         

I meant to use the New Wave, er nouvelle vague, (not capitalized in French) as a dividing period, not to imply that it lasted until 1977. And 15 because -- everybody has 10 best lists, and I wanted to see what extra films you might include given the chance.

So, sure, I'll show you mine; they're not in order. Some are simply movies I like - I'm happy to put up a defense for them, but I can concede that they may not be universal masterpieces, or in some cases the director's best film on some grand scale -- just that they're masterpieces for me.

From sound to the new wave

Casablanca
Best Years of Our Lives
Wild Strawberries
Seventh Seal
White Heat
Treasure of the Sierra Madre
Citizen Kane
Magnificent Ambersons
Some Like It Hot
The Searchers
The Grapes of Wrath
Sullivan's Travels
Rules of the Game
Rear Window
Sunset Boulevard

From the New Wave, er, nouvelle nague, to 1977, the year Star Wars darkened the world:

The Godfather
The Godfather II
Lawrence of Arabia
8 ½
Taxi Driver
The French Connection
Chinatown
2001: A Space Odyssey
The Wild Bunch
The Loneliness of the Long Distance Runner
Breathless
Five Easy Pieces
Harold and Maude
The Graduate
McCabe and Mrs. Miller

Best,
Tim

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

Dear Josh:         

Ugh... I just watched MONDO CANE while eating cake... that's - disgusting. In the meantime I saw THE DEPARTED for my birthday. Yeah, its an hour too long and the ending is a bit ridiculous (bang "what did you think you were Costello's only FBI man? We have to watch out for each other now."), but its Jack Nicholson's best role since A FEW GOOD MEN, and for once, Matt Damon and Mark Wahlberg don't disgust me (but Denis Leary should've had Markie Mark's role). Christ, Jack Nicholson steals the show everytime he's onscreen. Plus the leading lady was a fresh new face and the music was good. The film was pretty funny. I hope it wins BEST PICTURE so I don't have to buy LITTLE MISS SUNSHINE, THE QUEEN, BABEL. I don't mind seeing LETTERS FROM IWO JIMA.

Name:              Dick Trimble
E-mail:             trimble.richard@gmail.com

Dear Josh:         

In your essay on The Need for Structure part 3, I believe you misquoted Barfly. I believe that line is said after he stabs his neighbor.

Neighbor: damn luck, motherfucker.

Chinaski: Yeah, but that counts too.

Name:              Paul Marshall
E-mail:             tapegod@hotmail.com

Josh,

I am very pleased that new editions of TSNKE and RT are on their way. I have both. Will you be doing new commentaries with BC? or just carry the old ones over? Thanks and keep up the good work.

Name:              peter
E-mail:             peter@healthypoolandspa.ca

Dear Josh:         

I couldn't agree more with you! Religion is nothing but superstition for people who are easily lead and emotionally needy.Unfortunately there are many. Just think for a moment: the flood in the bible that killed every living thing on this planet (except the ones on the boat of course), makes god the most prolific mass murderer in history! Not even the most evil men in history managed to wipe out everything. Abortion is another bad joke of the church. Approx. 20% of all pregnancies end in miscarriages. That makes god the greatest abortionist of all! One can only shake their head at so much idiocy in the 21st century!

Name:              Ian
E-mail:             mrtorso@yahoo.com

Dear Josh:         

Nice to see that there are some worthy double-dips on the horizon with your new deal at Synapse. I can't wait for those. Any chance Lunatics will ever see the light of day on DVD?

Name:              Peter Strausse
E-mail:

Dear Josh:         

Hey, have you seen the documentary "A Decade Under the Influence"? I read it is similar to the documentary film "Easy Riders, Raging Bulls" (which, actually, I heard is a bit long and poorly paced compared to the book).

Name:              dustin
E-mail:             dustglas@hotmail.com

Dear Josh:         

Is there any word yet on when "The Harpies" is going to be airing on SciFi?  I need to have some preplanning for my next Josh Becker SciFi original movie premiere.

Name:              Tim
E-mail:             tlrboulder@gmail.com

Dear Josh:         

You've answered varieties of this question before, but how about slicing it a bit differently, just for fun. So: what would be your 15 favorite movies from the start of the sound era to the New Wave? And then your 15 favorites from the New Wave to 1977?

Name:              Stan Wrightson
E-mail:

Dear Josh,

In a screenplay, can the entire 2nd act be a flashback?...or this this a bad idea? Thanks in advance for your reply.

Name:              David R.
E-mail:

Dear Josh:         

I saw a pretty interesting film staring Spencer Tracy and James Stewart tonight called "Malaya". Fun adventure film! Have you seen it yourself?

Name:              Tim
E-mail:             Nansemondnative

Josh,

Thanks for the feedback.

Saw an interesting movie the other night with Humphrey Bogart. It was entitled "Black Legion" with Bogart playing a factory worker named Frank Taylor.

Full of ironic twists and violent images with what I thought was an excellent performance by Bogart.

It was based on events occuring in your home state of Michigan way back when.

Good movie Josh as I suspect you might already know.

Tim

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

Dear Josh:         

Quick question. If you are shooting a film near a very busy highway, how would you avoid the inconsistencies in sound caused by different sounding cars driving by when you move from one setup to another?

Name:              Brandon
E-mail:             goldmind_2020@yahoo.com

Dear Josh:         

As an aspiring screenwriter, I read your "Need for Structure" series and a lot of it really hit home. I immediately began searching for a copy of the script for The Bridge On The River Kwai. Unfortunately, my search has proven successful.  Might you be so kind as to name a few other scripts you deem worthy of perusal?

Name:              Bob
E-mail:

Dear Josh:         

If George Bush's proposal to increase the ground forces in Iraq by 21,500 is carried out, do you think that this will basically ensure that the 2008 Presidential election will be won by the Democrats?

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

<<I'll let you know.  But didn't you say if it got posted, I'd get a deal? The problem is that Synapse believes, and rightly so, that no one has ever heard of the film, and therefore no one will buy it. They want to know what I intend to do to get the word out, and I have no idea.>>

It's a mystery. I was hoping somebody would spot it, like they did your book but I suppose those are two different markets. At least people are watching it and writing in occasionally. That's right, I said it would help get it to the people who want to watch it. I once went to this screening of AROUND THE FIRE where the writers/producers were telling everyone it was only playing in three cities and we had to get the word of mouth out. They didn't know how to market it. It was about teens (probably 17-18) hanging out at Hippie Groups, and its 1997. It was a little cliched, and for an obscure market, but it had its moments. None the less, it is on video (and DVD) at my local Walgreens. So there's a market for everything.

Here's what I don't get: How does video rental work? I noticed the guy at my favorite austin video rental buys the new releases from Walmart. So I assume that means that the video stores buy one copy (unless its a major new release) and that's all the profit the makers get. But if a chain like Blockbuster Video buys one copy for every store, wouldn't that make the film its money back? They have a LOT of crappy filler on their shelves, and this film is way better. On the other hand, I don't go to Blockbuster for the very same reason, they don't stock films they like (like a local video store would), they stock their shelves with filler and new releases. Don't tell me Synapse Video distributes Frank Hennonlotters BRAIN DAMAGE because they think its a major hit. I kind of like BRAIN DAMAGE, but it has a terrible score and it uses up its one joke by the third act of the movie. For Christ sake, how can Fred Olen Ray make money distributing garbage through Retromedia but IF I HAD A HAMMER not get a release?!

Name:              Keith
E-mail:             khw03@hampshire.edu

Dear Josh,

In your essay on "Lifespan of Creativity" you mention that you think Charlie Chaplin was used up after "The Great Dictator".  Now you say pretty much the same thing about Orson Welles after "The Magnificent Ambersons", but still enjoy at least a few of his later films.
What do you think of Chaplin's 1952 film "Limelight"? I like his earlier work that I've seen but have yet to watch that movie.

Thanks,
     Keith

Name:              Jason Roth
E-mail:             jason@visualnoiz.com

Josh,

Very excited about the news that the super-8 Stryker's War will finally see the light of day, and also that you're working with Synapse.  Don & Jerry from Synapse are 2 of the coolest, least pretentious guys I've met. I'm glad you're doing business with em, and hope to see Hammer on DVD soon.

I guess I don't have a question, just some excited babbling and well-wishing.

Cheers!
Jason

Name:              Rick N.
E-mail:             n/a

Dear Josh:         

So, when you find new deals to put TSNKE and RT out with new distributors do you make the deals yourself, seeking out the companies you think may be of interest, etc., or does an agent or rep handle that stuff?  If a rep does this, what do you usually have to pay them, or do they work on commission?

Just curious.  Glad to hear somone likes Hammer.

Name:              Tim
E-mail:             Nansemondnative

Josh,

I had this kind of self-observation I guess you would call it today.

I noticed that I can attend an event or hang out with friends and be able to describe everything down to a T afterwards.I also noticed that I get a little hung up when I go to write the very events I can vocalize very accurately.

It seems that a story is nothing more than a written representation of ideas that you would speak in the absense of writing tools.

It also seems that I may have something working against me in my mind in that I may be thinking how I could ever achieve writing at the level say yourself or Stephen King has achieved. So I sometimes sit and stare at the keyboard as if the story is going to type itself.

This results in I guess self-imposed walls that I find hard to climb over at times.

Has this happened with you before? It seems that you should be familiar with this phenomena just from being a good writer. Any suggestions on how to get over these mental obstacles? I mean writing a good story should not be reserved for the "Genuis Only" class. It should be available to anyone who sets their mind to it and who has a basic understanding of what it is they are trying to accomplish.

Hope this doesn't come across as ignorant or whiney. It is a genuine problem.

Thanks for your time.

Tim

Name:              Chuck
E-mail:             chuckroitinger@comcast.net

Hey, Josh, what do you think of this year's Oscar nominations?

Name:              Nicholas Smith
E-mail:             therealnickelass@gmail.com

Hey, Josh

Just thought I'd drop you a line because its been a little while(however I'm fresh out of cocaine at the moment). I was wondering what you think of your pal Bruce Campbell hocking "Old Spice" or have you even seen his commercial?

Oh, and what if anything are you working on at the moment because as the old saying goes inquiring minds want to know? Well, at least I do.

Name:              CURTIS R. JONES SR.
E-mail:             CRKDJONES@AOL.COM

Dear Josh:             

I Live in a small town in northwest Louisiana called Mansfield about 30 miles south of Shreveport, La I finished High School in 1985 and as I see the kids today compared to the way it was back in 85' the kids don't have any respect for anyone anymore and our school are going to hell in a hand basket the teacher cannot teach, therefore everyone and everything suffers familys, jobs, community, you see without disipline you have nothing, all the lawmakers that trying to banned spankings need to go back to there chidhood and remember that ass whipping they got didn't kill them but made them better people so my question is this, if it was good for them and the rest of the american population why can't it be good for the kids today. because we are living in so violent time and we need to let the parents raise there kids, cause you can't talk to a child like it an grown up because that child has not grown up yet, its like saying you must first learn how to crawl before you can walk. and anybody working in the school system. need to go back to the old days of going thing. if a child is in the class room acting up the teaching needs to have the right to put something on that ass.

Name:              A.J.
E-mail:             ajky1111@hotmail.com

Josh,

  If I recall correctly Bruce Campbell metioned in his book that he, yourself, and a few others worked for a cab company before getting into film.What was that like?  Was this a good experience as far as meeting interesting people to base characters in your films on?

Name:              boydspahr
E-mail:             boydspahr@gmail.com

Dear Josh:         

It's time for a remake of FHtE, one that does full justice to the incomparable depiction of brutality in the novel...

Name:              Christian Watts
E-mail:             cwatts@hypd.com

Hello Josh,

Im doing my first feature, with the cheech & Chong style because I am using non actors due to limited money. My question is sound. Should I be using a condesor studio mic to mic my actors or a cheap shotgun, also I have been told masterful sound can make the difference in film. Whats your opinion. Thanks, ps would you ever consider allowing an mega indie filmmaker to shoot one of your scripts?

Name:              Sammy Jr.
E-mail:

Dear Josh:         

I know you ain't a fan, but I was wondering if there's anything you did like about the Spidey films? Even if it's just like "the colors were pretty"

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

Josh,

I just rented "The Formula" last night which stars George C. Scott. It also has Marlon Brando and John Geilgud in it. I don't remember ever seeing this film and it looks like it was originally made for TV.

The principal actors have strong performances, but some of the other actors performances are shall I say "hokey" as well as some of the writing. Also the lighting looks like made for TV lighting, however, I found the premise for the story kind of interesting and you can see we are having the same problems now with greedy oil companies including a President whose main interest is protecting his and his colleague's oil money.

The film was made in 1980 and there was an interesting scene where George C. Scott's character, he is a Los Angeles Police Detective who has to go to Germany to follow the evidence of a murder and he is checking into a hotel with the help of a Berlin Police detective who is also an old friend. The Berlin Police detective says "America is still lucky that it so far away from all this terrorism which we see here in Europe on a yearly basis."

There are also some other good lines about American big business oil etc...

I was curious if you had ever seen this film and what you thought about the idea of the film? I think it would be an interesting film to remake now if I was into remaking films.

Scott

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

Hey Josh,

I found this on youtube...interesting.

http://www.youtube.com/watch?v=SrTguO7dhyo

I hadn't seen that before. It's a lot better than the one on the dvd in my opinion. What do you think?

Name:              Jason Roth
E-mail:             scootermcgurk@yahoo.com

Hi Josh,

Just noticed that TCM is airing Billy Wilder's elusive Ace In the Hole later this month.  I'm quite excited to finally see it.  Every review I've read of it hails it as a masterpiece.  My question: do you know why this film has remained so difficult to see over the years?
Best,
Jason Roth

Name:              j john
E-mail:             jjohn99@rediffmail.com

Dear Josh:         

is the film being made , just curious ...

Name:              Si
E-mail:

Hello again Josh

Yes, I've just read that list again. I see what you're getting at, and indeed, nearly all of the franchises are tired, although (I'm almost ashamed to admit that) a couple still interest me. (In all fairness, I think your old friend Sam has done a good job with the Spider-Man films - but they're just popcorn entertainment, no more, no less.)

I respect your opinion about Borat. I can't deny that I had a fun night out at the time, though. Maybe the fact I enjoyed it as much as I did speaks more of a) today's standards, b) how few films I actually saw in the cinema last year.

I actually don't believe that things are getting better. Far from it. I just had a small hope after reading that article I sent you, that with audiences supposedly starting to catch on, the executives would also do so. But that doesn't seem to be the case. I can enjoy any kind of film, it's just there should be a mix between art, pure entertainment and documentaries etc. As a critic rightly pointed out five years ago, it's (nearly) all about pure entertainment - and mostly failed pure entertainment, catered to teenage boys.

Even the critically-praised films of today don't hit the target. I got a few out on DVD last year and I didn't think any of them were brilliant. Good Night, and Good Luck. ended up using Edward R. Murrow as a blatant liberal mouthpiece. Jarhead - great photography, great editing (by Walter Murch), but an overlong, self-conscious story with unclear morals and an abrupt ending. (When it came to the so-called story, director Sam Mendes tried to have it both ways and shot himself in the foot.) The Proposition was praised by many, but I found it a bore. The 40-Year Old Virgin? OK, it had its moments, but there wasn't enough material in it for a feature-length film.

On a better note... the rise of documentaries (like Michael Moore's films, March Of The Penguins, Super Size Me and An Inconvenient Truth) is a good thing. And more classic films will get a deserved DVD release, hopefully. I'm always grateful for the Christmas TV schedules too - I was able to catch It's A Wonderful Life, Gone With The Wind, Jaws and West Side Story on the box again, among others.

Possibly the best film moment for me, last year, was when I watched the Monty Python films in their entirety for the first time. I now love all three, my favourite being The Life Of Brian (the sort of film that would never get made today, incidentally). Although, can you explain to me why you prefer The Meaning Of Life to The Holy Grail? Both are good, but I always find myself quoting the latter more.

Yes, I admit there are many gaps in my cinematic knowledge, so to speak. But then again, I'm not a filmmaker, just someone who enjoys watching films.

Si

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

Dear Josh:         

Amusingly, somebody named Andy Bean has a film entry at this year's Tromadance entitled IF I HAD A HAMMER. I have no comment other than I typed up most your ultimate list and am saddened to find at age 24, I've only seen 1005 movies off this list (not counting all the shit films I've seen that you obviously bailed out on and didn't list). Regarding Hate Mail, I've never seen you insult someone who didn't deserve it.

Name:              David R.
E-mail:

Dear Josh:         

You wrote sometime recently how you think the only genre in which good films are still consistently being made is the documentary genre. I couldn't agree with you more. With that said, here's the website and synopsis for a film I am very interested to see. I thought you might be as well.

http://www.thebridge-themovie.com/new/index.html

Synopsis: "THE BRIDGE is a riveting and controversial documentary exploration of the mythic beauty of the Golden Gate Bridge, the most popular suicide destination in the world, and those drawn by its call. Director Eric Steel and his crew filmed the bridge during daylight hours from two separate locations for all of 2004, recording most of the two dozen deaths in that year (and preventing several others). They also taped interviews with friends, survivors, families and witnesses, who recount in sorrowful detail stories of struggles with depression, substance abuse and mental illness. The film, fueled by stunning cinematography, raises provocative questions about suicide, mental illness and civic responsibility, as well as issues of art and ethics, and the filmmaker's relationship to his fraught and complicated material."

Name:              Jason
E-mail:             archway2821@concentric.net

"... "Point Break" ... it's so well-made that I've seen it about six times."

Wow. I could be wrong, but that may be the first time I've heard you applaud the efforts of a female director. I'm not picking a fight, just observing. It's unfortunate that even with the emergence of so many new directors who are not white males (meaning, we're now hearing from groups of people who were previously invisible in mainstream culture), the overall quality of filmmaking from EVERYONE is as poor as ever.

Name:              Si
E-mail:

Hello there Josh.

Hope you enjoyed your holidays and had a good New Year.

I just had a thought about the films I saw in 2006 in the cinema, and realised that there really were few, if any, to get excited about.  I've already mentioned the awful Da Vinci Code in an earlier post (actually, awful is an understatement), but then there was The History Boys (not poorly made, just dull) and Mission: Impossible III. I used to - incredibly - find Tom Cruise tolerable, but since Oprah's sofa, Katie Holmes and War Of The Worlds he has just become completely insufferable. Paramount sacking him was one of the best headlines I've heard all year.

The two remote bright spots were Borat and Casino Royale, and even then the latter was overlong. Still, no Bond film has dared to end like that for many years. Snakes On A Plane was fun at the time, but it's all but disappeared from memory. Chances are I wouldn't like it so much if I watched it again.

Couple more things. In that article I forwarded to you, Andrew Sullivan noted that audiences were "catching on""to the dreck in cinemas - and judging by the many open spaces I see in the multiplex (when I go), he's right. When I saw Snakes On A Plane I think there were all of ten people in the cinema. Perhaps this is a sign that the "cultural nadir" will pass? Sullivan also said - rightly - that the best comedy was on TV. Indeed, the funniest shows I watched last year were Extras and Family Guy.

Finally, Welley's letter earlier (on the execs not trying their best) was very incisive, so kudos to him for that. However, in reply to his point earlier about how fully-grown adults can enjoy Superman Returns... I think that was all down to Bryan Singer pushing the nostalgia button. I wonder just how many Superman fans had actually seen those whoosing credits or heard "Can You Read My Mind" in the cinema. The film was little more than a near direct remake of the first Christopher Reeve film, except with better special effects. Not terrible, just - well, pretty pointless and superficial.

Si

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

Josh,

Do you know what the deal was with not showing the face of the President in movies?  It seems to have been a normal, if not regular, practice through the forties.  I can understand why such a practice would end, but how did it begin?  Any ideas?

Good for Bruce on the Old Spice thing.  Commercials can still be funny and I got a chuckle out of this one. Paychecks are nice, too.

John

Name:              Jeff Burr
E-mail:             JeffCBurr@AOL.com

Hey Josh...

I felt I had to respond to a post...sorry to butt in.  BUT, there is a huge misconception re Sam Peckinpah (and probably Bob Fosse too) on your site.  I was and am an admirer of Peckinpah's work, and he has been a big influence on me...that tidbit is just in the spirit of full disclosure.  Any lover of film has to understand something about the process...there is a huge and significant difference between shooting a lot of film on a certain project (i.e. a lot of angles/coverage and/or a lot of takes) with a sense of purpose and vision, and just shooting multiple cameras with no real idea of how it will come together in the editing.  As Josh has stated, every director worth his or her salt will have an idea (that may mutate for the better) of how the exposed film is going to link up.  Sam knew how the angles would cut together, and of course there was experimentation on the set, as he was a very instinctive filmmaker.  Sidney Lumet always calls the coverage mosaic tiles, and he knows how to piece the mosaic together..and I think that's as apt an analogy as any other.  But Sam did NOT shoot things he didnt know what he would do with, and until the personal demons got the best of him he was one of our great American pure filmmakers...and has several damn near masterpieces to show for it.  I know some of what I am talking about because I was friends with one of his DP's, the English/Canadian Johnny Coquillon, who shot STRAW DOGS, CROSS OF IRON, PAT GARRETT and OSTERMAN.  He told me how they worked together, and Sam knew WHY he was shooting something and what he was AIMING for.  And that is what Josh is referring to...something specific is always better, as the intent will seep into every frame of the movie one way or another...all to support THE IDEA and THEME.  Sometimes this can't be articulated well on the set, but it is critical that the director strive for the specific.  It helps the actors (the more specific an acting choice you make the more powerful, memorable, etc)  the technicians (if they know what they are shooting for in each set-up they will try to get it)...and maybe, in an extraordinary situation, the producers/executives will get behind it too! (I know, naive of me to think but we can hope) Sorry for the length, but I really want to make it clear that guys like Peckinpah and Fosse dont just happen because they shoot a lot of film from many different angles.  As Sam has said when he was shooting... "we're just mining the ore now..." and he certainly refined the hell out of it when he edited.  But of course it took time to do, and today with post schedules so ridiculously short on major movies, it takes a committed and powerful director to slave over the cut.  There are several good books on Peckinpah, and there is a very good bio of Fosse too.  I love them both and they left too soon and didnt make enough movies, but at least we got what we have!  Thanks for the time Josh...

Jeff Burr

Name:              Gorgon
E-mail:

Dear Josh:

Cross of Iron (in its uncut, unfucked with state) happens to be pretty incredible, and The Getaway is one of the 70's smoothest flicks. The opening credit montage, no doubt pieced together by Spottiswoode in the editing room, is breathtaking. Alfredo Garcia is a masterpiece of despair and personal, soulful expression. Its like Peckinpah's misanthropic, nhilistic coyote cry to the moon. And reconstructed, Pat Garrett and Billy the Kid has some amazing moments, including the second best death scene in cinema history, when Slim Pickens goes knockin on heaven's door (interestingly enough, the #1 best death scene in cinema history is Slim Pickens riding the bomb). What say you about this? How about the great death scenes in cinema?

Name:              Brandon
E-mail:             mrb894@aol.com

Dear Josh:         

Glad to know i am not the only one, you always here storys "oh my parnets never supported me blah blah blah" and I guess in some cases its true. Becouse i know how to "swing a hammer" and things of the like my parents keep pushing construction on me...I dotn want to do construction. its kinda strange my dad who hasnt ever really been around is kinda curious about the idea for me to "make movies" he wants us to shoot a  series of traing videos for the poilce department...im game

What was the most unexpected movie that you enjoyed and why?

Name:              Chris Bruce
E-mail:

Dear Josh:

I'm a young guy currently between high school and college who's just trying to make as many films and short projects as possible to test myself and learn this craft and I am finding that the hardest part at this stage is just getting the small groups of people together at the same time.

So my question is, when you were making your short films with your friends would they be shot over a couple of days or over a month? At that early stage were you ever paying anyone for their time?

Also, I'd like to know what you think about digital media and the ease with which people can now pick up a camera and edit something. Do you think learning on these cheap tools is breeding more incompetence than skill?

Thanks for your time.

Name:              Chuck
E-mail:             chuckroitinger@comcast.net

Dear Josh:         

I came across your website a couple weeks ago after some rube linked to it in an attempt to convince people to send you hate mail (he was not your biggest fan). I found the YouTube link to If I Had a Hammer in the archives and found the movie to be surprisingly well-done. I was definitely not expecting to find such a well-structured, enjoyable film on YouTube. Even though I'm only 19, I thought that the movie was really nostalgic. The musical performances were really great, too.

Anyway, from what little of the archives I've searched through, I have not seen any mention of television. Is there anything on TV worth viewing, in your opinion?

Name:              Raoul O'Hara
E-mail:             N/A

Dear Josh:          

In response to the following statement you made concerning director's knowing how their shots will cut together:

'"If you just shoot a bunch of coverage, then dump it on an editor to straighten out, you're a bad director."

-Josh'

I believe that is the exact method used by Sam Peckinpah on the best scenes of his best movies; Bob Fosse also shot shitloads of coverage and sorted it out in the editing. If you have the money, time and superior editing instincts, I think this is an excellent way to make movies. Are you objecting to the technique because it's not feasible on most low-budget productions, or maybe because it has produced so many mediocre films by mediocre directors and editors? Why is it automatically bad to shoot lots of coverage and determine the best editorial sequence later? Aren't you the guy who told me : "The abuse of a thing is no argument against the use of a thing." I'm not trying to be contrary, just curious as to your reasoning.
(Thanks as always for making us THINK about how best to make great films.)

Name:              Raoul O'Hara
E-mail:             N/A

O Wise and Powerful Josh-

I happened on an article today concerning Robert Wagner's lawsuit against the Producer's of the two 'Charlie's Angels' feature films. It seems Wagner and then-wife Natalie Wood owned 50% of the "ancillary and subsidiary" rights to the Charlie's Angels T.V. show, but have been denied any maoney from the Movies; the article quoted the judge as saying:

'"For a right to be 'subsidiary' or 'ancillary,' meaning supplementary or subordinate, there must be a primary right to which it relates," Justice Earl Johnson Jr. wrote on behalf of the panel. "The only primary right mentioned in the contract is 'the right to exhibit photoplays of the series.' "Thus, the Wagners were entitled to share in the profits from the exploitation of the movie rights to Charlie's Angels if those rights were exploited by Columbia as ancillary or subsidiary rights of its primary 'right to exhibit photoplays of the series' but not if those rights were acquired by Columbia independently from its right to exhibit photoplays," > Johnson concluded, with justices Norvell Woods Jr. and Laurie Zelon joining.'

  I know you're not a lawyer, but do you have any idea what this gobbledy-gook means? Wouldn't the Movie Rights to a T.V. series be ancillary and/or subsidiary? I'm so confused . . .

Name:              Brandon
E-mail:             mrb8694@aol.com

Dear Josh:         

I agree with you on Sergio Leone's pacing it does suck, and "Fistful of Dollers" (my fav in the set) is very good as for the other two in the set i also agree they are way to long.

I wonder what runs throough ones mind when making a movie and they think it has to be over two hours, I really dont recall a movie that had a stroy that was that good to need that time...or maybe its just me.

When you were younger did you get any rag from your parents about going into film as a proffession...they act like they support you but wish you would do somthing else "to make a living" and treat the idea of film making as a hobby? Or some variation their of?

Name:              kirk
E-mail:             nivek1767@gmail.com

Dear Josh:         

how do you get people to take notice of you im an indipendant actor who canot catch a break

Name:              Yo Momma
E-mail:

Dear Josh:         

Yur website sucks. Stop sucking so much, cause ur making the internet suck.

Name:              Jonathan Moody
E-mail:             Jondoe_555@hotmail.com

Dear Josh,

I couldn't help but laugh at everybody who comes on this Q and A thinking you are Sam Raimi. To answer that guy (Who was probably the same guy under a pseudonymn)  but this is Josh Becker. He didn't make Evil Dead (or Book of The Dead as the last guy thinks its called) Sam Raimi made it. Sam is also the guy responsible for Darkman, Quick and the Dead, The Gift, and Spider-man to name a few. And Sam Raimis much to rich to care if one person in this world didn't like the "old-age zombie" movie he made when he was in his 20s. Tho if you wanna know about Josh read his website. He gives you journals, articles, reviews, treatments, scripts, and updates on his life. And you can find out his involvement with Evil Dead on here as well. So before you become completly rude to someone understand who you are being rude too. You might be surprised. Sorry... I didn't have a question this time. Just a retort to that guy. And hopefully shed some light on here.

Your fan,
Jonathan

Name:              Welley
E-mail:

Josh

Thanks for your assessment. However, I completely disagree that the execs are trying their best. Most Hollywood films I see nowadays are so infantile, they make me violently ill. I can't understand how fully-grown adults can make, much less enjoy, excrement like "Superman Returns" (although the fact that Bryan Singer is a talentless hack might have something to do with it). I think the fact that far too many people are getting college degrees might have something to do with it, since college is apparently now a requirement for happiness and success in the world, even though the vast majority of them are too stupid to deserve degrees. Most of these kids are far less concerned with knowledge than they are with money, and their posh suburban lifestyles do not facilitate interesting life-experience from which to draw from and in turn make good movies. They have a universe of knowledge at their fingertips, yet can't be bothered to read anything but comics. You stated in one of your essays that good art metastasizes from some sort of major tragedy, yet after Sept. 11th, the wars in Iraq and Afghanistan, and a neofascist presidental administration, nothing has changed. People these days are so increasingly apathetic, it's nauseating. I'm beginning to think that anything short of completely running out of oil will not shock people out of this morass of intense boredom. Is there an answer?

-Welley

Name:              Brandon
E-mail:             mrb8694@aol.com

Dear Josh:         

Ah well in that case I have seen it DC "unedited" and enjoyed it very much it will be optioned at movie night this weekend (the audiance picks the movie I just supply them "Alein Apocolypse" went over mighty well and my freind Jack is trying to get his own copy of "Running Time" he cant have mine) so far I have liked the look of all of your movies for as you say "i am an oldschool director" it shows and its somthing to aspire to in my own work.

do you by chance enjoy any of Sergio Leone's movies I wasnt a big western fan (my grandfather always watched them on saterdays so i never got to watch my cartoons apon my summer vists) till i saw the dollers trilogy and then branced off into some of Sam Peckinpah (ernest borgnine "oooo they have granades!)and various others any recomendations as for a good western (i am trying to brach my veiwing selection)

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

<<You'd rather discuss shit than a terrific movie?>>

You force me to invoke the name of Fred Olen (screams and drops dead)

Alright, I just watched DRUGSTORE COWBOY. How do you feel about the film's use of color? I'm talking about the makeup, the clothes, the lighting, everything that sort of makes every frame mountable on your wall (like Ridley Scott's THE DUELLISTS). What do you think were Gus Van Sant's inspirations were for that? In TRAINSPOTTING, they tried to make every frame look like it was stolen out of a pop magazine (oh wait, it was) and it worked beautifully.

Also, I tried to watch both GODFATHERS back to back but never got around to PART TWO. I noticed the first film starts out slow, setting characters up (unlike DEER HUNTER), but that ends immediately when it cuts to the movie moguls home. Up to the scene where Michael finds Vito Corleone is alone in the hospital, its an okay 70s flick with memorable bits of dialogue, but it doesn't turn TRULY GREAT to me until Sterling Hayden shows up, which is the turning point when Michael decides to join the family. After the great scene in the restaurant, the photography turns from dark to absolutely gorgeous when Michael goes to Cicily, even the music gets better. Its just truly a film that starts out damn good, turns great, and gets better and better as it goes along. And even though the sequel wasn't set to be made yet, it feels like all the great scenes near the end are setting you up for it: "You don't come to Las Vegas and talk to a man like Moe Green LIKE THAT!" "You're my older brother and I love you, but don't ever talk sides against the family again". There was originally no sequel to it, and almost immediately, you're intrigued to see what happens next at the very end. I can't remember the last time I watched that film, maybe it was 2004.

Name:              Welley
E-mail:

Dear Josh: