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:  

Just a quick question, but first, take a gander at this summer's box-office line up:

Michael Bay's Transformers
Spider-Man 3
Fantastic Four 2: Rise of the Silver Surfer
Pirates of the Carribean 3
Shrek 3
Die Hard 4
Bruce Almighty 2: Evan Almighty
Harry Potter 5 or 6 (I lost count)
Oceans Eleven 3: Oceans Thirteen
The Bourne Identity 3
Rush Hour 3
Teenage Mutant Ninja Turtles: The Remake
Aliens Vs. Predator 2
Nancy Drew: Mystery of the Hideous Yeast Infection

Now, my question to you is: how is it humanly possible that movies keep getting worse and worse every year? It's literally beginning to defy common sense; I mean, last summer was the absolute nadir in cinematic history, bar none, and this summer looks like it's going to top it by a mile-and-a-half. Speaking to someone who's had a bit of experience in the industry, I have to ask if everyone in Hollywood is completely mentally retarded, or involved in a bet just to see how much they can out-do each other in sheer, unbridled stupidity?

Perhaps next summer will bring us McG's "Godfather 4," featuring a hip and happenin' rappin' reanimated zombie Vito Corleone, who has since changed his ways and donned a cape and red jockstrap to do battle with criminally insane homicidal maniacs who get up at five A.M. to put on make-up and frilly costumes.

-Welley

Name:              Edward Carter
E-mail:             technokid_77@hotmail.com

Hello there mister, you already answered a question a friend of mine asked...but you were a FUCKING ASS ABOUT IT!! The movie wasn't even THAT good for christ sake!! I'm more into the "new-age" zombie flicks. I don't know if he caught you on a bad day or something, but for the most part, you can just suck a big fast one!

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

Dear Josh:         

care to lend any insight to this?
http://www.youtube.com/watch?v=Af1OxkFOK18
my brother caught it on tv and i happened to see it linked on fark.com tonight. did someone write this for bruce?  did you?  did you direct it and keep it on the downlow from us all?  it seems like your sense of humor from what i've gathered over the years.

Name:              Jeffrey Arsenault
E-mail:             aftermidnight@earthlink.net

Dear Josh:         

I just finished watching the DVD for THOU SHALT NOT KILL....EXCEPT (which I saw in a theatre in 1987!).  My question is...whatever happened to Robert Rickman?  I thought he was awesome in the film.  I looked him up on imbd and was shocked to found out THOU was his only credit.

Name:              Brandon
E-mail:             Mrb8694@aol.com

Dear Josh:         

Oh no!!! Would much rather like to talk about a good movie, but I wasnt sure if you were annoyed with me popping in with "DC" every time...but sense I know other wise

You had mentioned an unedited version of the movie.   I will be honest I do not think that is the version I saw (momma picked it up in a wal-mart two pack)off handedly do you recall some of the things that were put back in??

You had mentioned that this was the best movie that Gus Van Sant had done and I know that "Good Will Hunting" was supposedly a good movie but i find the writers very annoying...

As for "DC" I noticed literally in the opening voice over that one of the themes of the movie was Addiction.  I like how he handled that theme without cramming it into our faces like the movie "Requiem for a Dream" did which i have seen on two accounts and really dont like.  I dont see how it is to be classified as an independent movie becouse of the "big name cast"
I aslo had the honor to watch your film "If I Had A Hammer." I enjoyed it very much and I regret not getting a copy when you were still selling them.

somthing that I enjoy about your film making is that it has absolutely no resemblence to a music video (even some of the older directors that used to make "good" movies have begun to do it)  which is a very pleasant relief.  especially in light of the fact that in the past several years most of the "up and coming" directors at one point made music videos. thank you very much for making and wishing people to make good movies again

Name:              Greg Bogosian
E-mail:         

Dear Josh:         

Shawn Levey. Most mediocre director ever?

Name:              Bryan VanCampen
E-mail:             bryanvancampen@yahoo.com

Dear Mr Becker:

First of all, I'm a big fan. It's too bad that your entire "Evil Dead" diary couldn't be reprinted in "The Evil Dead Companion." As far as I know, your account it the only one that mentions the things of capricious youth, ie. dope-smoking and drinking.
Anyway, I just wanted to say that I really liked your screenplay about post-Beatles folk and social change in America. I was born in '63, so that era holds a lot of meaning for me. Anyway, I'm a journalist, writer and musician living in Ithaca, New York. If that script ever gets made, I'd love to help you get it made, especially the music aspects. It always drives me crazy when actors playing musicians are never playing the correct guitar chords, etc.
If you ever find yourself in the neighborhood - ha! - I'd love to talk to you further.
Thanks for taking the time to read this ---
-BVC

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

Hi Josh,

I saw "The Conformist" last month and was wondering about your thoughts on it.
It is a very beautifully shot film and I enjoyed the story once I could decipher it.  I did not see a good reason why the story (atleast during the first half) was told non-linearly.
With modern films like "21 Grams" or "The Constant Gardener" I tend to see it as a trendy way for the screenwriter to hide the fact that his/her story is dull.  I imagine that was not the case with Bernardo Bertolucci.

Name:              Kevin Foulks
E-mail:             kevin_foulks@yahoo.com

Hi,

Me and a couple of friends have been curious about The book of the dead. We live in morristown and we have found the site. Can you share more info about the book of the dead that whats already on this site?

Name:              Brandon
E-mail:             Mrb8694@aol.com

Dear Josh:         

Well I got to watch Drug Store Cowboy, and i do have to say that it was much better than i would haven thought thank you for mentioning it i should have watched it when my mom told me to.

Out of curiostiy what is your opinion of LLoyd Kaufman and the rest of the boys at Troma Studios.

i own several dvd's and used to watch them on a semi regular basis...maybe i just grew up

i understand what he is doing and i understand that hes doing it for dirt cheap, and i know hes doing political racial sexual you name it issues to the extream..... but why does he feel i need to see a chicken up some mans ass mind you it does not offend me in the least (takes a hell of a lot more than that) i dont know maybe its the way he goes about doing it i dont like

just pondering your thoughts about him and his "fight for independent cinema" that is TROMA?

Name:              Gorgon
E-mail:

Dear Josh:

Talk about overlong, overstuffed movies...if you criticize movies like Kong and Pirates, what do you think about GIANT? I suffered through it last night and found it was a GIANT waste of time. It was like a Goddamn tv mini-series in one sitting...it was like The Thornbirds. The performances were the only thing that made it even tolerable.

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

Dear Josh,

Happy New Year! And a belated Happy Hanukkah. I was wondering is it true we can watch your film "Running Time" on YouTube? Please let me know I've been itching to check it out and from what I've heard you're quite proud of it.

Alotta

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

Dear Josh,

I may have just dreamed this up, but didn't you once write on here that you used to show old movies on a projector to school children? What age group? What movies did you show them? (TO SIR, WITH LOVE perhaps). You know without my teachers forcing old movies on me, I would've never seen BEN-HUR or MAN OF A THOUSAND FACES (I once saw an interesting documentary about Helen Keller in her adult years). I would try and get them to show movies to get out of classwork, only nobody cared to watch THE PRODUCERS and nobody really payed attention to YOUNG FRANKENSTEIN and MONTY PYTHON AND THE HOLY GRAIL. I'm just curious, I'd like to hear about this.

Name:              BRANODN
E-mail:             MRB8694@AOL.COM

Dear Josh:         

Whoah you liked Drugstore Cowboy?

My mom has been wanting me to watch that movie for some time  but i am really not a big Matt Dillon fan...but usually i like the movies that you recomend or enjoy so i guees i will give it a try later tonight when i get off work...

i wish to allso thank you very much, when talking talking to my girlfreind a while back i was trying to explaine the "one gimme" rule...and withought hesitation your example about the telaptheic caveman came to mind...and now she understands. jsut wanted to say thanks
Mrb

Name:              leon
E-mail:             dirtyfacemitchell@yahoo.com

Dear Josh:         

what is the song nicole kidman dances to in the movie "to die for".

Name:              Raoul O'Hara
E-mail:             This is about that internet thing?

Dear J.B.-

I just saw the movie "We Are Marshall", an O.K. inspirational tearjerker with a funny lead performance by Matthew McConnaghey (sic?). It's a period film set from 1971 to 1973, which leads to my question: In the film, two characters go to the movies in November 1971 and see "Kelley's Heroes", and there are COMING SOON posters up for "The Wild Bunch" and "Trog".
I believe all three films were released in 1969, but I also think Hollywood used to roll out films more slowly across the country. Is it likely these three films would have been playing a small West Virginia theater a year after their initial release? I know these days studios release thousands of prints at once, but any idea how many prints would be struck for initial release of an average film prior to the "Jaws"/"Star Wars" era?
Boring question, I was just curious,(about the days before the studios had to make all their money on opening weekend, before their filmshit stinks up the theaters.)

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

Dear Josh:         

Hmmm, I'm not following your "connected" comment.
Sorry if I'd irritated you.
I am in Pennsylvania.  His marine unit mail goes to a Fleet Post Office (FPO) in California and from there the nebulous "Pacific Region" (AP) on it's way to Iraq.
But I believe it required customs due to it being over 16 oz.

Name:              Patrick Giraudi
E-mail:             patrick@virtualmix.com

Hi Josh, this is Patrick, re-recording mixer of Xena. I just found your web site and wanted to send you my best for the new year.

Sincerely
Patrick
virtualmix.com

Name:              Loki
E-mail:

Dear Josh:         

You're right, there's not a bad a scene at all in Godfather II, just none of the scenes, in my opinion are up to par with those of Part I.

I think one of the reasons I like Part I better than Part II is that in Part I, Michael is more reckless. In the diner when he shoots the men who tried to kill his father, he basically forgets all the rules. He shoots them in the wrong places, he doesn't drop the gun. He's a bit careless. In Part II he's more calculating and doesn't really make a mistake. He's almost perfect.

I love both films, and I can even kind of stomach Part III (though it's hard sometimes). I just think Part I is the best of all of them.

Loki

ps- There's is a bit of rise and fall story line in Part III. It's just Michael falls and Andy Garcia has a bit of a rise. That's no excuse for the film though. The film is still pretty bad.

Name:              Bob
E-mail:

Dear Josh:         

Happy New Year!

So I am hearing that 'The Queen' is a strong possibility to run the Oscars coming up.

I haven't seen it but doesn't it seem like that not so many years ago, 'The Queen' would have been a Masterpiece Theater miniseries, but that Exxon-Mobil being as poor and suffering as it, with whatever it was a measley $10 billion in quarterly profits, is had to pull the plug on its financing of Masterpiece Theater to make ends meet, and so Helen Mirren, being a big name for MT watchers might as well try to take a chance in the big screen with 'The Queen', where it flops because only a minute number of American intellectuals watch Masterpiece Theater in the first place?

Name:              Loki
E-mail:

Dear Josh:         

I have nothing against Godfather II, but I think it's nowhere near as good as Part I. I think the lack of Marlon Brando makes Part II less interesting for me, though I do understand why Brando wasn't in it. I also just liked Pacino better in the first one.

I do like the scene with Fredo though, where Michael banishes him from the family basically and later has him whacked. I do enjoy those scenes.

Loki

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

<<I do think that "Godfather II" is as good as one, though.  And I think they both go together to make one exceptionally brilliant film.  I do think that "Godfather II" is the best sequel of all-time.  What's your problem with it?>>

I like the movie, but I disagree that its as good as the first one. The first GODFATHER had (has) a GONE WITH THE WIND quality to it, plus as you wrote me back in 2003, the rise to power is more interesting than power itself (hence ROCKY being better than any of its sequels where he's rich, and the first 2/3rds of SCARFACE being better than that disastrous third act). And the best thing GODFATHER PART TWO has going for it is Robert DeNiro's flashback sequences, all the stuff with Al Pacino in the first half of the movie feels like a retread sequel (of course it gets away with it because it comes off the greatest film ever). Having said that, it great scenes in it, and my favorite quote from any movie "He acts like I'm his son, his successor, but he thinks he's going to live forever and he wants me out." "To you, she's beautiful, to me, there's only my wife and kid" "I didn't ask who killed Moe Green, because this is the business we've chosen"

Regarding King Kong, you knew it was going to be terrible, and yet you watched it anyways. You laugh at these bad movies just like everyone else. But if you didn't uphold to standards, I wouldn't have seen LOST IN AMERICA and STRAIGHT TIME.

Here's to 2007.

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

Dear Josh:         

Just wanted to let you know my brother in Fallujah got your script toady (it had to go through customs!) and said he'd read it soon, and wrote me a quick something:

"I received a big envelope from you today.  The script looks interesting. I'll try to read it soon, but I've been so busy.

Although most Americans don't know Belleau Wood and GySgt Dan Daly, all Marines do.  This "history lesson" is taught in boot camp and officers' schools.  His utterance to his Marines before charging across the wheat field and into the germans' ("boche") machine guns: "Come on you sons of bitches.  Do you want to live forever!"  -

It has a dual meaning:

1. Do you want to live forever (in glory)?  Answer: YES.
2. Do you want to (just sit their on your ass and) live forever? Answer: NOT IF YOU PUT IT THAT WAY. LET'S GO.

Frankly, I'm not interested in war movies at just this time.  What I've got out here is enough for a good while.  Three more of the battalion Marines killed yesterday in gun battles (sucking chest wounds, even with heavy body armor).

The same day one of my convoys was hit with a VBIED (vehicle borne improvised explosive device) that luckily did not kill a Marine.  I took another convoy out to recover the vehicle and we were attacked by children throwing hand grenades.  Luckily the one that rolled under my vehicle didn't explode. (Please acknowledge that you got this e-mail since connectivity is problematic and I want to know my "thank you" made it to you.)
=======================================================

I'll let you know his opinion of your script, if he gives it.  Maybe he'll pass it around.

Name:              George Pilalidis
E-mail:             agamemmnon@msn.com

Dear Josh.

I wish to you and to Shirley a nice entry into the New Year,your friend from Greece. George Pilalidis

Dear George:

Thanks, and same to you.

Josh

Dear George,

May good fortune travel with you in 2007 on your intra-continental Odyssey.

Shirley

Name:              Kim
E-mail:             mrsdagle@yahoo.com

Hey, Josh!

I certainly agree with your assessment of Brokeback Mountain.  I think the GLBT community was divided over the movie because of it's pitiful point of view.  Those that embraced it seemed to dismiss the massive faults because "at least it's a movie about us".  However, the leads were terribly unsympathetic and stereotyped.
The claim that it was a "breakthough" movie is absurd because there have already been several "breakthrough" movies for the queer community.  What would really be a "breakthrough" is if there were a mainstream movie that portrays gays without making that the plot.  Gaudi Afternoon does that. BTW, I finally saw Taxi Driver yesterday.   What a fascinating movie. It's funny that it was controversial in its day for its violence.  It certainly wasn't a horror film.  Why would it garner that criticism?
Thanks,
Kim

Name:              Loki
E-mail:

Dear Josh:         

Just a quick comment. I saw you say that Godfather 2 is better than 1. I think you're crazy. Part one is a million times better than Part 2. I agree though, Part 3 is a mess.

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

<<Peter Jackson obviously does not know the meaning of the word Pace>>

Regarding the new KING KONG, I did edit a version on my computer that was 2 hr 30 min, but it was still too large to burn to a disc properly. However...

1)immediately after the KING KONG title, I cut past the shot of monkeys to the rhino which runs all the way to the man laughing at the vaudeville act (SITTING ON TOP OF THE WORLD).

2)This immediately cuts to Jack Black in the screening room cutting out that stupid fucking Naomi Watts getting kicked out of the theater scene. Goes up to the scene where Jack Black tells her he's a producer.

3)Immediately after Jack Black sits down and says "Singapore", I cut the scene short and cut to the boat ready to take off which goes all the way through Adrian Brody should've jumped.

4)I then cut to the boat immediately crashing into Skull Island. From there on I cut out any trace of Black Shipmate and the Heart Of Darkness kid talking. They're still there, but they don't do anything. They were just annoying anyways.

5)The movie plays from then on without those two characters improving it. I then do a little re-arranging. After Kong knocks them into the pit, I immediately cut to them fighting off the spiders and giant penis worms which ends on the exciting Actor swinging on a rope with a machine gun que.

6)THEN I cut to the ultra cool Kong vs. the T-Rex scene to top off the pit scene. From there on it still plays without the Heart of Darkness kid, and Black shipmate is already dead remember?

7)The only thing I cut after that is the bit where Jack Black looks up in the theater to Colin Hanks. Its a small edit. And that's my whole version. Actually it might be shorter than 2 hr 30 min now, I was trying to salvage a few boat scenes... silly me.

What'd you think?

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

Hi there,

A late merry xmas from me josh!

Funny, i was just listening to the latest audio interview that you did and what you were doing during brokeback mountain i was actually doing during brokeback mountain. I kept making cracks and the crappy things they used to show that we have moved foward in time (moustaches, fake bellies etc.). My mum told me to shut up or get out. In the end i left. I can't believe that won best director. Seen any good movies lately? I made sure i watched "It's a wonderful life" on xmas eve.

Name:              August
E-mail:             joxerfan@hotmail.com

Dear Josh,

Hoping the holiday season finds you wrapped in the arms of the baby Jehosus Krishvishnu Budallah, lighting Kwanzaa candles in your menorah, and that any festive red and green comes from daydreams of Bob Marley smoking a fat one.

But general purpose best wishes for the new year.  You've alluded to several new projects you've been working/collaborating on.  Are these the screenplays you've mentioned before (The Horribleness and the Dino World one) or something new?

Regards,

August

Name:              David R.
E-mail:

Dear Josh:         

Any thoughts on actor/director Kenneth Branagh?

Name:              Gabe
E-mail:

Dear Josh:         

I just got word that "The Other Side of the Wind" will receive a limited theatrical release in June next year, and will subsequently be played on cable.

I know you said you have no hope that it's good, but will you watch it?

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

Dear Josh

Hey man it was a pleasure having you on my radio show. If you guys wanna check it out its up at:  http://www.blogtalkradio.com/JonathanMoody 

Anyway my question for you Mr.Becker which I forgot to ask is what you doing for Christmas? Any big plans? Okay well have a good Xmas and take care.

Your fan,
Jonathan

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

Josh,

Actually, Many Cinematographers that are in the ASC have different Agents, but one of the big agencies for the top Cinematographers is the Gersh Agency, but the ASC is the best place to start.

I know quite a few ASC Cinematographers like Harris Savides ASC, and Roy Wagner ASC, but they are represented by different agents.

Good Luck to you Gabe.

Scott

Name:              Gabe
E-mail:

Josh,

Thank you. I was pretty sure going through the ASC was what I needed to do. I'll start a letter soon. Wish me luck!

Speaking of DPs, I briefly got to meet Chris Doyle at a party a few years ago. Chronic smoker and drinker, and a blast! Wish I would've hung out with him longer. Did you see the final Merchant/Ivory film that he shot, with Ralph Fiennes? I liked it, and it's more up your alley than what's been recommended to you lately...and, being Doyle, it looks gorgeous.

Are people here actually recommending "Apocolypto" to you? Do they not read the rest of the posts here? I attended a free press screening, and walked out after an hour, but I'd say you'd bail out after ten minutes. Imgaine the bastard child from a hook-up that involved "Passion of the Christ," a silent jungle movie, and "Lord of the Rings."

Best.

Name:              sondra jordan
E-mail:             sondrajor@comcast.net

Josh:

You are indeed one the bright and insightful ones. Everything you've said makes sense.

I've written a treatment before I've written the actually script...because...well, it just works for me. Can I sell the conept if the story has depth and the treatment is well written?

Name:              Tim
E-mail:             NansemondNative

Josh,

I saw a fairly interesting movie last night called "Klute" starring Donald Sutherland and Jane Fonda.

The film itself was nothing more than a whodunit with a very early reveal as to who the villian is. I found Jane's character to be somewhat complex though.Donald played a geek who was simply brought to life by Jane. As a matter of fact...They helped bring each other to life.

What was most interesting to me about the film was the actual camera work and framing.

For example, at the beginning of the movie we see Jane sit down in the dark at her kitchen table. She props her legs up on the table, lights a couple of candles and a doobie and then sits there in the dark with the candles burning and sings a little song. To me, it was a very cool shot.

Another one was later in the movie when we are looking at the villian through his office window. The camera pans back and tilts down to reveal he is in a high rise and the audience gets to follow the shot all the way down to the street. I thought that was a cool shot as well and had to be done from an adjacent high rise. That,to me, is using your environment to your creative advantage.

Just a couple of observations on a kind of cool 70's era movie.Did you ever see it?

Thanks.

Tim

Name:              Gabe
E-mail:

Dear Josh:         

Steer clear from "The Fountain," it's not even as good as "Requiem for a Dream."

One question, if I'm interested in working with a particular cinematographer, and I wish to contact this person about a proposed project, how should I go about it if I don't know their agent? Should I go through the American Society of Cinematographers (which this person is a member of)? You're the man, so I hope you can help me out with this.

Thank you in advance.

Best.

Name:              Jeff Alede
E-mail:

Dear Josh:         

Here is an amusing review of Mel Gibson's http://www.tucsonweekly.com/gbase/Cinema/Content?oid=90339 "Apocalypto" for anyone interested. It might just make you chuckle, Josh.

Also, Stephen Frears has a new film called "The Queen". I am a fan of some of his films, so I'm excited for it. Have you seen the previews?

Name:              Bird Jenkins
E-mail:             jjandbird@hotmail.com

Howdy Josh.

I've found myself in somewhat of a pickle, and I just thought I'd share my quandary with a fellow filmmaker. Any advice you can give me would be greatly appreciated.

I'm directing a self-financed independent film with a budget of under 100 grand, and I brought a producer on board who seemed to have a long list of legitimate (albeit low-budget) credits under his belt. He agreed to work on my picture for $5000 and 6 points on the back end. He produced his own deal memo, which I was unsure about signing, as I wanted to present it to a lawyer and get his blessing first.

While shopping around for a lawyer I could afford, it became apparent that this producer was absolute rubbish, a complete mush. Everything he had his filthy hands in seemed to turn into "hammered shit", as you like to say. He bumbled through negotiations with talent agents, basically getting eaten alive in the process. He also told us he filled out some crucial paperwork for SAG (the Ultra Low Budget Agreement), but we later found out he hadn't even contacted SAG, and was just lying about it for some reason. After two weeks of this kind of incompetence, JJ and I decided to  part ways with this producer.

Upon hearing that we were firing him, he became angry. He said we "used" him for his contacts (which never seemed to pan out), and threatened to sic his attorney on us. I never signed his deal memo, but he states we had a verbal contract and are therefore obligated to pay him money.

I was prepared to pay him a pro-rated amount for the two weeks he worked, in spite of my belief that I had no legal obligation whatsoever to do so, as no contract was ever signed. He didn't think the pro-rated money was enough anyway. Now, I'm afraid to send him any money at all, because if he does try to pursue some type of lawsuit, I fear any exchange of monies will only strengthen his case, as weak as it may be.

While I know verbal commitments aren't worthless, I also believe he should have to keep up his end of the verbal commitment. He promised us he was a "mover and a shaker", a man who "wouldn't let the grass grow underneath his feet", but he turned out to be a tactless and incompetent boob.

Should I send this man any money, or should I tell him to kiss my ass right up to the red?

I know you don't always like to answer my emails, and this is a long one, but I could really use your advice, Josh.

"I gots to know"

Your friend,
Bird

Name:              joe
E-mail:

Hey Josh,

Being a well-travelled guy, are we (america) really still no. 1 in the world? The greatest country on Earth? The home of the free and land of the brave?

I read an article recently which listed America not even in the top twenty, sometimes fifty in certain categories like healthcare and literacy and education in general.

I mean, in the past america has had enormous success. We gave the world great things, like flight, the lightbulb, the telephone. But now the country is run by a guy who doubts evolution and millions of people who agree with him.

Are the great scientifiic strides we made in the past going to come from todays youth who are learning these religious delusions from their equally delusional parents? These are the same kids who cant touch their toes, probably cant even see them, and who couldn't point out Germany on a map if you gave them an X-box for free. Thats right our kids are fat and stupid and lazy.

So the question is are we on a lightrail to the 22nd second century here or drugged up/drunk behind the wheel of a  72 lincoln listening to pat robertson on our way to an "all you can eat" in south florida?

Name:              chris
E-mail:             csr947@aol.com

Dear Josh:         

Where was the wall for the 1976 king kong built at? and what happened to that?

Name:              David R.
E-mail:

Dear Josh:         

Any plans to see Darren Aronofsky's "The Fountain"? It's running time is only 96 minutes, so you can't let that be your excuse not to see it.

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

Josh,

Hey man its been a while since I wrote to you. Just seeing how you're doing and when your next movie is planning to get started. I've been very busy doing an online radio show supporting independent filmmakers called, "The Independent Corner".  http://www.blogtalkradio.com/JonathanMoody  We've talked about your films now and then and some of the advice you have heard or have come up with I like to pass along now and then. So I thank you for that.

This is a long shot but if you ever wanna come on the show someday send me an email. And this goes for any filmmaker that checks these q and As. If your working on a project or finished one shoot me an email. Sorry if this seemed like spam in a way but I just wanted you and everyone else to know and try to get some more listeners.

Good luck on your projects and hope things are going great for ya.

Your fan,
Jonathan

Name:              Allison
E-mail:             soonerviolinist@yahoo.com

Josh,

This isn't a question or anything of the sort; rather, it's a belated condolence regarding Stevie.  I'm new to your site and have been looking around it this morning, and I ran across the story you wrote about him in 1999.  He sounds like a wonderful cat who was very loved, and the pictures of him reflect how much at home he felt with your friend Rick, and then you.

Allison

Name:              justin
E-mail:             jlapietra81@yahoo.com

Dear Josh:         

If you dont mind me asking what did you script sell for just so I can get a ball park figure of what to look for? Are you going to get any percentage of the proceeds if the movie is a hit? and how did you go about selling and pitching your script?

sincerely,

justin

Name:              Steve
E-mail:             spicoli323@gmail.com

Hi, Josh. 

Long time listener, first time caller. I've looked at your essay on the lifespan of creativity, which has been brought up again in response to a recent question.  What about the flip side of this issue? What is the minimum age for a director to make a great film?  Welles is the most obvious example of a prodigy, with Citizen Kane coming out the year he turned 26.  The only other remotely similar examples I can think of among films I've actually seen aren't in the same league: Truffaut made The 400 Blows at 27, and 24-year-old-Spielberg's Duel wasn't bad.  I haven't seen all that many movies, though, including those of Jean Vigo, who does get mentioned in your essay. What other examples would you point to of a filmmaker making something at the level of, say, The 400 Blows, before age 30?  Related to this, do you think the younger a director starts making good films, the shorter the amount of time he'll be able to maintain it?  Welles's burnout is again paradigmatic; I've only seen two later Truffaut films, neither of which really measure up to his first; about Spielberg I don't think any more need be said.

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

hey josh,

how's it going? I just wanted to shoot you a quick question. I got an offer for my first paying gig. It's being shot out of the country. I don't know how to or what to ask the producer beforehand (in terms of salary, transport, vaccinations). Is there a bunch of things that always should be brought up in an event like this? Thanks so much for your help.

Name:              You Know Who
E-mail:             coppolas_cocaine@hotmail.com

<<How can a couple of hardcore sex scenes be superfluous?  By having them the film, no matter what it is, is now a hardcore porno film.  And in a hardcore porno film, everything that's not sex is extraneous.>>

Just moved, internet's been down for a week. I recently watched a film off your list (I assume) called MISTRESS (MAITRESSE). While the film itself doesn't contain hardcore sex, it certainly has three minute segments that cross the line into pornography. Scenes that made me cringe and hit the fast forward (woman gets caned in rich manor with her privates clearly showing through her legs, naked gimp on a stretching rack, man gets his johnson tacked to a wooden board). Since arousal of all this is pain, then are not these scenes pornographic. Yet they're kept just short enough to not qualify this as a porn film (It was actually a pretty good film in my opinion, I'm just not sure I want to watch it again). And the point of the movie was that all this sickening shit was having a bad effect on the dominatrix herself.

Also, WARNER BROS had my two clips from SINGIN IN THE RAIN removed from YouTube. I also removed DIRECTED BY WILLIAM WYLER just because its on dvd. But I haven't heard anything about ACE IN THE HOLE and Wyler's THUNDERBOLT. These movies are hard to find, should I take them down, or should I just risk it and see what happens?

Name:              Clint
E-mail:

Dear Josh:         

Apocalypto was a great film.

Anyone who sees it will agree.

Will you agree?

Will you see it?

Name:              Gabe
E-mail:

Josh,

How is "Stan Lee's The Harpy" coming along?

And just a head's up: I saw an interview with actor Ryan Gossling, and he said he's very, very interested in working with specific kinds of indie directors, and his description of what he looks for in a script and in a director reeked of you. If you ever have a role you think he might fit, you should try to work with him. Did you see "The Believer?"

Gabe

Name:              Saul Trabal
E-mail:             ghost_kingdom@yahoo.com

Hi Josh,

I 'd like to know your feelings about "Midnight Cowboy". I've only seen the film a couple of times, but it's one of my all-time favorites.

Happy Holidays.

Name:              Gordon
E-mail:

Josh,

I have a question. First, check this out:

http://www.dvdbeaver.com/film2/DVDReviews27/a%20the%20innocents/a%20innocents%20bfi%20BFIVD680-0(2).jpg

How was this shot achieved? Is it a dilopter or is it deep-focus? "The Innocents" overflows with audacious shots like that. Freddie Francis is one of the greats.

Name:              Roy Johanssen
E-mail:             roydawg@att.net

Dear Josh:         

If you could make exactly the movie you wanted to make, except that it had to have a couple of superfluous hardcore sex scenes inserted in it, would it be worth it to you to make the film?

Name:              Lee
E-mail:             lee.price@gcapmedia.com

Hi Josh

Re: length of movies. I don't mind Terrence Malick's films being lengthy. (Although I did watch them all at home on DVD with the pause button for pee-breaks!) I loved the languid golden hour montages in Days of Heaven; Brave New World really had time to breathe, especially when John Smith entered the natural world. I think Malick's technique allows the viewer to sense the spiritual his characters are experiencing. And his cutting really advances the relationship between two people, especially in Brave New World; he really shows you those little turning points along the way. And conversely, in The Thin red Line, becasue of its languid nature, the tension is strung out. And isn't war unstructured chaos?

I know art is meant to be life with the boring stuff cut out; and I really appreciate a well told consice story. I just think there's an argument for the kind of cinema that is more akin to the way we experience life, where as a viewer you can let an experience wash over you.

Am I right in thinking Badlands is his shortest film?

So I don't mind Malick taking his time. But Lord of the Stinks? Urhg. I love the writer on this site who said it was one a filmed version of one long walk.

And I wouldn't wany Kistonaquatssi/Powerquatsi (sure I've spelt those incorrectly) cutting down.

Lata


Lee

Name:              Mike
E-mail:

Heya Josh,

Just wondering if you saw Transamerica and, if so, what you thought of it.

That's it. Keep up the good work!

Mike

Name:              Clint
E-mail:

Dear Josh:         

I noticed almost half of your screenplays are co-authored by Scott Spiegel. I didn't know who he was so I looked him up and found a man with a sometimes interesting, often times spotty career.

I made the link between you, him, Rami, and Bruce... I guess I'm wondering, why is it that you don't collaborate any more, or do you? It seems the two of you were prolific collaborators for a period of time and then stopped. I'm curious what happened and if there's anything to be learned about collaborating from it.

Name:              David R.
E-mail:

"Personally, I don't think there are any decent film critics working anymore, but then, there's no decent movies to review, either, so why bother?"

I disagree with you on the second point. There are many decent movies to review, you just have to avoid anything that came through Hollywood. Have you seen "The Station Agent"? That was a very nice indie feature (budget of about $500,000 per IMDB), with a solid script and very good acting. Nothing mind-blowing, just a simple story with three acts. Another is "Half Nelson", a film seemingly no one has seen. It stars Ryan Gosling as an inner-city teacher with a cocaine addiction. Great performance. "The Three Burials of Melquiades Estrada" was a very decent picture. The mortality theme was terrific; if not for a couple missteps in structure and execution I honestly believe it could have been a very good or even great film.

Among more recent films, I really enjoyed "Kiss Kiss Bang Bang" with Val Kilmer and Robert Downey Jr. The documentaries "Why We Fight" and "Who Killed the Electric Car?" are also excellent.

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

Josh,

I'd like your thoughts on the ever-increasing length of movies.  I strongly agree with you that movies today tend to be too long (they're too a lot of things, but long is one).  I assume this is deliberate, but toward what end?  One can safely assume the directors' ego and lack of editing skills, but why would the studios condone it?  I suppose it could be a matter of minute-per-millions spent, belief that the audience believes that more is better or even a need to have at least one scene for every demographic.

Whatever the reasons, it would seem to me that the economic argument against excessive length should trump.  "Casino Royale"('06) is something like 140 minutes long and shows at my local theater three times a day (per house).  At 90-100 minutes they could fit in a fourth showing.  More tickets, more concessions; it seems like a simple equation.

John

Name:              Bob
E-mail:

Dear Josh:         

Is it just me or did the courtroom that Saddam Hussein was tried in look a lot like the courtroom in The Trial, with Anthony Hopkins, which in turn, looked a lot like it was described in the story.

Name:              Kelly Barrett
E-mail:             barrettk@pace.edu

Dear Josh Becker,

I am glad to learn I can watch some of your films on YouTube. Maybe if you run low on cash you can sue them for copyright infringement, Google has deep pockets. Anyway, I wondered if you watch Masters of Horror on Showtime. I only ask because I am puzzled as to why these experienced directors are producing such crummy shows. It seems like directors should get better over time, like any craft, but they always seem to get worse. Is it just laziness or is it too hard to do the work well as one gets older. I find it very strange.

My best to you,

Kelly

Name:              joe
E-mail:

Josh,

Wondering about your thoughts on film critics --  and critics of art in general -- who infuse their reviews with personal opinion.

Briefly, recently I read a review of a favorite author of mine. The critic admitted the writing was really good but that he couldn't like the book and wouldn't recommend it because the characters in the stories were not in line with his worldview of morality and ethics. Now I dont care if he likes the book or not but to say that he cant like it because he finds the characters actions moraly unacceptable to me is a fundamental misunderstanding of reviews and of film/storytelling/fiction in general.

I read reviews of films and books to get a take on the material --  characters, plot, concept -- not to get the critics personal morality preached to me. This really ticked me off for some reason. Am I way off base here?

jc

Name: RND
E-mail: lunaric@btinternet.com

Dear Josh:

This WOTW review, i agree with everything you said.

I come from Woking UK, the town HG lived and used in this story and im livid that his story hasn't(again) been given the treatment it deserved. The story is a dark bleak violent tale of the collapse of civilisation, and 'Berg and Cruise Control used the story as a family saves the day movie, makes me wanna puke.

Regards

RND

Name: Sumita Ray
E-mail: mita-ray@hotmail.co.uk

Dear Josh:

This was the most refreshing and uplifting thing I have read for a long time.I totally agree - I have felt like I have been living in a cartoon world - and the cartoon is "the emporers new clothes!" I turn my back on all the bogus crap - Im not giving in to the evil of religion - the evidence of its influence makes me feel sick. I belive that it is the sicknes that will wipe out mankind and so it IS truly EVIL.

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

Dear Josh,

I'm curious if there is a protocol when somone wishes to turn down their Acadey Award or nomination. Can someone take themselves out of contention by telling the academy that they want no part of it. I'd imagine they would, then I recall Marlon Brando who sent an actress posing as an Indian to decline the award and propegate some tye of social-awareness. So is there a standard method of action for when someone wins an award they don't want. Do they just not show-up or just give a fiery speech before tossing the award to the ground? Have there been many people who have done this?

I know this question seems quite random, but through your essays and writings, you have to be the most informative person with respect to the Academy's history that I have any direct contact with.

Thanks,
Angel

Name:              Tim
E-mail:             NansemondNative

Morning Josh.

Just chiming in.

A reader made mention of some of these Director's making crappy movies and reaping the rewards while you basically seem to struggle.

Thing is though, except for your SCI-FI projects, many of the movies he was probably referring to had studio backing.

Hammer is leaps and bounds above most everything else I have seen in the last 2 years and you did it out of your own pocket.

Now let's say Cameron Diaz or Drew Barrymore had been your lead actress...The film would have cost you 15 million more just to cover the salary of either of those actresses.That kind of coin would require the backing of a studio which would basically render the film an unindependant venture.It probably would have went off the charts though because you had that big name in there, slick advertising etc., though a big name alone cannot save a movie.

For example, I recently saw this "American Haunting" which had Donald Sutherland and Sissy Spacek in starring roles. In the special features you quite clearly hear Sissy refer to the movie as being a good story.To me it was the worst piece of cinema shit I have seen in some time and the story was changed so much from the alleged original happenings that it seemed completely crazy to sit there and watch it. I enjoyed Donald more in "Johnny Got his Gun" by Dalton Trumbo and Sissy was much more enjoyable in "Coal Miner's Daughter".Were they short on dough? Or did they just want to knock the dust off the old acting boots?

Personally, I find your achievements astounding especially for having taken every hit yourself and that ain't ass kissin Josh.Most folks would probably have jumped off a cliff when faced with some of your adversity.

I got 4000 feet of film in the freezer that the wife hates because it's taking up room that could be used for frozen vegetables and I don't think Drew or Cameron either one has any interest whatsoever in appearing in my flick.

The point is that nothing is easy or even always attainable when you choose this form of expression. It's frustrating and expensive. But you really are like a working class hero to most of the folks that write in here and that does mean something.

No need to post Josh. I know it's long.

Have a good one.

Tim

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

Hey Josh,

I went to the movies last week and saw Bobby. The film is written and directed by Emilio Estevez. The entire Sheen/Estevez family is hardcore liberal (as was the movie - the whole thing seemed aligorically anti-bush). Then I found out that every actor and actress (from Sharron Stone to Lindsay Lohan to Elijah Wood) participated for minimum SAG billing... I guess it's as much a piece of modern propoganda as anything could be.

I know people get all pissy when actors pretend they're in politics and use their fame to push their own views, but as long as I agree with the views, can I really complain?

What do you think about Estevez's strategy (assuming it was intended as propoganda)?

Name:              Bobby
E-mail:             bobbygnign@yahoo.com

Hi Josh,

I wrote to you a long while ago after reading your script "If I Had a Hammer".  I praised it, and you thanked me, but said that you felt the finished movie was better than the script.  I have just watched the movie (in thirteen parts) on youtube, and I must say that I agree with you. While I enjoyed reading the script, the impact of the musical performances proved to be very essential for the point you were making.  I thought the acting was well done for the most part, and, though I really enjoyed "Lunatics" and "Running Time", I would have to say "Hammer" is the best package of all of your films I've seen---I was really impressed with your accomplishment.  People misuse the word "independent" when it comes to films these days---when films with 5 million dollar budgets and a handful of Hollywood stars earning their "actor cred" passes for independent cinema, than the term really means nothing anymore.  "Hammer" is independent cinema, an independent voice, making a movie on a shoestring that still manages to be thoughtful, well-done, with fine production values.  Good for you.
Just a quick afterthought---around the same time I watched "Hammer" I watched a documentary called "The Weather Underground", about the radical Weathermen who stemmed from Students for a Democratic Society.  It made me wonder if your lead character would have joined up with such a group, had she not been on her wa to Italy at the end.  Your picture was a terrific glimpse into those times, when ideals fell, and TV took over.  Good work, my friend.

Name: C.V. Bryce
E-mail: toadswallow@breach.org

Dear Josh:

I've been thinking about your opinions on film, and just came to an observation that may or may not be interesting to you.

Hollywood directors in general seem to think that the state of Hollywood film as a storytelling medium is better than you do. They may agree that there are a lot of bad movies, but I have yet to find anyone else who has as uniformly a negative opinon on the efforts of such darlings as Scorcese, the Coen Bros., Wes Anderson, etc. That said, I've read a lot of interviews with those types who bemoan the fact that so many films are watched (via DVD or VHS) on television screens versus in the movie theater proper. Your own writin gs, however, seem to reflect a lot of movie watching on TV, without complaint about the audiovisual quality being inferior to that of the movie theater experience. Would it be fair, then, to conclude that to you the story itself is much more important than the technical qualities of the presentation of the story, and that one of the problems with the mainstream of film today is that people are too concerned with sensual perfection as opposed to perfection of the story being told? I suppose the reason for this might be that it's easy to create technical perfection by throwing money at equipment and by hiring the most competent crew possible, while storytelling perfection is something that money cannot buy (regardless of Hollywood's reliance on script doctors).

Name:              Raymond
E-mail:

Dear Josh:         

First question, and I don't mean to sound like a horses ass, but do you ever angry that there are so many bad filmmakers making movies and getting rich while you (a good filmmaker) have to basically struggle still to get work produced?

Second question, what's your opinion on most of these films directed at a more teenage to college level audience? I'm talking about the Brat Pack movies and now the Kevin Smith movies, and I guess to some extent even these newer Ben Stiller/Vince Vaughn/Will Ferrell movies?

Hope you answer.

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

Dear Josh:         

Oh ok. That's what I thought, that i had missed out on earlier editions that had bonus content. oh well. Thanks for clearing that up.

Which brings me to a question. What do you think of Bonus Content on dvds? There are people out their that love it and some that hate it. I know Woody Allen isn't a fan of all the "extra stuff" on dvds, therefore his movies don't have bonus features. I myself love it when a movie I really like has things like interviews with cast and crew or commentaries on the dvd.

Also, speaking of woody Allen (well mentioning him...), What do you think of his works? I see a few of his movies are on your favourites list. I love the guy, he has made some really funny movies. my favourites are Annie Hall, Manhattan, Sleeper, Love and Death, everything you always wanted to know about sex, Bananas and many others. Was Lunatics inspired in any way by Woody? I saw some things in "bananas" that reminded me of Lunatics like the name Nancy. The way both Nancy's act in both films when the lead guy tells them he's interested in something they're really interested in and the way the lead guys in both movies talk to themselves a bit imagining they're on a date with nancy and it's going well. Just a thought is all.

Thanks.

Name:              Simone Tyler
E-mail:             st@moonbeam.org

Dear Josh:         

For the person who wrote in asking about the Xena boxed set interview disc, the answer to why certain copies have the bonus disc and others don't:  the only copies that have the bonus disc were sold at the retail chain Best Buy.  Best Buy also did this with the Hercules DVDboxed sets, as well as those for certain other TV shows.  It's a promotional thing to encourage people to buy the DVDs from them instead of other stores.

Name:              Keith
E-mail:

Dear Josh,

Where does one stand when filming public locations like local streets/houses and road signs with regards to location release forms for distribution on a low budget non union feature?
If I wanted to shoot slow, lazy shots of quiet empty streets and the surounding houses would I have to get individual location release forms signed?

Best Regards
Keith