for the observations on "Marty" and Del Mann's seamless
and "invisible" direction; as you know, I share your
love of that movie.
sure the next couple of weeks will be really hectic
for you. But if in the remote chance that you have any
spare time and access to your laptop, it would be very
gratifying to hear any stories about filming, even if
it's just "Ted and I had a beer last night," or "it's
hot as *&$# in NZ!"
also..... you've made a couple of references to the
premiere of "Hammer" in Detroit, and then an LA screening
for the cast and crew? Any details would be very much
the way, I get to see Bruce's ice-skating movie "La
Patinoire" tomorrow in a real live movie theatre. So
I have high hopes for "Hammer's" future!
failed the mention the king of invisible directors,
Robert Wise. Anyway, it wasn't the premiere in Detroit,
just the first showing. I don't think a film actually
premieres until it's released. The Detroit screening
was friends and family and it seemed to play well, but
who knows? Tonight is the cast & crew screening. I'll
have my computer with me in New Zealand and I'll continue
to report in. I get down there two weeks before Ted.
things? What do you think of Clint Eastwood's spagetti
western period? I love "Good, Bad, Ugly" , "Fistful
of $s","Few More $s." But as far as structure and plot,
what do you think of them.
loved those films when I was a kid, but now they seem
severely dull to me. I really can't sit through them
Jason A. Keller
no, i never intended to break in your apartment. i live
in Chicago. Have you ever had a chance to see our great
city? anyway, i was just looking forward to seeing you
work on Xena again. I think you do an awesome job. Good
luck again, and especially that 12 hour flight.
been to Chicago many times. I was there last year for
The Chicago Underground Film Festival and got to hang
around with Alejandro Jodorowsky, too. Regarding the
12-hour flight, it's not so bad in 1st class.
was in the library the other day, and I came across
a book by Chris Gore, detailing the best unproduced
screenplays in Hollywood; and your script for "Cleveland
Smith, Bounty Hunter" was listed in the honorable mention
category. Did you know about this? Thanks.
There's a movie I really dig called "The Hidden," and
if you haven't seen it, you should check it out. I think
you'd like it.
did not know about my script, "Cleveland Smith Bounty
Hunter," being in Chris Gore's book. And I haven't seen
"The Hidden," but I'll keep my eyes peeled for it on
have no idea how excited your fans are that you will
be doing another Xena episode and that you and Ted R.
will be working together again. Hope you guys have a
blast, and that you let Ted chew the scenery as much
question - you had referred to movies that center around
style, content or both. I'm assuming films like "Pulp
Fiction" would represent the style-only sort. What would
be a good example or two of ones with decent content,
but no style? Other than documentaries, I mean. And
have there ever been any decent movies you can recall
that were primarily content-based?
and have fun in NZ!
of my favorite movies have little to no sense of style
and I don't mind at all. The one that jumps directly
to mind is "Marty," the lowest-budget winner of Best
Picture. I find it's lack of style endearing. Also,
I think you'd be hard-pressed to locate Howard Hawks'
or John Ford's styles other than to say, "Economical,"
which is close to style-less. My man, William Wyler,
used flourishes here and there without ever over-shadowing
his content. Someone like Hitchcock, of course, has
a very apparent style.
I dropped out after one semester at Pittsburgh Filmmakers:
a low rent, production school that's stuck in the dark
ages. The whole experience was rather defeating. I was
excited about going because I thought that I would finaly
meet kids my own age who were interested in the same
thing I was, which is screenwriting, but when I got
there, all I found was a bunch of misguided miscreants
who thought they were God, and believed every opinion
I had was foolish and incomprehensible. Plus the equipment
they rented out was abut fifty years old, and filmstock
and accessories were so expensive because I'm too stubborn
to kiss ass for a discount. I think I sent you an e-mail
a few months back stating how much I liked it there,
but boy was I wrong. Anyway, enough with my plight.
Thanks for listening.
Yes, Terry Southern passed away in 1995. Long live Guy
experience sounds similar to mine at Columbia College
here in L.A. It seemed to me that they were training
the future production assistants and cable-coilers of
the film and TV industry and I bailed after a semester.
Just keep writing, the hell with everybody else.
just have a quick few questions.
you gonna work with Bruce Campbell on any more movies
in the fuftre,or Jeremy Roberts?
does "If I had a Hammer" come out.
and good luck. I just also wanted to say I love Running
Time alot. I've watched it so many times and I hope
you do another movie like that.
certainly hope to work with Bruce on more movies. Jeremy
was great to work with and if I ever have a part for
him, I'll offer it to him. "If I Had a Hammer" is done
and I showed it once in Detroit and I will show it again
this Friday in L.A. for the cast and crew. Beyond that,
I don't know.
time no see, I was wondering what your thoughts are
on the writings of Terry Southern, author of "Magic
Cristian," and co-author of "Dr. Strangelove" and "Easy
You were right about film schools.
liked Terry Southern's writing quite a lot -- he's dead,
right? He was very funny. "Dr. Strangelove" is incredible.
Elaborate about film schools. Are you presently attending
is your take on the possible upcoming actors/writers
strike? In a potentially related question, how is your
shopping around of 'Hammer' going? Do you think the
potential strike will have any effect on your trying
to sell your movie?
can't see how it would effect me or the film. So far,
I haven't shopped "Hammer" around yet, I've just showed
it once. I will show it again later this week to the
cast and crew. A distributor is invited to the screening
also, but I don't know if he'll be there or not. We'll
just have to see what happens . . .
don't know if you got my last mail, so I'll try again:
Im an 18 year old norwegian student who's writing a
paper on you and your films. My questions would be:
is the structure of a film the most important thing,
even if it overshadows the realness of the picture?
- won't the creative aspect of motion pictures disappear
if everyone thougt that the structure was the most important
- would you ever consider making a highbudget film if
you got the offer?
- what do you think about the indepentent film-trend,
where new and young filmmakers with no experience enter
the market and release bad copies of original pictures?
(im mostly referring to the Tarantino-wannabes who in
fact seem to copy a guy who copies other filmmakers)
- have you ever heard about any norwegian filmmakers,
or seen any norwegian films? if you have, what do yuo
think of them?
- you say you're mostly inspired by books and other
films. Still, are there any other things that inspire
you to make films? (music,personal experiences,political
Thats it. Thank you for your time.
did answer your previous questions, and they ought to
posted now, but the Q& A was down for a few days due
to changing servers. Now let's see, these aren't exactly
the same questions as last time. Your first two questions
are variations of previous questions, but I'll reiterate,
structure does not inhibit creativity, exactly the opposite,
creativity is the adding of structure to where is was
not. Even if you're telling a completely true story,
it's not in story-form in real life -- the writer must
add it. I'll go one step further: if you don't know
where your acts begin and end, you don't know how to
tell a story. Period.
--I've been waiting my whole life for someone to offer
to put up the money for one of my movies, low- or high-budget.
--I answered the next question.
--I've seen at least one Norwegian film, but I can't
remember the title. It was "Tracker" or something and
I believe it was nominated for an Academy Award and
I thought it was intense and well-done.
--Everything that enters my brain is potential inspiration
for a story.
Jason Adam Keller
was wondering the date you are leaving for New Zealand?
Are you intending to burglarize my apartment or something?
Jan. 27th, as of this moment. Leave the jazz CDs, OK?
read the Q & A pages of your website. Well, I hope you
don't mind what I wrote. So, what will you think about
a movie that has too much violence, shows bad parts
of a human body, bad language, & is Rated R or PG-13?
don't believe there are any bad parts of the human body,
nor do I think there is any language not worth using,
if needed. MPAA ratings mean nothing to me.
I'm an 18 year-old student from Norway who's writing
an assignement on you and your work. I guess my questions
You are quite hung up in the structure of films. A film
without the correct structure seems to be crap to you.
Still, do you think that a tight structure could sometimes
overshadow some of the "realness" of certain films?
No, I don't. It will only enhance it. Story structure
is just like joke structure--if you want to get a laugh,
you tell a joke a certain way and in a certain order;
if you want to get impact from a story you also tell
it in a certain way and a certain order. Proper structure
will not negate reality in anyway. Bad or no structure
will almost always sink a story no matter what the storyteller's
for example an important emotional scene be cut down
just to maintain the overall structure and balance between
acts one, two and three?
It's not an issue of ever cutting a scene down, it's
an issue of where does it go? If the scene doesn't fit
into any of the three acts--meaning, it's not setting-up
your drama, confronting it, or resolving it--you can
be reasonably certain it shouldn't be in the script.
you find most commercial films with big budgets to be
less important or real than the independent films?
I'm equally unimpressed with both independent and Hollywood
films at the moment. As Ingmar Bergman said in a fairly
recent interview, young filmmakers are technically adept,
"but they won't pick the scab," which I thought was
you see the independent film-scene itself falling into
a well known path in which far too many young directors
repeat themselves ( and each other ) by adding an independent
feel to their pictures, sometimes just for the overall
look of it?
That doesn't seem like the problem, it's that no one
seemingly has a story to tell. There are three sorts
of films: films that are just about content and have
no style, films that are just about style and have no
content, and films that are stylishly about content.
Obviously, as far as I'm concerned, the optimum is a
balance between content and style. In lieu of that,
I'll take just straight content. Style without content
is jerking-off and doesn't interest me in the slightest,
and that's what there are presently a lot of in the
film world, as well as stupid, meaningless stories that
I don't feel like hearing.
you feel that your work is appreciated the way it should
be, or do you sometimes feel misunderstood?
So far, I think I've basically been ignored. I'm not
sure, however, that anything of mine that's come out
as yet is worth very much attention. I thought that
"Running Time" outdid Hitchcock on his own terms, which
maybe should have gotten a bit more attention, at least
within film circles. My new film, "If I Had a Hammer,"
actually has something to say, so that's kind of big
step for me. And now that the film's finished, we'll
see if that matters.
would help me a whole lot if you would answer these
questions. Thank you for listening.
Syversen, Oslo, Norway.
you're looking for a method of obtaining story structures,
I have one, based on metaphors. See Semiotics of Music
and Drama http://members.dencity.com/rclough/index.htm
It's just a rough draft, but perhaps should give you
an idea. It's not just a theoretical framework, it gives
you content, and it works.
not looking for a new story structure, the old structure
works just fine for me. If you've discovered a new one,
God bless you and I hope it works for you.
Michael Anthony Lee
question about writing. When you have a fight scene
in one of your scripts, or when you were directing one
of the Herc scripts, how did those scenes look on paper?
mean, do you go into much detail like, Herc throws guy1
here, spins guy2 over his head, punches guy3, etc...
or do you just jot down a general idea and then a fight
guy comes in and organizes the whole battle during shooting?
just always wondered how much detail to go into during
those situations, and what the shooting scripts looked
like as far as fight scenes were concerned.
depends on what you're doing. In one of my own scripts
that I intend to direct myself, I put in a lot of detail,
which can be seen in my Teddy
Roosevelt script. In a Xena script it usually just
indicates that a big or small fight should go there,
then the fight choreographer works out his own fight
and tells me and I ask for any changes I might want.
Peter Bell, who did the fights for years on Herc and
Xena, used little toy people to demonstrate what he
had in mind.
of my all-time-favorites is the movie "Grosse Pointe
Blank" and I was wondering if you have seen and liked
it. I think that even the characters who appear for
just a few minutes are better shown than most of the
main characters in the "big movies".
do you think?
all due respect to your liking the film, I thought it
was an idiotic piece of crap. I never believed John
Cusack was a hit man for a single second and, being
from Detroit, I know there are no radio stations in
Grosse Pointe, so that's a non-existent job for Minnie
Driver, whom I don't like anyway. I also found the whole
affair to be a very uneasy mixture between unfunny comedy
well you know, I don't normally write. But, I had a
need to post my thoughts on a recent letter to you.
The comments about Bruce Lee being a great actor just
bothered me. Bruce was a personality with one of the
single greatest artistic skills in the world. Acting
was not that skill. If fans want to point out talented
Asian actors, they need to learn more about Asian cinema
and the names of some "real" actors from that side of
the planet whom have garnered awards and acclaim for
their skills. The single greatest actor to come from
the Orient, in my simple opinion, was the Chinese born
Japanese actor Toshiro Mifune. A man proclaimed as "Japan's
Spencer Tracy", Mifune opened what is still one of the
most respected acting schools in the world and remains
so even after his death a year ago. This from a photographer
whom walked into a TOHO casting call by accident and
was infuriated when the table full of directors asked
him to smile on cue. Storming out of the room, calling
them silly people, he left an indelible imprint on the
mind of two of at least two of Japan's greatest directors.
One of the single most interesting things to me was
how Mifune's relationship with director Akira Kurosawa
nearly mirrored the relationship between John Wayne
and John Ford, their American contemporaries. Something
that seems less than accidental to me after learning
more about Kurosawa and his fascination with Ford.
too recently went to see Crouching Tiger and was so
disappointed that I nearly walked out. I didn't because
I was with a group and because we had traveled an hour
to see it. The flying around on wires was just fucking
stupid for a film trying to be serious. I like Chow
Yun Fat, but only as a toothpick-spitting tough guy.
Some folks have no range, like Harrison Ford, and both
Fat and Ford are definitely limited to the roles they
here are a handful of Asian actors worthy of mention
and IMHO are great at their skills as actors:
1)John Lone (M Butterfly & Last Emperor)
2)Joan Chen (Year of the Dragon & Golden Gate)
3)Tatsuya Nakadai (Ran & Kagemusha)
4)James Hong (Chinatown & Blade Runner)
5)Kieu Chinh (Joy Luck Club)
6)So Yamamura (Tora, Tora, Tora & Gung-Ho)
7)Dennis Dun (Year of the Dragon & Last Emperor)
8)Victor Wong (Last Emperor & 7 Years in Tibet)
us not forget Sessue Hayakawa, who is so great in "Bridge
on the River Kwai" and was a big silent star, and also
Takashi Shimura, Kurosawa's other favorite actor, who
is the lead in "Seven Samurai" and the brilliant "Ikiru."
From Ortonville, MI...now in LA. I did a production
of the Three Musketeers with John Michael Manfredi,
from THOU SHALL NOT KILL... ACCEPT, and ended up friends
with the guy. Nice guy. On his recomendation I watched
the Movie....it was cool to see a younger version of
the man I had to swordfight with each night, and the
other soon to be famous people involved in the movie.
And sence I am not asking for jobs or submitting scripts,
I wondered how the film ended up selling domestic and
internationally? How long it took to shoot? Who where
the other main actors and how did you find them? (ie:
friends of yours already, or did you cast them) What
happened to them? (ie: have they been involved in your
other productions) and... Whats your take as a midwest
guy on LA and working "In Hollywood"?
to L.A. fellow Michigander. TSNKE was a six week shoot,
the end of October through early January 1984, with
quite a bit of pick-up shooting going into March of
1985 (for further details please read "The
Making of 'Thou Shalt Not Kill . . . Except'").
Please give my best to Mr. Manfredi. TSNKE has sold
throughout the world, although I don't think it ever
knocked anyone's socks off. The first video distributor,
Prism Video (now extinct), sold about 10,000 videos
at $49.95 in the U.S., then they sold the U.S. video
rights to a cheapo video distributor (called a sell-through),
that moved at about 20,000 more tapes at $9.95. It was
then off the market for ten years. It is now for sale
from Anchor Bay Ent. on video and DVD and, once again,
isn't knocking anyone dead, but it's doing all right.
Regarding the cast, the only person I'm still in contact
with is Ted Raimi. I found most of the cast through
casting sessions. Where most of them are now I can't
comments regarding CROUCHING TIGER,HIDDEN DRAGON" surprise
me.I saw it the other night and found it to be a master
work.If any other actress in the history of cinema has
been able to convey so much emotion via facial expressions
as Michelle Yeoh does here then I would like to know
who it is or was!When martial arts films first hit western
audiences in the 70s the birth of a new genre was witnessed
and in my opinion cinema itself was only marking time
until the arrival of this exciting and innovative genre
which in its first wave saw the arrival of the most
charismatic individual (Bruce Lee ) who ever stood in
front of a camera.That this sort of movie has survived
30 years later and has influenced the work of so many
of those who work in cinema and TV these days (witness
XENA)speaks volumes and I think you have misjudged a
movie which will take the martial arts movie by the
scruff of its neck,kicking and screaming its way into
the new millennium.
do seem to like this film, but I wasn't one of them.
I never cared about Michelle Yeoh or Chow Yun Fat or
their unspoken love, the Green Destiny sword seemed
like a lame, half-assed McGuffin that no one really
needed or even wanted, and the cute, young girl was
not a particularly engaging lead other than that she
was pretty. There was certainly no mystery, and from
the first second you saw the ninja sword-thief you knew
who it was. And the flying over the cities and through
the trees was just idiotic. I don't care how good your
martial arts are nor how much you've studied with a
master, humans don't fly. The story wasn't set in Never-Never
Land, it was in ancient China, which was a real place.
"The Bride With White Hair" and "Chinese Ghost Story"
both have a surreal sense of mystery and the fanatastic
which CTHD is sorely missing. Ang Lee is a VERY LITERAL
filmmaker, and did quite a good job on the very literal
films, "Sense & Sensibility," "The Ice Storm" and "The
Wedding Banquet," but his style seemed to me to be totally
wrong for the subject matter of this film. I happen
to like Bruce Lee, but to say he was "the most charasmatic
individual who ever stood in front of a camera" might
possibly be a slight overstatement. Personally, I'll
take Bette Davis, James Cagney, Cary Crant, Katherine
Hepburn or Edward G. Robinson any day of the week. I
don't want to pop your bubble, but even though Bruce
Lee was a master martial artist, he couldn't act worth
beans ("You have insulted my fam-o-wee and my temp-o!").
for your reply, I must say that the directors of the
old school are the ones that have broken the most ground,your
Wylers, Hitchcocks and fords and so on. I must mention
that the greatest living director working in American
cinema, Martin Scorsese, has not only broken hard ground
(TAXI DRIVER, MEAN STREETS) but is still creating some
of the greatest motion pictures to date, Goodfellas,
casino, bringing out the dead, I am myself shaking with
anticipation for Gangs of new york and the more reclusive
Dino(with none other than Nicholas pillegi scripting).
I have noticed the style of Scorsese popping up in Paul
Thomas Andersons work(your fast Zooms,very lengthy tracking
shots-I know tracking shots did not start with Scorsese,
they were perfected)Do you enjoy his work? If not ,
you should give him a second chance. Another thing,
do you see Sam Raimi often? Word is you are good friends.
have very great respect for Martin Scorsese's earlier
work: "Mean Streets," "Alice Doesn't Live Here Anymore,"
"Taxi Driver," "Raging Bull," and "Goodfellas," but
that's where it ends. I don't think he's made a decent,
worthwhile movie since "Goodfellas" in 1990. I just
watched "Bringing Out the Dead" and it completely sucked.
There is no character development and it is nothing
but a string of uninteresting scenes, none of which
are as good as any episode of "E.R." I also believe
that a clear sign of an over-the-hill director is the
misuse of pop songs all over the place for no better
reason than the director likes them (the worst offender
of this is Spike Lee).
Name: josh billings
E-mail: don't know
no joke, my name is Josh billings, anyway, do you have
some pre-disposed hatred of anything that isn't made
for under $100,000? There is no denying the fact that
all big budget films lack the reality feel of low-budget
works but I still think that alot of mainstreamers have
alot to say. Give them a chance my main man.
P.S I absolutely loved "Running time"
PPS. I think that Noteem Portant guy or girl is a creep.
do you? alright , stay slinky.
I have no pre-disposed hatred of any film over $100,000,
nor do I have any particular predisposition toward independent
films, which seem no better than Hollywood films to
me, just cheaper. In 1950 my taste in films would have
been considered very mainstream and run-of-the-mill
since the biggest of all Hollywood filmmakers, William
Wyler, is my favorite director. I don't really have
very eclectic taste. Liking Wyler, Zinnemann, Wilder,
Hawks, Hitchcock, Ford and Fleming makes my taste very
mainstream, just not contemporary. But considering that
the population of the world has nearly tripled since
1950, shouldn't we now have three Wylers and three Hitchcocks
and three Fords? Instead, we have none. What's going
I phrased the question wrong. I apologise. I got angry,
i was upset, I tried to vent upon you dear sir, YOU
JADED LOW-BUDGET HACK! sorry, sorry. Like I was saying,
I have emotional problems and when someone criticises
the "Q" i genuinly believe I am the angel of death,
I come from a broken home, I grew up on mainstream speilberg
and Cameron best picture nominees, its not my fault!!!
Any way, I see an oscar in you future. HA HA HA HA!
(ahem)I would like to share a poem I wrote about Quentin
Tarantino if you will:
and a jaw line to match
he may steal from your favourites
but there is a slight catch
has indie beginnings
and dogs had that low budget feel
but this clearly doesn't phase
an old hand at that wheel!
enjoy your films
they make me feel good
If junk like this can make it
then maybe I should?
to gain acceptance
From one Josh Becker Sir!
I must confess my hatred of mainstream
and spit out Quentin slurs!
if there is life after pulp
Q.T has yet to show
He pays tribute to all his heroes
maybe Kubrick is all he knows?
dear Mr Becker,
why can't you accept
that when someone is famous
they've earned all they get.
that you have worked harder
well that maybe so
But Tarantino is smarter
knows how to steal
and play it cool
if you would conform
you might be revered too.
your pride buddy boy....till next time,
up the low-budget work.
you haven't got the guts to say your actual name, I
think you've chosen an apt pseudonym -- "Not Important."
You obviously feel that conforming is the way to success,
and perhaps it is in this day and age, but I haven't
got the slightest interest. If you consider Quentin
Tarantino smarter than me because he's a better and
bigger thief, than you can have him.
You are a bore.
Jaded Low-Budget Hack
so you know, Swank in "Boys Don't Cry" looks more like
a boy in the film than the real girl did in life. I
live within 100 miles of where the actual crime took
place, so read and heard all about it when it happened.
Besides, as stupid as the folks were that she\he hung
around with, it's no wonder they didn't know he was
really a she. It's worth poping in and giving a look.
It's certainly better than the 5 films you saw in 2000.
I'll watch it.
Hope you are doing well. Your reply to Arlene about
your upcoming "Xena" episode brings up an interesting
point. You mentioned that you'll be doing the episode
in a few weeks, but at this point haven't even seen
a script yet. I believe I'd read elsewhere on this site
that you even had a case where, basically, the night
before shooting, the script still wasn't ready.
long do you typically get to sit down with a script
and prepare it for shooting? Do you ever participate
in story conferences, or do the producers just hand
you a completed (or almost completed) script? If you
were able to give your preference, IDEALLY, how long
would you like to have to be able to prepare for shooting
an hour-long episodic -- one or two weeks? more?
how involved do you get in editing the episodes you
direct? It's been very interesting to read about your
editing experiences on "If I Had a Hammer," so I'm curious
to compare that to what happens on a TV series.
as always, for taking the time to share your experiences,
advice and opinions (p.s., you were *so* right about
"Gladiator"...I mean, come on, *why* is this hunk o'
junk being touted as "one of the year's best" [OK, it
was a lousy year, but still...]!?).
take care, and all the best,
per executive producer Rob Tapert, the comedy scripts
are the most difficult to prepare. I have frequently
not gotten the script until just before shooting. The
idea is get the script two weeks before shooting so
that when the director arrives in New Zealand there
is what to work on. If there isn't a script, then you
simply guess. For all the department heads, the more
time they get the better it will be. Most of what I
bring to the set with me is preparedness. In lieu of
that, I have my wits. The first cut of an episode is
done by the editor, the second cut is done by the director
-- we get three days for this -- then the final cut
is the producer's cut, which, in the case of the eps
I've done, have all been very similar to my cuts.
the Oscar announcements on the way, thought I might
ask you what movie of 2000 is the best one you've seen?
(Even if it wasn't great, what's the best movie you
HAVE seen so far?)
for last year, did you see "Boys Don't Cry"? I thought
it was great, even though it gave me a sick feeling
when it ended. Extraordinary performances!
you watch HBO's "The Soprano's"? How do you feel about
thing, have you had cameos in any of your own or someone
else's movies? Watching RT the other day and thought
maybe you were the guy on the street that the heroin
addict sells the van to just before Campbell kicks the
shit out of him. If it isn't you, I apologize. That
dude looks like hell!
saw a total of five films released in 2000, and I didn't
like any of them. I saw "Crouching Tiger, Hidden Dragon"
yesterday, which has gotten the best reviews of the
year, and thought it was a big nothing. People flying
through the air on wire rigs is an idiotic bore to me,
and the story is worthless. As for the other four films
I saw ("Space Cowboys," "The Patriot," "The Perfect
Storm" and "Gladiator"), I wouldn't give you ten cents
for the whole bunch. I have had the tape of "Boys Don't
Cry" sitting here for nearly a year and haven't watched
it. This is probably due to Hillary Swank not looking
anything like a boy. Swank looks as much like a boy
as Katherine Hepburn did in "Sylvia Scarlett" or Geta
Garbo in "Queen Christina," which is not at all -- for
me, the short haircuts just made all these women sexier
for me. I've watched one episode of "The Sapranos" and
didn't care, although it may well be good if you watch
it regularly. It seemed like the soap opera version
of "Goodfellas." Regarding cameo roles, the drug dealer
in "RT" is Craig Sanborn, the film's art director, although
I dubbed his voice. Since I'm not an actor, I'm not
terribly interested in taking parts in things. I do
not have cameos in my own films. I did little bits in
the three "Evil Dead" movies and I have an actual part
in the film "Mosquito," but that's it.
Dear Mr Becker,
know that the 6th Season of Xena is the last. HOwever,
I have also heard rumors that there might be a 7th Season.
Is that true? PLease make another!!!
have also heard rumors that Ares or Xena might die.
Is that also true? If so, Please don't kill anyone off.
I just love the idea that Ares and Xena might be together
one day. Please make Xena and Ares be together. Tons
of Xena fans (like myself)would like that to happen,
and that would make the season end GREAT!!! I know that
everyone would like the seris to end like that. Would
you please consider the idea? Thank you for your time.
(Say Hi to Lucy Lawless for me)
one of Xena: Warrior Princess Greatest Fan,
will be leaving in a few weeks to go do one of the last
Xena episodes. I'm afraid this is indeed the last season.
I know Kevin Smith and Ted Raimi are both in this episode,
but since I don't have a script, that's the extent of
my knowledge. They don't like me discussing the plots
on the internet before they come out anyway, if I knew
what the plot was, that is. As to how the show will
end, I don't know that, either. I'm just glad to be
working on the 6th season, which makes me the only director
to work on all seasons of the show.
Michael Anthony Lee
weekends I usually stay up late and watch independant
films on "Showcase", or "Bravo", or other stations that
shy away from the Hollywood crap.
just watched a film called "Exotica", by a filmmaker
named Atom Egoyan. Just wondering if you have seen this
and if so, what did you think?
have yet to make it all the way through an Atom Egoyan
film, so I can't really comment. From what I've seen,
though, he seems both dull and pretentious, which I
think is a bad combination.
Michael Anthony Lee
question time, but I feel you can help me here. I just
read your article on the hardware you have been usuing
and wanted to know a few things.
been usuing a home computer for the past few years,
but but it is old and out dated. I've always considered
buying a laptop or notebook like you have, but worried
about the screen and the keyboard. Can you see all right,
or is it hard on the eyes after awhile? Also, as a writer,
how do you find the keyboards.
like my laptop computer very much. It has a large, bright,
color screen and a full-size keyboard. As I mentioned
in the essay, my last computer was a sub-notebook that
had too small of a keyboard, and I don't recommend that.
But any full-size laptop is fine. The new Sonys and
Toshibas look very cool to me.