your relationship like (off the set) with Lucy and Rob?
Do you hang out at their house and have tea and all?
Do you ever hang out with Renee? If not, who do you
hang out with when you are in New Zealand?
haven't been hanging around with anyone, I'm too busy.
I have several friends down here, as well. I haven't
been to Rob and Lucy's this time, but I've been there
several other times. Lucy is a lot of fun to work with.
recently visited USA and picked up a DVD copy of 'Running
Time'. excellent film, I have listened to the commentary
more than the original sound - cool. I am about to shoot
my first 16mm film, it is for my University project
- problem is all the tutors are giving me problems like
maximum 10minutes of stock and making me cut down on
script and telling me what cast and crew I need, what
the f*** does a unit production manager do anyway and
why would I need one on a short film - this university
sucks big time. Any thoughts or comments would be appreciated!
sound like silly restrictions, but just run with them.
If you stay in filmmaking you'll be hit with a zillion
other restrictions along the way and it's your job to
deal with them. So deal. And good luck.
all great eps to give you the background on this upcoming
ep and you are right Family Affair is a great episode,
don't you just love the monster very lovable really,
Renee does such a good job as Hope too.
for the reply oh and those biscuits are called hokey
pokey squiggles if you are still in NZ you must pick
up a packet, they are a prepacked orgasm.
Renee is very good as Hope. This episode ought to have
a couple of good laughs, as well as plugging a hole
in the Xena chronology. I worked for the very first
time with Kevin Smith yesterday, which was quite fun.
Good God, that guy is ripped. It was so hot on the stage
that Kevin only put his heavy leather shirt on for the
takes, and at one point Ted walked past muttering, "I
become more hideous by the moment." I'm still laughing.
out of interest when you do a show like Xena or Hercules,
do they fill you in on any plot you have missed to help
you with your intepretation of the story and characters.
I know the last episode you filmed was Kindred Spirits
now with the next one you are going back to what happened
at the end of season 3, but I was just curious if they
tell you what has happened to the characters to help
you along? Hey by the way tell Rob he should give you
some kind of momento seeing as you have directed and
ep in every season, you should get a silver chakram
of your own, hell if you don't like it you could always
sell it on Ebay.
quick question have you ever had any of those chocolate
squiggles biscuits they have in New Zealand if not try
them, they really are yummy.
sent me a bunch of episodes to watch, like "Family Affair"
(which is a damn good epsiode), "Sacrifice 1 & 2," and
"Deja Vu All Over Again."
Hope the work on your "Xena" episode is continuing to
go well. It's been really cool to read your reports
as you progress from prep to actual shooting. It's very
much like reading some of the production diaries you
have posted elsewhere on your site (albeit, understandably,
less detailed -- naturally, you can't reveal too much
till the episode airs), and it makes me very curious
to see the final product on the air in a few months!
to this ep, I seem to remember you answered me a little
while back that you usually get about 3 or so days to
edit, and then after you're done the producers make
their cut, and you said that the two versions have been
pretty close. So, here are my questions about that:
Do you do your editing in New Zealand or back in Los
Angeles? When you turn your cut over to the producers,
do you meet with them in person for notes/discussion,
or do they just do their editing by themselves without
your input? As stars of the series, do Lucy Lawless
& Renee O'Connor get any input into editing?
lots of continuing good wishes, and have a great, Southern
Hemisphere kinda day!
finished shooting today and all went well. Now, regarding
the editing, "Xena" is cut in L.A. and "Jack" and "Cleo"
were cut in New Zealand. I've done all my cutting in
L.A. except for my two "Jacks." When I turn in my cut,
I'm done. They do not inform or consult me after that,
I see it when they send me the tape. Rob will tell me
if he cuts a whole scene. He's always right, too. He's
a good editor. I don't know what Lucy or Renee say about
the editing, they're usually pretty busy shooting.
think FR here and maybe a couple others misunderstood
what you meant. You're not saying that filmmaking as
an artform SHOULD be considered a collaborative process
without any real leader. Are you? Maybe I'm an idealist,
but I've always felt that there should be a single person
'directing' the entire operation, from start to finish.
The minute you start making everyone on the set equally
responsible for the finished film is the minute you've
lost all the art in the medium, I think. Obviously filmmaking
is hugely collaborative. But I don't even know if thats
a thing that should be celebrated. It seems to me that,
especially in the hollywood system, this only serves
to dilute the final product. Ok, rambling a bit here..
I'm against this WGA notion that the writers are just
as responsible for the film as the director. I don't
think thats the case any more. Rarely, if ever, are
the original scripts shot. They go through rewrite after
rewrite, and then on top of that there's the director's
interpretation. I think its that interpretation which
makes the film good or bad art (or commercial garbage,
whatever). The script is the blueprint, its not the
house. Its a blueprint thats usually re-done by numerous
people prior to its final building stage. So here's
my suggestion: "A film by _director_", from "an idea
by _writer_". Because at least for the hollywood productions
(which is mostly what WGA is talking about), there is
no single writer involved. At best there's a single
guy that came up with the idea for the film, that has
his idea re-written, re-thought, and re-intepreted.
I hate the idea of writing partners, and I hate the
idea of numerous people trying to take credit for what
SHOULD be a single vision behind a film. I don't see
the writers out there working with the actors, choosing
lenses, etc. And I don't think they should.
you want to be a filmmaker, learn to be a director.
These guys need to accept that the writer for hire is
not likely to maintain his artistic integrity or have
any control over the final product. Thats just the way
the business works. Personally, I believe that the best
situation would be one in which the artist is both a
writer AND a director, and handles both. Such as yourself,
Josh. Otherwise everyone starts misinterpreting each
other's work, changing things around to suit their own
agenda. And the final product is diluted. Even guys
like Paul Thomas Anderson, total hacks, get some of
my respect because at least they're being faithful to
the process. They write down their idea, then the film
it. On the other hand, there's guys like Hitchcock who
didn't write their scripts, but still attach a certain
vision or whatever to their films that makes them their
own. So I believe they are legitimate as well. Even
the directors for hire, like Michael Bay's, Tony Scott's,
and even Spielberg these days add some sort of personal
style to a film that makes it distinctively their own.
Ultimately the film, and the a film by credit, should
be left for the director. Otherwise, in my mind, the
auteur theory (and filmmaking as an artform) goes out
think you make a vaild point, but personally I've never
bought the Auteur Theory -- this is a vastly collaborative
medium. You work on a TV show and they could pretty
easily make these things without the director. Back
in the old days, the only way a director was going to
get his name above the title was if his name sold tickets,
like Hitchcock or Frank Capra, although these guys were
frequently their own producers. But if Michael Bay steps
in at the last minute and directs a film that producer
Jerry Bruckheimer has been developing for two years,
is it really A Michael Bay Film? I also think you're
short-shrifting the writers a bit. Certainly in the
Hollywood system the writer is always getting re-written,
and that's a big reason why Hollywood product sucks
so bad. But a good director really can't make a bad
script into a good film. Whereas, a mediocre director
can make a good film out of a good script. I think my
rule is the best, do at least two of the three main
jobs and get the possessory credit.
Cynthia E. Jones
you for your astonishingly prompt responses. You are
amazing. I understand about you not being able to give
out any info on Ted Raimi...I just thought, since Bruce
Campbel and you are both so outgoing with your internet
selves, maybe I stood a chance of sending a cosmic message
to Ted. Oh, well. I hope he can pick up my psychic vibes
I'm sending him....
Silverman." Just went to a press screening last night
and gee. I think this country is going pure LCD. It's
as though people are afraid to be clever, 'cos someone
might not get it. Isn't that the point? Don't we make
movies to connect with other people who think like us?
Oh? No? We make them to make money? Okay, so if they
insult our intelligence, who wins? We feel bad about
paying for them...
the young female Coppola, "Life Without Zoe" sucked,
and "The Virgin Suicides" is great. I don't know how
much help she got, or if it was just some sort of osmosis,
but if that film is any indicator of her directing talent,
I might like her more than her time-wasting, non-script-using
father. (This is "Cotton Club," "One from the Heart"
and "Dracula" I'm referring to--I still love the "Godfather"
one and two, as well as "Apocalypse Now")
having an impossible time finding "TSNKE" in stores.
Do I have to order it online? Perhaps I'm in the wrong
stores. Also....Do you know if I can find the film "Iggy
Vile, M.D." anywhere? I found it on the IMDb as something
that Ted Raimi wrote, and I'm interested in how well
he writes. I know it's a career he wishes to pursue.
Since it was made-for-TV, maybe it'll eventually surface
on video...but those things are sketchy at best.
is the weather in New Zealand? California was fantastic
the last few days, sunny and 70 degrees, but yesterday
it started with the cold winds now and that's no good.
Sunny and with icy winds. Yikes. But...at least we're
not in New York!
a wonderful Wednesday,
was 65 and sort of gray and rainy today, but we shot
right through it. It's supposed to rain tomorrow, too,
but we're inside. Regarding TSNKE, just click on it
on the front page and you can order it.
get straight to the crunch. At college, the class I'm
in was given the task of shooting a music video (to
go with an already eststablished song), Anyway I chose
to use the medium that is skateboarding as my content.
This is were my problem surfaces, Should I go with my
gut instinct and shoot it as I want to present it (I
was critisised by a couple of die hard skaters for not
having enough insight into the skating world), or stick
to the rigid documentry style skate videos seem to go
with (which is the path my tutor belives I should take)?
While you are in New Zealand does that mean you get
to watch that magnificent (Honest) soap "Neighbors"?
way will make a better movie? That's the one you should
choose. BTW, I'm not watching much TV right now.
the risk of sounding 100% kiss-ass, you are *so* right
about possessory credit! A film is certainly due to
so many people from top to bottom, it's hard to say
it's "a film by..." any one person (and I agree about
how ridiculous it is that some guy who did the third
rewrite on a movie that got big boxoffice but who has
never set foot on a set in his life gets a directing
deal and the "A Joe Blow Film" title). I think your
solution of requiring the person getting the possessory
do at least 2 out of the 3 key jobs makes sense, because
there certainly *are* people who fulfill that requirement,
rare though they may be. Of course, in the case of most
films, I think both directors and writers should be
too embarrassed about how horrible the movie is to want
to claim that it is "a film by" them...
also strongly agree with you that the residual picture
really needs an overhaul. It aggravates me no end that
the studios and networks cry poverty, then merge & acquire
each other in multibillion dollar deals, and announce
deals for huge lines of credit from foreign banks and
distributors, etc. They've got the dough, and they've
got it mainly because writers, actors, directors and
all the below-the-line people have worked their asses
off making films & TV that the public pays to see. Whether
the resulting pic is "art" or "crass," whether it's
"good" or "crap," doesn't even matter so much; the audience
is hungry for entertainment, and wants to see what's
available, especially if it has a (shudder) Mel Gibson
or Meg Ryan in it. I mean, no one says, "Hey, honey,
Paramount has a new movie opening this weekend; let's
run right out and see it!" Nope, it's due to the stars,
or the reputation of the writers/directors/producers
("A New Film From the Makers of ...!", etc.), that tickets
are sold. The creative types absolutely deserve a piece
of the theatrical/DVD/Internet/ancillary profit pie.
all the scripts that you have written, are you a WGA
member in addition to being in the DGA?
was very interesting reading your response to Blake
about the crazies who post here. I have been curious
why you put up (or put up *with*?) screed from the occasional
loony, but I assumed that it was because you were simply
supporting free speech. Yikes, if we're only seeing
the tip of the iceberg of what you receive, I really
*am* frightened about the number and severity of the
hateful or sick people who are out there. I would say
yes, thank you, for letting us have a peek into the
state of things on the Internet, and in the world at
on a much happier note, best of luck with filming your
episode, now that it's that time, and here's wishing
you a shoot that's under budget, finishes ahead of schedule,
and is just a total blast to work on!
on ya, mate!,
I got through the first day without any huge mishaps
(knock on wood). Lucy and Ted were both wonderful and
the crew is made up of mainly funny, upbeat people,
so this my idea of a great time. I even had a stunt
man deliver a line today and do a terrific job. I am
not a Writer's Guild member, although I do receive Writer's
Guild residuals. Since they do not officially recognize
any of my independent features as actual credits, I
would presently be able to join as an associate member,
which I see no need to do. It would cost me money and
get in the way of my independent filmmaking.
mind the weirdos that can't spell. They ain't worth
the dern worries.(email@example.com????? Did you
notice that? What a fruit.)
you may seem a bit arrogant to some folk who happen
to love the pictures you tear apart, and (as you've
even mentioned) TSNK...E ain't no academy award winner,
but you still have one helluva refreshing attitude and
"Running Time" was definately NOT boring. I'm on your
also a real pleasure for me to be able and submit questions,
no matter how trivial or dumb, to a somewhat well known
filmmaker and not have to worry about getting an answer.
all wanna see HAMMER too. With all the fans you make
with this site, I'm a thinkin' that we mightn't be able
an' wip us up some hype for ya!
on, Mr. Becker!
I appreciate it. I get mean horrible letters all the
time. I got one today which I didn't answer. I do answer
some of them mainly so that you Q&A readers can see
what kind of nuts are out there. When I open the those
emails first thing in the morning I'm occasionally shocked.
I wish I could even start selling "Hammer" online, but
I can't. There are a number of rights issue that have
to be dealt with still. Sorry. Who knows, maybe I'll
even get a distributor.
been a pleasure reading your continuing posts from New
Zealand. It's obvious from the totally upbeat tone of
what you've been writing lately how stoked (sorry, I
live in Los Angeles) you are to be working on this episode.
I really appreciate, and I'm sure the other regular
posters also do, that you're still taking time to keep
up with this board and to keep us informed of your progress
even though you're so busy right now.
my question today: I was wondering if there's any reaction
overseas to the impending writers' and actors' strikes
up here. Do you have any thoughts about them yourself
-- do you think the strikes are inevitable? Do you think
the concessions each guild is asking for (Internet and
new media residuals, change of "possessory" credit from
directors only to writers, rights of writers to visit
sets, etc.) seem reasonable?
start shooting tomorrow morning at 7:00 A.M. and I think
we'll be all right. Or, as they say here, "She'll be
right, mate." The only reaction I've heard here regarding
the possible strikes are the hope that more production
work will end up down here. Perhaps it will, too. I'm
entirely in agreement that the residual system needs
to be reworked with the many new, emerging markets.
In regard to the possessory credit (meaning, "A Josh
Becker Film" or "A Film by Josh Becker"), I'm in basic
disagreement with all the guilds. I think you should
only be able to take that credit if you do at least
two of the three main jobs, writing, producing and directing.
It annoys the shit out of me seeing "A Film by Joe Blow"
when it's their first film and I've never heard of them.
sound like a real arrogent prick for someone who makes
some real shitty films. I read your little evildead
journal,you sound like a whiny little bitch too. the
only reason your in the industry is cuz your riding
sam raimis coat-tails .running time is awful thou shall...is
boring.where do you get off criticing other peoples
work that is so obviously superior.you should be a janitor
instead.idiot.fuck you. www.sickeningconcepts.com
the fuck are you? Nobody. So drop dead.
watched "Unforgiven" on dvd, it has to be one of the
best westerns ever put on film. What I try to do is
break down each shot in my head as I watch it. (Like
a long shot, or whatever). But some of the time I find
it hard to tell. So I was just wondering if you could
recommend any books (or even a website) that explains
camera shots more clearly, I feel that's one area where
I'm lacking in cinema knowledge.
by the way, I keep track of all the movies I see as
well. All on index cards, with a little ratings system.
(I know its nerdy, but Peter Bogdanovich used to do
it, and now I find out that you do as well).
have fun in New Zealand!
think the best book explaining camera set-ups is "Shot
By Shot" by Steven Katz, I believe it is. It's on my
list. And I really do love "Unforgiven."
Cynthia E. Jones
"Seconds" was a fantastic movie. And, not only was Bob
Evans pure hilarity in his assessment of "The Saint,"
but he also thought "Sliver" was going to be a huge
thing, and that movie sucked so bad it became my new
"all time low" reference, i.e. "Well, at least it wasn't
Cluzot's "The Wages of Fear." Now that's a great movie.
People ask me what the greatest suspense film of all
time is? There ya go. Now, here's the question: is 3515
a random number or do you actually write down all the
films you see and count them?
Suicides' - what'd you think? Sofia has gotten a lot
better since "Life without Zoe."
is so much fun..most people don't understand me 'cos
I like movies TOO MUCH) have you seen "Deranged?" Ed
noticed most of your favorites are old movies. Are there
any recent directors that excite you? It seems they're
few and far between. The indies are being purchased
by larger companies and compromising the quality of
new, smaller films. Very few new films excite me.
last question, and then I'll let you go for now. Could
you get me Ted Raimi's email address or snail mail address?
I'd like to contact him and am hitting a wall here.
The closest I've gotten is Monica Gillen through Creation
Entertainment, whom I've been talking to this week,
but no dice.
always liked movies too much, so I understand. I haven't
seen "Virgin Suicides," but "Life Without Zoe" was as
awful and amateurish as anything I've ever seen, particularly
given the amount of backing she has. I have not seen
"Deranged," either, but I sure do like "Psycho." No,
3515 is not an estimate, I do keep a list of every movie
I've ever seen, as well as a list of every book I've
ever read. No one can say I've wasted my life. Regarding
Mr. Ted Raimi, who is a very private guy, I won't give
out his address and I'm sure he wouldn't want me to.
taking a preproduction class right now and we have to
budget the first twenty minutes of a film and by breaking
down the script. a subject i'm sure you know lots about.
so being the fan i am of your work i elected to use
TSNKE. i've already got alot of info on the budget from
the dvd alone but i was curious if you had any of your
old stripboards or budgeting breakdown sheets left.
well even if you don't, this project was a nice excuse
to write you and let you know how much i've enjoyed
forward to hammer,
No, I haven't got any of that stuff left from TSNKE.
Action Pictures has been defunct for 15 years. I must
say that I rather enjoy breaking a script down and scheduling
it, something I don't usually get to do except on my
own films. It's a game of logic. Have fun.
you're in New Zealand, could you take some pictures
of your last adventure directing a "Xena" episode? Would
love to see some behind-the-scenes stuff of Renee and
Lucy, and the rest of the crew.
see if I can't sneak a couple, but we're actually not
supposed to take pictures on the set.
Cynthia E. Jones
just wanted to let you know that I love the film "Lunatics:
A Love Story." I've been looking for your name in the
Writing/Directing universe since 1993 wondering what
the hell you've been up to. Finally, my friend wised
me up to the IMdB.com (with which I'm sure you're familiar)
and I looked you up there last week. That lead me to
finding out you had directed Herc and Xena episodes
and then I saw your name in the credits for "Evil Dead"
when I watched it on DVD the other day. Ah, yes, it's
all coming together now. It's so funny how the world
works that way.
guess if I have a question, it's "are you happy?" Are
there any recent films that you're working on that you're
particularly proud of? "Lunatics" showed promise, and
I want to watch you grow as a filmmaker.
see you're into Orson Welles. I, too, am a rather obsessed
film fanatic/maker. My friend and I will be shooting
a film this summer on digital video just to do it...my
theory is, act like you have the job you want until
someone decides to pay you for it. I'm a professional
photojournalist, but filmmaking really makes me happy.
The editing is the most satisfying part of the process.
was glad to see that you're a J.D. Salinger fan. Have
you ever been mad that he said "Catcher" couldn't ever
be filmed? I thought that was a rad decision...making
sure nobody fucks up your story, ever, because Salinger
knows that people think of films as the "final" version
of a book. I couldn't help but notice that all of your
favorite books are about films, filmmaking, or are novels
which were turned into films, except maybe 5 of them.
Not that this is a bad thing, it's just funny because
my reading habits are similar. I just got through reading
"The Kid Stays in the Picture" by the extraordinarily
arrogant Robert Evans. Have you read that one? I love
the HITCHCOCK/TRUFFAUT book as well. I remember I had
heinous late fees at the library from that one.
it's good to know that you're working and doing all
kinds of groovy things. Hopefully, you'll drop me a
line someday and we'll discuss James Wong Howe or something.
site...a bunch of photos.)
quite proud of my new film, "If I Had a Hammer," as
well as the film before, "Running Time." Am I happy?
Sure, in my own moderate way. I feel particularly good
when I'm doing what I love--directing--and getting paid
for it. Yes, many of the books I love were made into
films. My life is very caught up in movies in many ways.
And yes, I did read "The Kid Stays in the Picture" by
the ridiculously arrogant Robert Evans. I took particular
amusement in that the picture he's about to make when
writing the book, which he predicts will be the biggest
"franchise" ever, was "The Saint," which dropped dead.
I've read "Hitchcock/Truffaut" several times. I think
it's a great book. I'm also a fan of the great James
Wong Howe, and I think he and John Frankenheimer sort
of established the look of modern movies in "Seconds."
on getting to direct an episode of Xena in every season
that is great. Have fun down in NZ, Xena is great fun
and will be much much missed, I believe you get the
episode explaining how Gabby got out of that pit, that
will be some episode, some explaining to do, but knowing
your eps in the best it will be a good un.
is indeed the episode I'm doing. It seems to be coming
E-mail: from hell
just want to say that youre favorite film list sucks.
If this represent youre way of inspiration. WELL THEN
YOU ARE STUPID STUPID STUPID-
you're stupid! Nah, nah!
Angela L. Wheaton
am organizing an Upcoming Charity auction for a church
to raise money for an elevator for the handicapped.
I was wondering if you wouldn't mind donating one of
your autographed items for it? If not, that's quite
alright as I understand. If so, I would give you full
credit and put a link to your OFFICIAL site.
Thanks for your time!
So far Claire Stansfield, Adrienne Wilkinson, Tony Todd
and others have sent in items. I'd be so pleased to
add yours as well!!! :) If you'd like to see a past
online charity event I did for the Make-A-Wish Foundation
it is at: http://alwheaties.com/Benefit.html
be more than happy to donate an autographed photo or
something, but right now I'm in New Zealand and I'll
be back in the U.S. on Feb. 18. Could you send your
request again when I'm back and I'll follow up on it
promptly. Good luck.
see that one of your favorite films is "The Little Kidnappers"
(1953). It's one of my favorites too. I recorded it
a number of years ago but then lost the tape. I'd really
like to get a copy of this movie but can't find it anywhere.
Can you help me?
went to Movies
Unlimited to check for you, but their site is closed
right now. It's not available at Amazon. Try checking
M.U. later. It's a wonderful little film, though. The
two little boys were given special Academy Awards that
year because they were so good. My late friend Rick
was friends with one of them in Hollywood in the 1970s.
you ever check out the message boards on the IMDB website?
Some pretty lively debating goes on there.In particular
the section devoted to westerns, these guys do love
their shoot 'em ups and rigorously defend their heroes,
especially John Ford.
never been there, but honestly, John Ford needs no defense.
In something like 18 months he made "Drums Along the
Mohawk," "Stagecoach," "The Grapes of Wrath" and "How
Green Was My Valley." He doesn't need anybody standing
up for him, his films do just fine.
to New Zealand, mate! Hope your prep down there is going
well. Regarding Bruce Campbell's and his wife's comments
on "Cast Away": boy! they just so could not be more
right! This film might have made an interesting short
film (with almost no dialogue or sound) about a man
alone on an island, but instead it was a big Hollywood
"everything's okay after all!" affair, and, yes, a long
commercial for FedEx. And I wish someone would take
away Helen Hunt's SAG card till she someday decides
to start *acting* (she is just the exact same character
in every film & TV show, and talk about wanting to be
liked!), but that's another story.
question is sparked by something you mentioned about
jazz a few posts ago. I wonder if you've been watching
the Ken Burns series on Jazz, and, if so, what is your
opinion of his presentation?
as I'm sure you're hearing all the time now, "G'day,"
to you, too. Prep is going fine and I think we'll have
an amusing episode. I watched the first 8 episodes of
"Jazz," but will sadly miss the last two since I'm down
here. I really like all of Ken Burns and Geoffry Ward's
documentaries. Mr. Ward, the writer of all of Ken Burns'
docs, BTW, was formerly the editor of my favorite magazine,
American Heritage. I enjoyed the first 8 eps very much
and I learned quite a bit from them, too.
you seen "My Own Private Idaho"? I just saw it and was
appalled. Not because it was a "bad" film, but because
of the subject matter. I generally don't like Gus Van
Sant films, but this one has been in my mind all week.
I think I really liked it.
you ever see "Boys Don't Cry"? I just watched it a second
time and must say it didn't play as well as it did the
first. The performances, however, I still think are
down in New Zealand right now and haven't had a chance
to watch "Boys" yet, but I will. I did see "My Own Private
Idaho" and was appalled because I did think it was bad
film. I think that most films of Shakespeare's plays
don't work, but having 17th century language in a modern
story I found to be particularly idiotic. Also, the
entire setting I simply found dull. And, of course,
Keanu Reeves and River Phoenix can't carry the picture.
In Mr. Van Sant's favor, I'm a very big fan of "Drugstore
Cowboy, which I think is exceptionally good and quite
your flight was a good one, I imagine you are well equipped
with reading material. What's your current read?
inane post by the religious zealot got me thinking about
an answer you gave quite awhile ago as to you religious
leanings. I think you mentioned Will and Ariel Durant,
and I haven't found any titles by them while browsing.
Can you reccomend some good books in this area, I enjoy
reading books about the origins of religions.
you plan to catch any movies in NZ? I enjoy reading
your reviews, wish you did it more often. I'm still
trying to figure out what was wrong with Cast Away,
the trailer is very enticing, and is in fact much better
than the entire film.
luck directing the episode, look forward to it..glad
Rob decided to put in a few comedies.
simply read the new American Heritage magazine. I then
watched "Erin Brockovitch," which seemed like a TV movie
with swearing. I had no sympathy for her character,
and her using her kids as a ploy for sympathy and respect
seemed like pure crap. Also, getting money for people
that are already poisoned and dying seemed meaningless.
I also watched "Wonder Boys," which was also a big nothing.
It lurched from one dull, unbelievable scene to the
next and seemed like it would never end. Regarding Will
and Ariel Durant, their series of books on the history
of the world begins with "Our Oriental Heritage," which
I found pretty astonishing, though somewhat difficult.
I haven't seen "Castaway," but Bruce Campbell and his
wife called me immediately upon leaving the theater
and were furious about how much they detested it. Bruce's
comment was that Hanks, like Tom Cruise, will no longer
allow any of the characters he plays to haver any flaws
at all--they are perfect, kind and friendly in all ways.
Also, Bruce felt like the entire film was a product
placement for FedEx and Spalding tennis balls, which
he found insulting.
it's a question...can you tell me how I can go about
getting a copy of "If I Had a Hammer?" My son is in
it and I would like to see it. Thanks very much.
Renee did a great job with the poster for the movie!
must assume you are the parent of Kristian Monday. At
this stage, you can't get a copy because they are not
available. BTW, Kristian did a terrific job in the film.
over your thoughts on The Lifespan of Creativity, and
was wondering how Orson Welles figures in?
exposure to film is nowhere near as vast as yours (as
to be expected as I work on Computer Networks) your
perspective would be appreciated. Having just watched
the newly released DVD "Touch of Evil", and came away
feeling that I didn't see anything new or groundbreaking
(for 1958). Which could be that I didn't know what to
if you should happen to own/rent this DVD it does include
58 pages of memos that Welles wrote to the Studios on
how to enhance the film, which made for facinating reading.
Office politics simply amaze me..
hope the weather you're having in California hasn't
been quite so bad as we've had it in Michigan.
Grand Ledge, Michigan
absolutely love "Touch of Evil" and feel that it would
be groundbreaking any year it came out. I also think
that the restored version, following Welles' notes,
actually improved a great film. Orson Welles' lifespan
of creativity was a particularly short one, lasting
about two years, although he did pull it back together
one more time, 16 years later, with "Touch of Evil."
was wondering if you've written any other articles for
FILM THREAT, besides the Tarantino interview? Also,
are those kind of writing gigs hard to get? Thanks.
wrote six or seven articles for Film Threat, the Tarantino
interview, the Hollywood Walk of Fame, the History of
the Oscars, an article about the Boston Film Festival,
and some other stuff. I've known Chris Gore, the magazine's
editor, since he started Film Threat in Detroit in the
mid-80s. I read his very first issue and was so offended
by the stupid opinions and inaccurate facts that I wrote
him a nasty letter which he printed all of in his second
issue. Actually, it wasn't a hard gig to get in that
Chris offered me the job at a party. Sadly, however,
when it came to paying he simply wouldn't do it, so
I quit. The magazine dropped dead not too long afterward.
Christ may have been jewish, but more important than
that is the fact that he was the son of God, and that
puts him beyond any particular race. You see, it's not
a problem for any christian to deal with the fact that
Jesus was jewish, but it is a huge problem for any jew
to deal with the fact that Jesus is the son of God,
which is exactly what puts christians apart from those
jews that won't accept Jesus Christ for what he really
is. By the way, you don't need to remind us who killed
Jesus, but you would be doing us a favor if you could
refresh our memory by telling us who sold him out, looked
the other way and maybe was even happy when the romans
crucified him. Hehehehe.
sold out Jesus? Why, other creepy Christians, just like
you. By the way, we're all children of God.
question comes from a high school history teacher friend
of mine: are there any good WWII movies about the homefront,
womens roles in the workplace, or propaganda, etc.
educational well being of impressionable youth awaits
luck in New Zealand......
of my very favorite films (which I just purchased on
DVD), "The Best Years of Our Lives," is about returning
WW2 vets and their familes. There's also "Till the End
of Time." A famous film about women on the homefront
is David Selznick's "Since You Went Away," with Claudette
Colbert as the mother, Jennifer Jones as the older daughter,
and Shirley Temple as the younger daughter, which I've
always considered brilliant casting.