I adore Lunatics, uber cuteness. And of course, TSNKE,
Sam had great arms, wowzers. But I have a question about
another of your group. Mr. Scott Spiegel. I've been
searching for the better part of a year now to find
where I can contact his publicist. I was wanting to
do a big story/interview on him, but I can't even comfirm
that he's alive. Any suggestions? Thank ye kindly,
haven't spoken with Scott in years. He lives in Hollywood.
Good luck in your search.
was wondering if you've seen Coscaralli's "Bubba
Ho-Tep"?? And if so is it as kick ass as I hear
from some reviews. I just found out they were screening
it in Royal Oak MI tomorrow as a part of Bruce's book
signing. Sounds promising though, a real old fashioned
mummy movie to smack Universal around with! Rock n roll!
haven't seen it yet because Bruce doesn't have a video
tape yet. It certainly has gotten terrific reviews on
Aint it Cool, and Bruce does a hell of good Elvis impression
he's being cracking me up with our whole lives. The
idea of Bruce as 75-year old Elvis, teamed up with Ossie
Davis, does sound amusing.
the earlier post: Cleanflicks emphasizes that they maintain
a 1-to-1 ratio of originals to edited copies. They rent
out the copies, and don't sell them. So the original
poster's argument holds up.
can maintain anything they want, they're still breaking
the law. Isn't the FBI warning at the front of every
video tape and DVD clear? No duplication. Period. And
reselling. Period. There's nothing to talk about. It's
like going into a museum and painting a mustache on
Cynthia E. Jones
Long time no write. I didn't feel like going through
all of your archives (pardon my laziness) but I was
wondering if you have seen the film "Donnie Darko?"
I thought it was pretty great, although I understand
the DVD has a lot of extra stuff which makes it better
and easier to understand (why don't they just cut the
damn film so we can understand it in the first place?
Okay). It stars Jake Gyllenhaal, who was the lead in
"October Sky," and whom I think is fantastic.
Just a thought.
how are you, anyway?
a great Wednesday.
really disliked that film and have done a pretty good
job of downloading it out of my memory banks. It seemed
like complete nonsense to me, but I can't tell you why
at the moment, nor do I want to think about it and bring
it back. As I dimly recall, Jake Gyllenhaal does a lot
of glaring upward past his eyebrows, and every sixty
seconds it cut to another title card saying "Tuesday,
11:37 PM," as though it mattered.
any good movies lately?
may be stupid plot turns but "The Silence of the
Lambs" still scares the shit out of me. But I do
agree with you about Anthony Hopkins. I thought he was
much, much better in "The Remains of the Day".
He is absolutely heartbreaking in that film. That movie
gets me every time I see it.
saw "An American Werewolf in London" for the
first time last night and was very disappointed. It
wasn't even scary! The guy transforming into the wolf
was cool but other then that the movie sucked. The Dr.
Pepper guy and his friend get attacked. His friend dies
and comes back from the grave to warn him of his impending
doom. Dr. Pepper guy turns into a wolf, kills a bunch
of people and then the cops shoot him. Big fucking deal!
And the acting sucked too. I always see this film listed
as one of the best horror films ever made. What the
movies have scared the hell out of you? I still get
really freaked out by "The Exorcist".
agree, "American Werewolf" did nothing for
me. I thought "The Howling" was better dealing
with the same subject matter at about the same time.
I like "The Exorcist." I also really like
"Rosemary's Baby" and "The Tenant."
The old British horror film, "Dead of Night"
(1945), scared the hell out of me as a kid. Also Robert
Wise's "The Body Snatcher" (also 1945) scared
me as a kid. I also quite like "Alien" and
"Aliens." The film that scared me the most
as a kid was "Abbott and Costello Meet Frankenstein,"
which completely freaked me out, and it's a comedy.
Of course, I was about six or seven at the time.
was wondering: can I order "Running Time"
directly from you via normal mail, like you're doing
with "If I Had A Hammer"? If so, what's the
price and address? I've had some bad experiences with
but you can't. I licensed the film to Anchor Bay, and
now if you want it you must buy it from them. Get the
DVD, it looks great.
just a quick thought. Going back to our discussion of
Joseph Cotten from a few months ago, I have to temper
my opinion that he had a weak on-screen appearance.
What about SHADOW OF A DOUBT? In that, he was decidedly
creepy; the charming, urbane gentleman who just happens
to be a serial killer. I was pleasantly surprised.
Sorry, but vague ramblings are my specialty,
know that Hitchcock thought very highly of "Shadow
of a Doubt," but I never cared for it. It's ridiculously
obvious from the very first second he's the Merry Widow
killer, then we just have to wait the whole film for
him to admit. I do like Teresa Wright, though. And Cotton's
fine in it, I suppose.
problem with THE SILENCE OF THE LAMBS may be the translation
from book to film. The novel makes it very clear that
Lecter's ulterior motive for helping the authorities
at all is to gain an opportunity to escape. He already
had the handcuff key (the novel gives an explanation,
but in brief, the ink tube of the ball point pen can
be fashioned into a key; when it's considered that most
standard handcuffs have simple, spring-operated locks,
operated by one universal key pattern, then that is
not so far fetched), but it would've been difficult
to introduce his obtaining it into the film as the novel
did. It was a good call on Mr. Demme's part to simply
have Dr. Chilton, in the midst of gloating over his
good fortune, forget the pen and leave it for Lecter.
On the subject of plot turns, I have to disagree with
you; the logic of the film follows through for me, Q.E.D.
By agreeing to help the authorities in Tennessee, Dr.
Lecter gets himself out of the hands of Barney and the
other hospital guards, who are extremely careful and
would not afford him an opportunity. Further, he is
placed in the custody of corrections officer unused
to dealing with the criminally insane, and is not straight-jacketed
when in the courthouse. The issue of his mutilating
the guards is endemic to both Lecter's plan and his
character: the grisly sculpture is just something he
likes to do, but the need for the flesh and uniforms
of the guards is necessary to his plan. This all follows
well in the novel, but again I state that the problem
may be in the translation, as the film follows the novel
have no more interest in super-villians than I do in
superheroes. It's all bullshit to me. And, forgetting
novels, you didn't explain anything about how he got
the pen, got out, etc. The idea of carving someone's
skin off and using it as a mask is utterly ridiculous,
too. I don't want to think about or discuss these inane
Hannibal Lecter movies.
film I just saw that is not on your favourite list is
"The Young Doctors" starring Frederic March
and Ben Gazarra. Have you seen this one? I enjoyed it
very much and I thought March was especially good as
the stubborn, old but likeable chief pathologist. The
film opens with the young, enthusiatic Gazzara arriving
at the front of a hospital and ends with March, having
just resigned, leaving the same way. Apart from finding
it hard to take Dick Clark seriously I found the film
very enjoyable, also with Eddie Albert before his "Green
haven't seen that film since I was a kid, maybe 30 years
ago. That was a good, solid picture. It's narrated by
Ronald Reagan. Another film that goes along with it
is "Not as a Stranger," with Robert Mitchum
and Frank Sinatra as young doctors. Eddie Albert, meanwhile,
who is still alive, began his career in the 1938 film
"Brother Rat," in a part he had already played
on Broadway. The guy has been around forever. Albert
is really, really great in the terrific, and overlooked,
was it about "The Silence of the Lambs" that
you did not like? That movie scared the hell out of
me and still does when I watch it now.
another note, what is your favorite episode of "The
Simpsons". I've always been partial to "Kamp
Krusty". The whole "Lord of the Flies"
theme has always killed me! I love it when the kids
take over the camp and Lisa hands out their mail. One
kid gets his package and says "my mom sent me cookies"!
Another kid says "fresh underwear" and the
last kid shouts "my insulin"! The one where
Mr. Burns teams up with Lisa to open the recycling plant
has a place in my heart as well. "A little slurry
will cure what ails you"!
are far too many Simpsons episodes I like to choose
favorites. There are so many great gags and lines it's
astounding. I love when Homer argues with his brain,
"Look, I don't like you and you don't like me,
so let's just get through this and I'll go back to killing
you with beer." Or when he is heading the breakfast
table and thinks, "I'm not going to work today.
I'm going on the Duff Beer factory tour, and I'm going
to get drunk. Hey, wait a minute. Did I think that,
or did I say that?" Marge looks at him and says,
"What do you mean you're not going to work today?"
Homer replies, "D'oh!" And I loved Krusty
having John Updike write his memoirs, then telling him
to "Shut up, Updike!" But I go on. Regarding
"Silence of the Lambs," jeez I'm sorry guys
and gals, but that is a stupid movie. Lecter is in a
straight-jacket and sees a pen, cut away for one minute,
then return and he's miraculously gotten out of the
straight-jacket, killed both guards, cut all of the
skin off one of them, hung them upside down, and backlit
them. Those are exceptionally stupid plot turns. And
Anthony Hopkins, who has been much better in many other
films, got an Oscar for his one-note performance. It
all wearies me.
for the answer on Herman Mankewicz (I was going to say
Herbert Mankewicz). Also, my confusion on league baseball
was geographic; in New England, the Little League season
pretty much mirrors the professional one.
On another note, I went to see RED DRAGON the other
day, and I have to say that I was entertained. The screenplay
follows Thomas Harris' novel rather closely, which makes
for a tight, well-paced film. Anthony Hopkins was very
good (par the course), but I was initially displeased
with the decision to cast Edward Norton as agent Will
Graham. It took me a while to accept him as the character,
based on the image that I had of him from the book,
but he pulled it off in the end. I don't know if you
read Harris' novel or saw the first filmed version of
it, MANHUNTER, but it's worth watching in my book.
this is where our paths diverge. Yes, I did see "Manhunter"
when it came out, and it was as miserable a piece of
shit as I've ever sat through. I also didn't give a
crap about "Silence of the Lambs" or "Hannibal."
I would have to be dragged kicking and screaming to
see this one. A pox on all these films. Blah!
is your opinon on marilyn monroe and what do you think
of her death?
Monroe was spectacular, and almost other-worldly. Her
walk past Lemmon and Curtis in "Some Like It Hot"
is really something -- "It's like jello, on springs."
And when she does her commercial in "The Seven
Year Itch" it's too good -- "I ate garlic
for lunch, and onions for dinner, but my breath is kissing
sweeet." Regarding her death, as Norman Mailer
said in his very interesting book on her, she was probably
the worst practicing Christian Scientist ever. But,
since everyone's death only comes once, I'd say it's
always right on time.
Hey there Josh,
that you mentioned Richard Price, so i figured i'd ask
if you ever read his novel called "Ladies' Man"?
I think it's got some very interesting themes, and is
sort of reminscent of "Taxi Driver" (though
it came out around the same time).
The lead character, Kenny Becker (hey, same last name!),
loses his girlfriend and his job through a life-changing
week in New York when he starts to question what his
life has become.
It's very funny, as its told in first person, and I
always wondered why they couldn't make a film of it.
It was his third novel, and they had previously made
bad films out of "Bloodbrothers" and "The
Wanderers" (though "The Wanderers" was
did read "Ladies' Man" and I liked it a lot.
I think it has a terrific structure for a story, which
is the first week after the break-up of a long-term
relationship, and each section is a day. I think Richard
Price is one of the better writers working today. His
script for "Sea of Love" is really good. I
enjoyed "Clockers" far more as a novel than
as a Spike Lee joint, that's for sure. I must say that
I wasn't crazy about either of the films "Bloodbrothers"
or "The Wanderers," and I liked both the books.
I already know you'll roll your eyes at this, but just
had to write in and express. I went and saw "Rules
of Attraction" last night for the mere fact that
I loved the novel when I read it in high school. It
was hilarious, dark, satrical (as most of ellis' work
is-though you have expressed your distaste for him).
Anyways, I hated how the tv adds made it seem like it
was just 'Dawson playing a bad boy' but I had faith
in Avary, don't ask me why but I did. So after watching
the final scene, what a disappointment!! I could not
believe what they cut out (and I understood that the
MPAA sucks because all the sex was mostly chopped out
of it) but Avary also wrote the screenplay based off
the novel and he fucked up most the characters. He made
the lead actress' character a virgin when in the novel
she slept with a guy at each party, and her whole purpose
was mainly to get laid. I'm thinking, Avary was knocking
American Pie on an interview but his version of 'Rules'
was just American Pie w/o the gags. Also it was confusing
beccause you'r supposed to guess that these 3 characters
are in some sort of a triangle when the film didn't
show their relationships (which were mainly sex in the
book). There was so much more but I won't go into any
more details, but I will say that Avary did do one cool
shot, which was the slit screen where Van der Beek and
Sossoman meet and is split screen their whole conversation
until both track back and it turns into one. That was
the ONLY interesting shot Avary has accomplished in
the two films he's directed.
on a lighter note, I recently picked up the Simpsons
Season 2 dvd set-have you got that? Man, that is packed
with extras and commentary on each episode! Interesting
Simpsons fact I did not know about was that when Willie
was written, they didn't know what he'd look or sound
like so whoever did his voice, I believe Harry Shearer
but I'm not positive, first did a spanish accent, then
French, and then on the third take he went with the
scottish and that became groundskeeper Willie. Also
the animators never thought Willie would be back. I
can't imagine the Simpsons world w/o groundskeeper Willie.
I don't the The Simpson's 2nd season, but it certainly
seems worth watching. I think of Willie often, generally
when I'm pumping my gas, "The noozle, turn the
noozle." That's from the episode when Lisa falls
in love with Nelson. And I don't know the exact dialog,
but when Principal Skinner is rearranging the menu and
says, "I think I'll put Salisbury steak on Wednesday,"
and Willie responds, "That's what you said about
the stuffed peppers, and you lost the twelve- to fourteen
things; first, as I'm right now sitting on the beach
in beautiful Ka'anapali, Maui, what are some of your
favorite Hawaiian movies?
I'm still reflecting on "Hammer" and what
it has to say about its subject. It strikes me that
there are in the film two different representations
made of folk music. The first is in the music store,
the second in the club. The success of the impromptu
music store rendition, the way the patrons and owner
embraced and joined in the music, contrasts sharply
with the relatively superficial reception of the more
highly polished club performances, even with Lorraine's
songs. One could look at those scenes as a comment on
folk music in general. Folk was most powerful and dynamic
when it was being generated in the field, as it were,
by folks like Guthrie. Cleaned up, polished and sent
out to a passive audience, it lost its dynamic. There
is that sense in which the original setting for folk
music, the labor camps and mining towns, had disappeared
by the early '60s. The music was meant to be "of"
the people rather than simply "for" the people.
Just a thought.
I enjoyed your review of "Wedding". I agree
completely with your point about intent. I also appreciate
that you didn't make a nice movie out to be anything
more, yet refrained from calling it "just a nice
favorite Hawaii movie by a mile would be "From
Here to Eternity." I loved James Michener's book
"Hawaii" when I was a kid, but I didn't much
care for either of the films made from the book -- "Hawaii"
(1966) or "The Hawaiians" (1970). I also quite
liked Howard Hawks' "Air Force," which takes
place in Hawaii. It has great aerial miniatures of the
for the folk music in "Hammer," well, it it's
different when people just start singing a song, which
doesn't happen all that often, but does happen. Or when
people are in a venue being sung to. They still do happily
join in a few times, but it's not impromptu, it's expected.
just got back from seeing "Punch Drunk Love"
and all I have to say is save your money and time. It
was an hour and 40 minutes that felt like an eternity!
Adam Sandler plays the same rage filled guy that he
plays in every movie. Emily Watson was so under used
it was pathetic. There were some funny moments but those
were few and far between. Paul Thomas Anderson glazed
this picture over with so many camera and audio tricks
as well as some visual effects that any semblance of
a love story was lost.
story was based on the same notion that "Lunatics"
was based on. That there is someone for everyone. But
unlike "Lunatics" the conflict in the story
did not take place between the boy and the girl. Adam
Sandler's character gets into trouble with some thugs
after he calls a phone sex line. But there is absolutely
nothing keeping him and Emily Watson from being together.
They meet and they fall in love. That's it! There was
really nothing romantic or endearing about the story
read the "My Big Fat
Greek Wedding" review. What's stopping you
from forming a production and distribution company?
I mean besides the money. I'm surprised that you didn't
do that a long time ago. You could do that out of Detroit.
Far, far away from Hollywood. I still think you should
make "Biological Clock". It's a far more interesting
love story then anything I've seen in awhile.
the only thing standing in my way is the money, but
that's a big stumbling block. Right now I don't have
an answer for it, either. I'll avoid "Punch drunk
Love,' not that I would have ever gone and seen it to
start with. I just watched "Mad Dog and Glory"
for about the fourth time and I really like that film.
I think all the actors are terrific, but DeNiro is really,
really good. I love the scene after he's slept with
Uma Thurman and he's at a crime scene singing "Just
a Gigolo" with Louis Prima. And not only does the
story have a theme, it's a double entendre, which I
think is particularly impressive. Richard Price can
write very well occasionally. I like his books, too.
was just thinking about how right now, any person can
pick up a camera and call themselves a filmmaker, or
they can pick up a paintbrush and call themselves a
painter, and society will accept it with no second thoughts.
I think this goes hand in hand with the lottery mentality.
Not only do people expect to be rich and famous without
having to earn it, but they also think that whatever
they carelessly throw together is on equal standing
with the work of people who've actually strived to create
something with meaning or who've tried reach a higher
level of expression.
People argue with your structure essays, pretending
like their right to choose somehow justifies any choice
they make, right or wrong. It's really just ignorance
combined with pretention. It's much easier to just type
something out and not worry about structure, and if
it has pretty enough packaging people will watch it
anyway. They're trying to outweigh thousands of years
of use with blind apathy and faulty logic.
I just saw a commercial for, "XXX," or "Triple
X". From that one commercial it was easy to determine
how it will end. Will Vin Diesel be killed? No, that
would mean no sequel. Will he fail his mission? Of course
not, that too would mean no sequel. What's the point
of watching? Hey, I like explosions, but the promise
of one won't get me into the theater. Something about
it is convincing people to march see it, though. For
the life of me I cannot figure out why anybody goes
to see these movies. At what point did society decide
to abandon logic? It's almost like this is a Twilight
Zone episode, where everything is just a little off
with no accompanying explanation.
know you've said all thatbefore, but for some reason
it hasn't hit me as hard as it did right now. Don't
you think that the upcoming digital revolution will
only make things worse? Sure, there will be some legitimately
good work, but it will be buried under all the recycled
storylines. It might even get to the point where the
indepedent film industry will collapse under it's own
weight. It's hard enough to get a film distributed now,
think of how it will be in a few years when the price
of DV cameras drops considerably.
What are your predictions on the future of filmmaking?
don't see that the advent and rise of digital filmmaking
technology has been the reason for the downward slide
of feature films. It's not because of DV that independent
features aren't getting released. They're just coincidental
to one another. "If I Had a Hammer" is in
35mm color and I can't get it released. it's just that
right now theaters would rather run "Scooby-Doo"
on four screens than an single independent in one of
them. And why do people go to the movies, any movies?
Because there's very little else to do in life. You
can go to the bar, you can go bowling, or you can go
to the movies. And movies take less effort than most
other things, you just sit there. But I do think people
will go to better movies if they are given a choice.
was the first name of the Mankiewicz who had co-writing
credit on CITIZEN KANE, and was he any relation to Joe
(silly question, I know, but my brain just isn't firing
on all it's cylinders today)?
Hate to say it, but I found a logic flaw in IF I HAD
A HAMMER. The story takes place over February 8-9, 1964.
Why then, is Phil's younger brother off to Little League
practice in the beginning of the film? The nice weather
in the wintertime I can accept (the setting is non-specific,
so it could be a region of the U.S. that has warm winters),
but that thought just struck me. No part of the plot
relies on the fact so it doesn't weigh on the film,
yet it is noticeable.
just that, a warm part of the country. I played ball
out in LA in the winter. Admittedly, I wasn't on a an
actual team, but there were actual teams playing all
around us. Baseball goes on all year long in southern
California. Meanwhile, the co-writer of "Kane"
was Herman Mankiewicz, Joe's older brother.
just visited the CleanFlicks site and read some articles
on the situation. If a friend bought a DVD but was dissatisfied
with some content, knew I had some editing equipment
and a burner, and asked me to cut out a part, and gave
me $10 for my time, would that be wrong also? The way
I understand it, CleanFlicks buys a copy of the DVD/VHS
for every order, in which case, the creators aren't
losing sales. In fact, they might be improving them.
I would admit that the sex scene in "Monster's
Ball," after watching the commentary, was the most
interesting I've ever seen in a movie because parts
of the characters were manifested in it, and their characters
actually developed through parts of it. That being said,
it still wasn't the core of the story. I would have
gotten 98% of the message without them. And that movie
was more justified than any other I've ever seen. Frankly,
I don't see how the vulgarity or nudity could possibly
be more important than the rest. Most of what is in
movies these days could be eliminated and the effect
will be similar. This is a good situation, I think.
Filmmakers can make their movies any way they want,
then they can piss and moan when companies like CleanFlicks
resells their films, then they can laugh on the way
to the bank because their movie sold more copies than
it would have before, having reached a new audience,
and never have to disappoint the hardcore fans whose
greatest fear would be their favorite indy director
selling out to censorship.
guess all that depends on whether CleanFlicks actually
buys a copy for each order, or if they use the same
one, which would undoubtedly be illegal.
take offense to any of this. While that is basically
what I feel, I'm just playing Devil's Advocate, a movie
which, by the way, featured unnecessary nudity.
would they buy a new copy every time? That's silly,
and I'll bet they don't do it because they'd have to
digitize it each time. They buy one copy, digitize it
into their hard-drive, make the cuts, then download
it when someone buys it. CleanFlicks can now sell as
many copies as they want having only paid for one. That's
theft and it's illegal. Let's say you write a book.
A company buys one copy of the book, scans it into a
computer, edits out sections, then prints copies for
anyone that wants to buy it. They sell a hundred copies,
but you the author only sold one. And get over this
"laughing all the way to the bank" nonsense.
The actual filmmakers don't get very much per tape or
per DVD, and on a film like "Monster's Ball"
they undoubtedly didn't get all that much to make the
film in the first place, either. Bootleg the film and
you're stealing their living.
posts about distribution companies editing films brought
up a lot of questions for me.
Are these the same distributors who edit films for T.V.
and, if so, who hires them?
If a video store wanted to rent or sell versions that
were edited for T.V., could they?
Are these film hackers companies like Criteron, the
DVD producer? And are companies like Criterion allowed
to re-edit a film for various reasons?
I'm not saying that the person who spoke out against
all this a few posts ago would do this, but for a taste
of irony in real life, I'm sure that there is some overlap
between the people who would argue that the director's
vision should not be tampered with and those who are
scouring the Internet for movies to burn for their library.
And if you only answer one of my questions, answer this
one: Would you rather be given a cut of legitimate sales
of an edited version of your movies, or would you rather
see copies of "Hammer" all over the Internet
being downloaded for free?
kind of like Sophie's Choice, both sides suck. I don't
want anyone re-cutting my films, and I don't want people
stealing them, either. Regarding question one, no these
aren't the people who edit films for TV, that's done
in-house at the networks, who are the only ones that
re-edit movies anymore, and since they pay more than
anyone else, no one objects. I object, but no one has
re-edited any of my films. I object when it's done to
other people's movies, though. Question number two is
exactly the issue, the companies that are re-editing
the films are reselling them to video stores, particularly
in religious areas, like Utah. Should they be allowed
to? No, not in my opinion. This isn't an issue of taste,
it's an issue of copyright. No one has the right to
re-edit and resell copyright material unless given specific
permission. This is how copyright holders make their
money, and it's against the law to duplicate and resell
copyright material. Regarding question three, Criterion
is a very legitimate company that only releases authorized
version of films, with generally the best packaging
and transfers. They don't re-cut films.
recently purchased a computer that can show DVDs and
the second one I ordered (and the first one I watched)
was "Running Time" (which I already had on
video). I really enjoyed the commentary track by you
and Bruce. It made the movie even more enjoyable, especially
since you two refused to take yourselves seriously.
Congratulations. Now I'm eagerly waiting on my copy
of "If I Had a Hammer" to arrive. (PayPal
is a wonderful thing.)
luck and keep up the good work.
Bruce and I had fun doing that. We did the commentary
for TSNKE immediately after it. When we got to the studio,
Werner Herzog was just finishing the commentary track
for "Fitzcarraldo." Anyway, "Hammer"
is all packaged up and will probably get mailed out
today. Thanks for buying it, and I sincerely hope you
for the info on that lawsuit about the cleaning up of
DVDs and selling them. I had no idea it was that bad!
I totally agree it shouldn't be allowed. Which brings
me to another question: who chooses the editing for
content on a movie? Is it the financers who have the
clout to demand edits or the distribution company or
even the director?
it's a studio picture they have the final say-so. When
the director signed the contract to make the film it
will state that he has to deliver a film with a certain
rating. It's the studio's film and they can do anything
they want to it. Very, very few directors have final
know what you mean. West Haven may have a corrupt city
government, a beach you can't swim in without developing
a rash (out of date sewage plant) and the occasional
shooting, but it is my home. I recently went with a
friend to check out a town in rural Pennsylvania where
he might be moving. The place was clean, the prices
were low and the people were nice, but a week there
would drive me insane. I need some urban background;
it's in my blood.
Anyway, I was reading the post, and I never knew that
Bernard Hermann scored THE GHOST AND MRS MUIR. It's
one of my favorite films (I hate to admit it, but the
ending always gives me a lump in my throat). What did
you think of the film?
thought it was wonderful. Gene Tierney and Rex Harrison
are terrific. And I think Gene Tierney is just gorgeous
in that film. And also the great George Sanders, and
little Natalie Wood. Joe Mankiewicz was just beginning
one the great runs ever of a writer/director in Hollywood.
He had been a writer in Hollywood since the late 1920s,
writing my favorite W. C. Fields film, "Million
Dollars Legs" in 1932. He then became a producer
and made some great films, like Fritz Lang's "Fury,"
"The Philadelphia Story" and "Woman of
the Year." The he became a writer/director in 1946
and made (among others): "The Ghost and Mrs. Muir,"
"A Letter to Three Wives" (Oscar-winner for
best screenplay and best director), "House of Strangers,"
"No Way Out," "All About Eve" (winner
of Best Picture, screenplay, and director), "People
Will Talk," "Five Fingers," and "Julius
Caesar." I really, really miss movies like those
of Joe Mankiewicz.
are very good points about "The Conversation".
I did not even think about that while I was watching
the ending. I was so engrossed with him loosing it and
tearing apart his apartment. I will have to watch it
again. I just thought it was a fascinating character
study. Kind of like "The Treasure of the Sierra
Madre" or "Taxi Driver".
have another observation about "American Beauty"
that I thought of a few days after I saw the film. When
AB first came out I remember the hype for the film being
out of control. Everyone was talking about it and saying
that it was a must see movie and how amazing it was
etc.... Well 3 years later I was one of 3 people in
the room who had never seen the film before. All 3 of
us were less then impressed with the movie. My buddy
Dave, who is not a big movie watcher, said "what
was so great about that?" as soon as the end credits
began to roll. His girlfriend felt the same way. But
I wonder if they would have liked the movie more if
they had seen it 3 years ago. I think people get caught
up in the hype and they are afraid to admit not liking
a film that everyone is talking about. I went to see
"Chocolate" after it was nominated for an
Oscar. It was a total bore. There was nothing special
about it what so ever. The only reason, that I could
think of, that it got nominated is because Miramax hyped
the shit out of it! So I guess all you need is a lot
of money for publicity and a lot of pretension and you
can get nominated for an Oscar.
certainly seems to be the case. And I completely agree
with your assessment -- which I've made myself a number
of times over the years -- that people take whatever
is new as automatically being much better than it really
is. New equals good, which I, of course, completely
disagree with. As I came out of AB with two very dear
and bright friends of mine, as I was about to state
my opinion of the film, both of them jumped down my
throat, saying that they liked it, and I shouldn't go
and spoil it for them by saying negative things. I found
this shocking coming from intelligent people. I still
believe that if art has any value at all it can be critiqued
that last shot in The Conversation. I also got the surveillance
camera feel of the shot, but until I read what you said
about it I never figured on anyone taking it as a literal
surveillance camera. Don't you think it's just there
as a metaphorical kind of set-up? It's been years since
I've seen the movie, but doesn't the scope it shows
from one side to the other show the camera position
as being in the room, thereby making it obviously not
an outside surveillance camera? Ah geez, you've gone
and confused me.
it's outside the window. You're undoubtedly right and
it's meant to be a metaphor, but it's always annoyed
Sir. could you tell me the title of the main tune from
(THE VIKINGS)with kirk Duglas.. please...... Tony
the Main Theme from "The Vikings" by Mario
Nascimbene, a terrific Italian composer. I love the
fact that he came up with a main theme that could be
played on a mastodon horn. It's a great score. Nascimbene,
among many other films, also scored "One Million
Year BC" and "When Dinosaurs Ruled the Earth."
watched "The Conversation" today for the first
time in about 5 years and I was blown away by it all
over again. Gene Hackman's character is incredibly well
developed. You really get a sense of who this strange
and tormented man is. I thought it was all the little
things that really made Harry a great character. When
he is walking up the path to his girlfriend's place
he picks up a scrap of paper from the ground. He keeps
his phone in a desk drawer. When he is leaving "The
Director's" building after giving him the photos
he crumples up his folder and tosses it across the grass.
He takes a few steps and then turns back around to pick
it up. When he has his ear up against the hotel room
wall he turns his pinkie ring sideways on his finger
and taps the wall with it. I got the sense that this
was the only reason that he even wears the pinkie ring.
He was such a measured and calculated man. What a movie!
also saw "America Beauty" for the first time
ever at a friend's place last night. What a piece of
shit! I would have turned it off after the first hour
but other people were watching. Were we actually supposed
to believe that Kevin Spacey's Marine neighbor was a
closeted homosexual? And the scene where he thinks he
sees his son giving Kevin Spacey a blow job was just
plain stupid! It reminded me of a Three's Company episode.
I felt like I was watching a 2 hour soap opera. I was
even stoned and I still couldn't find anything that
I liked about the film. And this thing won Oscars? What
a fucking joke!
If you are thinking about moving back to LA instead
of Detroit anytime soon good luck finding a decent place
to live. The rent is fucking insane right now! My friend
Mike just moved into a one room apartment in Hollywood
and he's paying over $1,000 a month. It's out of control.
Conversation" is a very interesting movie, loaded
with good stuff. And all of the aspects you pointed
out are great. It being a really good film, I believe
it can stand up to some criticism. My two gripes both
occur in the last scene. He's playing the sax, his phone
rings, no one's there. His phone rings again, but now
he hears himself playing the sax. he then tears his
whole place to pieces. Well, at the bugger's expo we
saw a system where you call someone and hang up, then
their receiver is turned into a live microphone, which
is clearly what happening. Why wouldn't Harry know that?
Also, the very last shot, which pans one way, then pans
back the other, etc., at least to me is supposed to
be a surveillance camera -- right out his window that
he can't see? I doubt it. Otherwise, it's really good
stuff. And of course I completely agree with you (or,
since my review came first, you agree with me) about
"American Beauty." I really do think it's
a poorly-written (Oscar-winning) piece of crap. Spacey's
good, but then he's always good.
was wondering if you have heard of an Anthony Quinn
filmed called "The Secret of Santa Vittoria"
- it's not on your list of favourites. I saw a short
for it last night when I saw "The Great Escape"
and it looks like an interesting film with Quinn in
particularly fine form.
saw it in the theater when it came out. It's lesser
Anthony Quinn and lesser Stanley Kramer. I was disappointed
and bored, although it's not a bad premise of an Italian
town during WWII hiding all of their wine when the Germans
arrive. It is better, however, than the next picture
Quinn and Kramer made together, "R.P.M.,"
which is monumental stinker.
saw a news story about a week ago about a lawsuit saying
that TV editing is actually copyright infringement and
therefore punishable. I think the DGA is involved somehow,
though I'm not sure. I haven't seen anything on it since.
Do you know what it's about? I only caught the end of
not TV editing, it's re-editing features and selling
them on DVD and video. Video comapnies are editing out
the violence, sex, and swearing, then selling the DVDs
and video tapes. The culprits are CleanFlicks, Sunset
Video, Video II, MovieMask, and MovieShield. This is
in infringement on copyright and will probably be stopped,
although people can certainly figure out how to do this
themselves eventually. Anyway, the DGA is against it,
as they ought to be.
an interesting Brazilian film this afternoon, called
"Behind the Sun." Not sure where they got
the English title from, because the original (based
on a novel) is actually "Broken April." Anyway,
it might interest you - basically a western family feud/vendetta
story, just set in east nowhere Brazil. Simple theme
of violence begetting violence. Its only problem for
me was that it never decided who the protagonist was
- the laconic older brother who has to decide whether
or not to be his own man, or the kid brother, who technically
is the narrator. We see much of the older brother through
the kid's eyes, but he's actually more interesting when
he's on his own. Anyway, I wonder if you've ever encountered
that problem (deciding who the protagonist is) in any
of your work, or if you've seen it in other films.
saw "Ride the High Country" last night on
AMC for the first time. I'm guessing you liked this
one? Very simple and straightforward - the mountains/woods
setting reminded me of your plans for "Warpath,"
and I think the film could actuually have been done
on a much smaller scale and been just as good. While
I spotted Warren Oates right away, it took me a while
to realize the main bad guy was the future "Virginian"
James Drury, whose autograph I got when I was like seven.
What do you think of the finale, and why do you think
the two old-timers decided to shoot it out face to face
with the bad guys?
put "Behind the Sun" on my Netflix list. Yes,
I did like "Ride the High Country," although
mostly as precursor to "The Wild Bunch." Walking
straight at the bad guys is a way to go out in glory,
I suppose. I love when the Wild Bunch marches right
into town and starts shooting everyone. In the same
vein, I really like "The Shootist," too.
knew that 'Hammer' did not have stop-motion (it wouldn't
make any sense if it did)...and most of my all-time
favorite films have no stop-motion. But that artform
is something I am immensely interested in.
I have been looking around for the widescreen dvd of
"The Kentuckian." I don't believe that score
was ever released, though a 20 minute suite was recorded
for an album release. I'll be on the lookout for the
'The Night Digger' is one of my all-time favorite scores
(that Finale always breaks my heart, in the greatest
Herrmann fashion...it really is a perfect score in every
way). A lot of the other ones you mentioned (A Hatful
of Rain, The Man in the Gold Flannel Suit, etc.) are
available on an excellent set of cds, entitled "Bernard
Herrmann at the Fox." His scores for the Fox dramas
were some of his greatest, I agree.
Have you seen the film "The Night Digger"?
It seems to be out of circulation.
I haven't seen it, although I have heard the score.
I have a CD called "America at the Movies"
that has the twenty minute suite of "The Kentuckian."
It's also got Hugo Friedhofer's wonderful score for
"The Best Years of Our Lives" on it. There's
also another Herrmann cut called "Williamsburg,
The Story of a Patriot," which is the score for
a 1956 documentary. When I was a kid I found the complete
score for "The Kentuckian" on vinyl for $3.00,
held it in my hand, read the cover, had the guy behind
the counter play it for me, then I didn't buy it.
saw your Xena ep "For Him the Bell Tolls".
Very funny stuff! I liked how Joxer's hair was perfect
when he was super Joxer and then messed up when he was
regular dumb Joxer. The slow motion water drenched kiss
was funny as hell too. Great episode. Ted Raimi is so
good at what he does. He's a great character actor.
People should be giving him jobs left and right.
think so. He slaughters me. I'm pleased the episode
came together as well as it did, considering we were
all set to shoot another script ("Blind Faith")
when Lucy broke her hip on Jay Leno's show, and we switched
at the last second to "For Him the Bell Tolls"
and the script was whipped up out of nowhere. I tip
my hat to Adam and Nora Kay, the writers. Shooting that
final sword fight, with actual metal foils that were
highly dangerous, was one of the most difficult scenes
I've ever directed, mainly because we had so little
time. I added in the big bell falling and almost killing
forgot to mention; I was listening to Fresh Air on National
Public Radio and they interviewed the author of a new
Muddy Waters biography. The author was talking about
what a difficult family life Waters had when I thought
about the Muddy Rivers episode. My friends couldn't
understand why I was laughing at Waters' troubled family
life. It was too much to explain, but I really loved
that bit in the movie.
Brett, the lead actor and a big Muddy Waters fan, was
really embarrassed by the whole thing, and I think it
helps the scene. I saw Sam Raimi do a very similar thing
at a party twenty years ago. The host of the party was
showing photos he had taken, and as he showed one of
a church Sam chimed in, "I know that church, it's
in Boston." The host replied with utter disdain,
"This is in South Africa." Sam said, "Right.
Boston, South Africa," then quickly split.
have to agree about stop-action versus computer generation.
For my money there's still no beating the natural shading
and the natural asymetries one gets with models. Computer
generated effects are antiseptic and seem to me like
a way for directors/producers to a show off how much
money they have. I saw a TV program a while back where
they demonstrated a combination of stop action with
computer morphing which created a more fluid animation
without sacrificing the texture of modeling. That struck
me as the best of both worlds. Since the morphing technique
basically blurred one frame between two using over the
counter programs it was fairly cheap as well.
a completely different note, I was wondering why there
are no parallels in film to theater groups. It seems
that, if making movies is really the point, actors and
production crews might imitate a theater group, distributing
expensees and sharing profits. Obviously, the initial
expense would be greater than a theater group would
face, but I'm still surprised I've never heard of such
a group in film. John Ford and others would often employ
the same cast and crew even after the studio age had
passed. But I doubt any of them were taking percentages
they way a theater group must. Any thoughts? Thanks.
how John Cassavetes made his first film, "Shadows."
It was a group effort on most everything, and they were
all part of an acting group. Of course, good old Ingmar
Bergman had his stock company of actors and crew, almost
always working with the same people. I've tried to do
that in my own little way, too, working with the same
composer on all four films, the same editor on three,
the same producer and DP on the last two. But whoever
writes, produces, and directs is going to be up for
a bigger percentage than the others. This isn't communisim
after all. In college they tried to make a film in a
completely communistic way, where everyone's names were
picked out of a hat for their positions, and everything
was equal, and the film barely got started let alone
finished. Making a movie is a group effort, but it's
still a benign dictatorship. It's got to be one person's
you for the response. What magic it was (and still is)
to watch Harryhausen's creatures set to the music of
Bernard Herrmann! I was just listening to the score
for "Mysterious Island" a few days ago, and
it's brilliant how Herrmann composed a theme for each
of the creatures on the island. That score is a perfect
companion piece to Herrmann's "Journey to the Center
of the Earth." It is a coincidence that you brought
up Herrmann, as I was going to do just that in the following
message to you. Talking to you through here early on
in the summer, I learned that Herrmann was your favorite
film composer, and I completely agree. This may sound
odd, but not only is he my favorite composer..but musically,
my love is Herrmann. Have you been able to pick up the
book, "A Heart at Fire's Center: The Life and Music
of Bernard Herrmann" yet? An absolute must for
those who admire and love his music. I remember you
loved the footage on the hour documentary you own, of
him standing by the pool smoking a cigarette. The book
explores his personality quite deeply. I saw that Larry
Cohen was mentioned a few days ago, don't forget Herrmann
scored his B-film "It's Alive." Have you heard
Bernard Herrmann's score for the Brian DePalma film
"Obsession"? Taxi Driver's Paul Schrader wrote
it...it's taken from Vertigo, as the story follows a
man who's wife and daughter were killed years ago, and
10 years later he meets a woman who looks exactly like
his wife did. Bernard Herrmann wrote one of his most
intensely romantic and tragic works to underscore the
drama. You would certainly like the score, but I'm guessing
that the film wouldn't be to your liking. It's not an
excellent movie, but I love what Herrmann's score does
to it. A shame the world didn't take full advantage
of his brilliance the last years of his life (though
I strongly believe that if he wouldn't have died so
suddenly after scoring Taxi Driver, he would've made
quite an impressive comback), but similar things happened
to other legends of film, such as Orson Welles.
Yes, I have seen and own your wonderful film "Lunatics:
A Love Story." The writing especially was excellent,
but the acting and cinematography also shined (and I
loved the spider sequence, of course). I plan to purchase
a copy of your film "If I Had a Hammer" in
the future. It looks like a very well-written and quite
an accomplished piece. Take care.
may possibly be all of that, but it hasn't got any stop-motion
animation. I think you guys forget sometimes how incredibly
old I am. I saw "Obssession" at the theater
the day it opened. I wasn't particularly impressed,
and I must say it's one of Herrmann's lesser scores.
I actually found the film to be over-scored, with that
big giant church organ blasting in. But there are many,
many of his scores no one ever talks about that are
just brilliant, like "The Kentuckian" with
Burt Lancaster (who also directed), "Beneath the
Seven Mile Reef," "Anna and the King of Siam,"
"The Night Digger," "The Ghost and Mrs.
Muir," "The Man in the Grey Flannel Suit,"
"On Dangerous Ground," "A Hatful of Rain"
and the original "Cape Fear," to name but
a few. Bernard Herrmann really was the greatest.
taking a steadicam class at college now and each week
we turn in a paper with pics from a movie and diagrams
to show what the operator was doing. i chose the scene
in running time when the guys are trying to crack the
safe. my professor mentioned that most steadicam sequences
recorded audio only for a scratch track and then later
adr'd and foleyed things back in. is this the aproach
you chose? by the way, your operator in that film must
have been a hoss! those cams get heavy! thanks, dustin
sorry to be a party pooper, but that whole heist sequence
was hand-held. Acts one and three are all on the steadi-cam.
And the operator, Bill Gierhart, though not all that
big of a guy was nevertheless very impressive with the
steadi-cam. I think you should use the sequence going
through the tunnel, then pulling back to the drug dealer.
lack of logic in scripts seems to be par for the course
these days, which is sad. Personally, I am willing as
a movie lover to suspend my disbelief, but the filmaker
must not make it too great a leap. Even a fantasy film
must follow logic within the tenets of it's own story,
and any film based on the real world is required to
do this, or else the story becomes self-conscious and
uncomfortable to watch. My friends chide me for this,
but I just can't get into a film where the characters
don't follow a logical progression (which is 99% of
most big movies nowadays).
Just out of curiosity, but why are you moving back to
Detroit? I thought you really enjoyed living in Oregon.
too darn quiet up here. It's beautiful and the people
are very nice, but it's too under-populated of an area
and I'll never get anything going here. This last year
was a nice idyll though. And if I'm not going back to
LA, God forbid, then Detroit's where I'm from and where
I know the most people (including il familia). It also
still feels like home to me.
from Michigan and I worked as an actor in your movie
in Michigan Mosquito, Im in LA now, Can I work for you
wasn't my movie, I was just in it. It was written and
directed by Gary Jones. I have no jobs for anyone, except
movers right now.
was wondering, what do you think of Ray Harryhausens
films? I dont see any of them on your favorite
films list, but I perfectly understand that (the acting,
probably, is one thing about those that you dislike).
But what do you think of just his work? I believe that
what Harryhausen did is more artistically satisfying
than the CGI we get today. CGI seems so redundant to
me, as the Jurassic Park (which I dont care for
anyway) formula is immensely depleted. CG characters
move so smoothly that they bare underwater weight, and
also bare an unappealing shininess. Computers are a
great tool, but computer animation is so dreadfully
the advent of CGI has killed the
art of the craftsman, sorely missing in todays
world of visual effects. I dont understand what
most new filmmakers see in CGI, it certainly isn't more
realistic, and it is sad that they ignore the older
ways of creating effects. Currently, stop-motion is
often used in clay comedies for tv (that are, for the
most part, badly scripted) and it is also used in advertising,
but it has so much more potential than to be reduced
to that. Pure puppet films are still being made independently,
but stop-motion's use in live action film has ceased
for the time being. What do you think of this? I know
visual effects in general dont interest you, but
I believe stop-motion has an important place in cinemas
history, and it always added immense dramatic impact
to the films that utilized it. I also miss traditional
matte and glass paintings, which were utilized to create
Skull Island in King Kong, Castle Xanandu in Citizen
Kane, and the town in The Birds. Shots like the matte
paintings mentioned, or when Kong makes his entrance,
had such a magical and haunting quality that added to
making those films so unforgettable. It's a shame shots
are not done like that anymore.
I agree with you. Stop-motion is much more interesting
and fun to watch than digital effects. Part of what
was so appealing, I think, was that you never quite
sure what someone like Harryhausen was doing, and he
was always changing his approach to the effects. I used
this technique in my film "Lunatics." The
giant spider is a clay stop-motion effect, then it's
stop-motion projected on a rear-screen behind the actor,
just like "Kong," then you get parts of it
full-size and mechanical, just like "Kong."
And you're wrong, I love visual effects, but they have
to be used for a good purpose. On their own they don't
interest me. BTW, most of the time when you see what
appears to be clay animation now it's really a digital
effect aping clay animation, like "Shrek,"
which cost like $100 million, and animation guys like
Harryhausen or Wllis O'Brien could have done that film
for $2 million, and it would have looked better. None
of Harryhausen's films are on my fav list because none
of them a really very good films, the best being "Seventh
Voyage of Sinbad" and "Mysterious Island,"
both of which I've seen many, many times, but the acting
and the scripts blow. Ray Harryhausen and Bernard Herrmann
always showed up for the party, though.
there ever been a book or play that you read, liked
it so much and thought that you'd love to adapt it into
a film? There have been a few plays I've read that seem
like they would work well on film, with the right actors.
plays, necessarily, which I don't often read, but books.
I'm surprised that no one has tried to tackle Colleen
McCullough's Rome books, they sure seemed like movie
or a mini-series to me. No one has ever made a film
out of Willa Cather's Pulitzer Prize-winning novel (1922)
"One of Ours," which would still be provocative.
I recently read Phillip Roth's "American Pastoral"
(also a Pulitzer-winner) and it seemed like it could
possibly make a very interesting, intelligent film,
in the proper hands.
Dear Josh Becker,
am a senior at Sierra Vista High School and I am in
real need of a mentor. I need to do a senior project
in order to graduate and with the project I need a mentor.
I am doing the project on film(directing). Please, I
need a mentor by Oct.13, 2002. It is hard to find someone
to be your mentor from the film industry. I want to
certainly wish you all the best, and I hope you graduate,
but I don't think I'm suitable mentor material, not
at the moment anyway. Unless it can all be done here
on the Q&A, in which case that's fine.
agree about NIXON; although there was another good performance
in Bob Hoskins' portrayal of J. Edgar Hoover (the poolside
scene with the houseboy and the tortilla chip was disturbing).
Watching AMERICAN PIMP got me thinking about another
film (my train of thought often takes the scenic route),
LEAVING LAS VEGAS. When thinking about the two films
together, I realized that the logic of LLV was flawed.
If bordello prostitution is legal in Reno County (also
safe, clean and better paying), why would the girl in
LLV waste her time working the streets in the first
place? Street prostitution in Las Vegas city limits
is still illegal. It's not as if the legality of the
issue were obscure; indeed, the Bunny Ranch featured
in AMERICAN PIMP is world famous. Just a thought that
struck me on that one.
In an aside, I read Calvin Hobbes' post about the film
festival in New Haven, and if I'm not mistaken, he's
talking about the York Square Cinema. Apart from the
festival, that theater shows mainly independent films,
and would be a good venue to approach for regular distribution
(I've seen some films there run for two months or more).
I don't have any contact info, but I think that they
have a website (do an internet search for "York
Hoskins is always good, and he was particularly good
as Hoover (a true creep). I still think the guy who
played Nixon in "Elvis Meets Nixon" was WAY
better, and really sounded like him. Your thought on
"Leaving Las Vegas" was one of my biggest
problems with that film -- Elizabeth Shue would not
be working the streets, no how, no way. And if I'm supposed
to feel for Cage's character, although I don't know
why, they ruined it for me by giving a gorgeous, loving
girlfriend immediately, so why's he so damn sad? And
by skipping act one -- as so many movies do these days
-- I had no idea why he was drinking himself to death,
and subsequently didn't care. As I've mentioned before,
a much better film on the same subject that came out
the same year was "Georgia" with Jennifer
Jason Leigh and Mare Winningham. The whole film is about
why she's drinking herself to death -- which I personally
think is a crappy story to start with -- so it all meant
something and I empathized. Anyway, perhaps I will get
on my own theatrical distribution, with my one print.
Right now, however, my mind is on moving back to Detroit.
off, I promise not to ask you about Magnolia! In fact,
my question deals with a much lower brow.
question is this. I saw Eight Legged Freaks not too
long ago. Went in with fairly high hopes, as I really
appreciate "B" type giant bug/monster movies.
The movie disappointed me, though I probably should
have expected that. Seems like Dean Devlin and Roland
Emmerich are more miss than hit these days, and that
project stank of micro-management. I hated the fact
that the spiders were seen in full view during daylight
chasing motorcycles to an Xtreme Sportz soundtrack (don't
show the monster in daylight until it's dead!), and
the fact that all the citizens of the spider infested
town were able to get into the cars and yet all went
to the mall at the center of town rather than driving
the hell away to some place with fewer giant spiders
(never give your victims access to escape until the
end of the movie!). It got me thinking about another
"B" flavored movie which I felt served the
genre much more successfully: Tremors. The characters
were believably isolated, and all escape routes were
To make a short story long - I was wondering what your
take was on these two movies, and wondered if you had
any thoughts or insights on the "B" monster
haven't seen "Eight Legged Freaks," but it
sure sounds a whole lot like my friend Gary Jones's
film "Spiders," which pre-dates it by a few
years. I kind of liked "Tremors," which was
well-done, had a few nice surprises, and Kevin Bacon
and Fred Ward are both good. Having seen it twice, however,
I feel like I never need to see it again. The whole
genre doesn't interest me very much, though.
the bars in my neighborhood (West Hollywood) have huge
jars near the bathrooms or the front doors filled with
free condoms. I think I would trust those free condoms
over the 99 cent store condoms any day.
caught "Say Anything" on cable the other night
and really enjoyed it. I have never been able to sit
through an entire Cameron Crowe movie before, except
for "Fast Times" which he did not direct.
I rented "Almost Famous" and turned it off
after about a half an hour. But I was impressed with
"Say Anything's" story and structure. I thought
it was a well written and well executed film. What did
agree. I think it's his best film as a director by far.
And it's both a good idea, and a well-written script.
I love Cusack's speech that he won't sell anything that's
manufactured, and won't manufacture anything that's
sold, etc. I also liked after he gets dumped, when he
was getting advice the burn-outs in the 7-11 parking
lot, and the guy tells him to "find a girl that
looks like her, fuck her, and dump her." It's a
good film, and I believed both the leads.
what its worth, I'm sorry for using the reviews. I obviously
didn't know what I was doing. Trust me, I won't let
it happen again.
okay. But don't use my opinions, use your own. Obviously,
you know a smart critique when you see one, so develop
your own critical facilities. Stop in here and argue
with the rest of us.
I wrote to you about The Big Lebowski. I never insinuated
that I thought you were too dumb to understand Coen
brother movies. I only wanted to encourage you to give
it another chance. Your review was so rough and it's
my 2nd favorite movie. Do you see why I defended it
How could I call you dumb? Your words were being plagiarized
by a so-called film expert on the Rotten Tomatoes boards
that I frequent. I'll look for your film. Is it out
on DVD/video yet?
weren't insinuating, you came out flatly and said I
didn't understand it. I think I did. Jeff Bridges is
good, and so is John Turturro, but the script isn't
very good and it therefore doesn't interest me. Check
out the site's main
page and you'll see where my various films are available.