had thought about writing to you about this film but
reading one of your earlier posts I had to respond.
I take exception to your comment that Tears of
the sun was bad but not truly awful. I saw it
and I have to say it is, by far, the worst movie Ive
seen in a long while. Thats saying something when
every movie out there now is crap.
admit it got off to somewhat decent start, but as soon
as Willis gets on the helicopter with the woman, gets
at least five or ten minutes away, then decides to go
back, and everyone there actually lets him, I knew the
film would turn out to be a total loss. Maybe if hed
had a change of heart before getting on the helicopter
I could have swallowed it but after, no way. On what
planet does he disobey orders, get all of his men killed
and not get locked in a cell for the rest of his life?
From the arty slowness in the jungle, to the planes
that show up out of nowhere at the end to blow up all
the bad guys real good, it was one eye-roller after
another. (Side Note why didnt they show
up a day earlier and take care of those guys before
they became a problem? Oh, yeah then there wouldnt
be a story)
there was the thing that made want to go up to the projection
booth, grab the film reels and flush the whole thing
down the toilet The black guy under bruces
command thanks him, telling him that by helping these
people out of the country, hes making up for slavery!!!
I couldnt believe that they had the balls to even
write that scene, let alone put it in the movie! I could
go on and on.
I read three star reviews and began to wonder if everyone
has lost their mind. You can imagine my dismay when
I saw Josh Becker, the one person I thought that would
be with me on this one, label it just bad but
not awful. I have to say, I feel a little betrayed.
Ah well, at least we both agree on Donnie darko.
last note - The sad thing is that the subject matter
of Tears of the Sun is a story that really
does need to be told. I saw a documentary recently called
the last just man about a UN peacekeeper
who tried and failed to get the UN to intervene before
a genocide that killed 800,000 rwandans. If you have
to do the whole white man saves the black man
story, at least that one is true and worthy of telling.
to go on so long sometimes a bad movie brings out a
man, I totally I agree with you. You spared me having
to review the film. I guess the reason I said it was
bad, but not awful is that I accepted act one, which
was getting to the helicopter. I liked Willis just lying
to the woman and I wish he'd stuck with it. I absolutely
agree that everything that comes thereafter is horseshit,
unprofessional, and entirely unbelievable coming from
an experienced Special Forces captain. I also hated
Willis whispering all his lines. And I think Antoine
Fuqua is a bad action director. But the girl's cute.
question, I suppose, is unusual...and quite frankly
I'm embarrassed to ask...How does one request permission
to use material? I am a 32 yr. old artist who has been
approached to storyboard out 5 episodes of a cartoon
based on my character "SKADE" to pitch to
Cartoon Network for the "Adult Swim" show.
Skade eats brains and decapitates garden gnomes with
giant scissors...not for the kiddies... Anyway, funding
meetings will take place soon for the animation. I have
already e-mailed Mr. Campbell and I suppose I should
try your buddy Sam- You guys have lit the fires of inspiration
under my ass and I would like permission to pay tribute
to you all... For example, I would have Skade wear an
"Evil Dead" shirt or have a poster in the
background...who do I have to give a length of my spine
to? Again, I am new to this... I would appreciate any
wiseitude you have to offer about this asking permission
Have a Day,
it's a poster or ad for any of my films, you've got
my permission. As for "Evil Dead," I'd say
just do it, although I can't give you permission since
I don't own it. But Sam put a "The Hills Have Eyes"
poster in ED and he didn't ask permission. It's homage,
it's okay. Go for it. And good luck.
see from one of the last posts that you enjoyed "The
Quiet American". Along with "City of God",
that was one of my favorite films from last year.
was funny how it was pulled last year do the ensuing
situation that we are now facing in Iraq. History often
repeats itself and now our government has done it again.
went to see it when it was first released last year
and then it just disappeared.
have studied quite a bit about the Vietnam War and I
have two uncles who where there, one was an Officer
and the other was not.
are have very different personalities and lives, and
they have very different views on the bieng there. It
is interesting and complex to see how we get ourselves
into these things
felt the film dealt well with what happened during the
early stages of the Vietnam conflict and Michael Caine's
performance was great! I don't care for Brendan Frasier
at all, but he was tolerable in this film due to the
character he plays.
know you enjoy a good script and my background is mainly
in Cinematography and now editing, but I still know
a solid film script when I see it. How did you feel
about the writing of the film?
Philip Noyce the director also directed the Australian
made film "Rabbit Proof Fence" which is a
very good film as well. That was released in the states
last year too.
"The Quiet American" is based on a Graham
Greene novel it has a solid, interesting story to work
with. It also has a central metaphor, which is almost
unheard of these days. Michael Caine is terrific, and
understated, which means his chances at an Oscar are
lower since the academy likes their performances big
so they can actually see them. I thought Brendan Fraser
was actually good, not great, but perfectly workable
in the role. And the girl is gorgeous. It's what I consider
to be a perfectly normal movie where I didn't feel like
I was ripped-off when it ended. The ending touched me,
too. Now I want to see the original version again with
Audie Murphy, which was made in 1957 by Joseph Mankeiwicz.
know what really bugs me? The fact that movies and television
are seen as "escapist" entertainment. I bring
this up because I'm already hearing friends and co-workers
bitch about how television is so depressing with this
war going on. "24 hours a day of war, oh I can't
take it. I'm going to rent some movies tonight and just
escape from everything." So many Americans are
a bunch of vain, empty-headed pussies that it sickens
me. You know, we live in a world that can be pretty
depressing. The whole idea that movies and television
function as an off-switch whenever something bad happens
disturbs me. How about getting your head out of your
fucking ass and taking a peek at what's going on in
the rest of the world. If I remember correctly, Bush's
challenge to us all after 9/11 was to shop. Is it so
much for a leader to ask a country to do something?
How about shutting off the fucking Bachelor and picking
up a map, how about stop buying Hummer's to take your
kids to school, how about writing to your newspapers
or congressman to express your thoughts on things? This
country is going down the tubes while sitting on its
ass in front of the tube. Whatever happened to a counter-cultural
revolution? Very few movies or tv shows have anything
interesting or controversial to say. No one seems to
have the balls to speak out against anything. We just
sit back and assume the people in charge have a clue.
Call me cynical, but they don't. This war might very
well turn out to be an initial success. But down the
road it might be seen as a failure, as the start of
a much larger war between the west and the rest. If
this turns out to be the case, then I feel sorry for
the people that have to tell their kids that they spent
the Gulf War watching basketball and My Big Fat Greek
tell 'em. Tell it like it is. Movies obviously can be
thoughtless, mindless entertainment, but that's not
all they are by any means. As Sean Penn said on "Inside
the Actor's Studio," movies are too important to
be considered only as entertainment. If you want to
be entertained, buy an eight-ball and a hooker. The
look on Robin Wright's face at that moment was priceless.
But since "Star Wars" the main audience in
Hollywood's mind are eight-year-olds, and that's what
everything is geared for. It's not only sad, it's exceptionally
boring. And for everyone's edification, the concept
of the "preemptive strike" was conceived by
Adolf Hitler and Joseph Goebbels. It's using semantics
to try and diguise being an aggressive asshole.
ordered "Running Time" through Media Play,
but unfortunately it's going to take 3 to 4 weeks...I'm
pretty excited about seeing it finally, and I'll tell
you all about it when it arrives.
was looking through your favorite movie list and saw
"Them!"! That's an awesome movie, particularly
considering when it was mad and how the special effects
hold up even today, in a really bizarre way. It's the
best giant ant movie I've ever seen.
the thought of giant creature movies, have you ever
seen "Night of the Lepus"? It's an incredible
movie in its own right, as far as being unforgettable,
anyway. Giant rabbits attacking? It's absolutely hilarious.
I'm not sure if it was supposed to be, though :-)
all for now,
scared the hell out of me as a kid. "Night of the
Lepus" must rank as one of the dumbest movies of
all time. Killer bunny rabbits? Let's not forget "Frogs,"
"Night of the Lepus" would make a good double-bill
with "Donnie Darko."
mike san juan
you watch alot of new movies that come out in theaters,
or do you try to stick with the underground films?
I don't see many new movies anymore because they just
annoy me. I do try to knock off the biggest films, which
also annoy me. I recently saw "Tears of the Sun"
which wasn't very good, although not awful, and "The
Quiet American," which I rather liked.
am also in agreement with Spielberg and scripts. I feel
he has strengths as a director. however, he ruins every
film where he has control over the scripts. I think
one of the best examples of this is A.I..
am not much into Science Fiction, however, I gave A.I.
a try and went to see it at the theatre. I could tell
right away what influence Speilberg had over Kubrick's
idea, and in my opinion, that is what ruined the film.
The first half interested me and then it became a disaster.
could pretty much tell where it went from a Kubrick
idea to a Spielberg idea without even guessing and then
it became pathetic.
didn't even like the first half. I thought it was one
of the dullest, most lunk-headed SF movies I've ever
seen. And "Minority Report" isn't much better,
just a tad shorter. I really have no use for Spielberg.
may want to go on and submit a "Hammer" tape
to Newfilmmakers. The address is on their web page.
this, however, I suggest sending a quick note off to
Barney Oldfield or giving him an intro call. I did mention
"Hammer" to him. It doesn't cost anything
to submit, so not too much to loose other than a tape.
how did "Running Time" come to get hooked
up with IFC? Did you get that arranged, or did a PR
person do it? It's good news, by the way. Very good.
IFC is a much better channel than Sundance. Any chance
they'll look at "Hammer"?
a good one.
have a sales agent in LA that set up the deal, but they
won't rep "Hammer." Thanks for the info. Who
are these people and what's this about, BTW?
agree that the shark is a "real" threat in
"Jaws" and the when the size of it is finally
revealed, it brings the point home even more! I agree
to that the script was excellent and all three actors
were great! Robert Shaw's character was one of the most
believable characters in any film. His performance was
great! A truly excellent film!
a great movie, and by far Spielberg's best. As I've
pointed out before, that's because it's not really a
Speilberg film, but a Zanuck/Brown film on which Spielberg
was just a hired hand. Once he had control of the scripts
his films got worse and worse.
happened to stumble onto your web site and I'm glad
I did. Can you advise me on the best way to shop around
a script? I've heard a bunch of different advice, some
conflicting. Also what do you think about email services
that blast scripts to producers, et. al. versus just
sending the whole script to production companies. Take
care. --Mike Kangior
best way is get a good agent to shop your script for
you. Sadly, though, "good agent" is something
of an oxymoron. Sending scripts to companies yourself
is pretty much worthless and they won't even look at
them. Since most of the scripts the companies get through
known sources usually suck, they're not looking at any
scripts that they don't know where they came from. I
have a script on Writer's Script Network right now.
I haven't had any luck there yet, but others seem to
have. It's also easier than dealing with an agent.
there a way to project a dvd on to the big screen, do
they make special projectors or do you need some sort
you need is a video projectors, which are fairly common
these days. I was showing movies at the local elementary
school in Oregon using a video projector, a portable
DVD player, and a stereo, and it looked and sounded
great. Many schools and libraries have them now. I also
believe this will be the next step in distribution and
exhibition. It's much cheaper to send out DVDs than
35mm prints, and they're easier to show.
a Devil's advocate role, shouldn't you be trying to
get to more of the showings like the upcoming one in
East Lansing for RT? It seems that, in order to make
more films, you need to get financing and visibility
would be the best way to get a start on that. I'd hate
to ask you to schmooze, but all of the Xena conventions
and festival-style showings, don't they represent a
chance for visibility and, therefore, the appearance
of marketability? I know you've said in the past that
S. Raimi has a real talent for this sort of thing. I
know that his film-making goals are different from yours,
but maybe you should co-opt the methodology. I only
ask because I think you should be making films, grateful
that I, myself, will never be in such a position. Thanks
appreciate your concern, but yours is a common, naive
point of view. Having showings at film festivals isn't
going to get me any financing or distribution. It's
amusing, and a kick for the festivals promoters, but
unless it's one of the few very big festivals where
agents and ditributors attend, like Sundance or Telluride,
it doesn't mean anything. It's also expensive to keep
entering festivals. Not just the entry fees, but creating
all the press stuff, and I just don't have the extra
money for that right now.
might get one blank response from me, since I hit the
return button too fast! Anyhow, I agree with you on
all accounts with regards to "Jaws". When
I watched it again on DVD, it had been about ten years
since I had seen it and I was really taken in by the
editing and the pacing of the film. I also feel that
the soundtrack is one of the best ever for giving an
unsettling feeling. In many scenes, the music really
contradicts what is going to happen. The music some
scenes has this calm kind of campy feeling when you
know somewhere out there, the shark is still going to
attack and things could change at any minute
think the other reason the movie was good is that you
could have replaced the shark with any threat or heavy
character like a serial killer or the plague and it
would still fit into the story. To me, that is great
a shark is a believable threat, and that means a lot.
When you see the brilliant shot from up in the crow's
nest of the shark circling the boat and realize that
the shark is as big as the boat, the threat is very
real. And don't forget it's a wonderful script with
three terrific actors in the leads. Robert Shaw is giving
one of the great movie performances ever.
what other projects do you have in the works currently
and how close to making them a reality are you. How
much money have you made out of your career, I am curious
to know what kind of money is in filmmaking for independant
auteurs, how come after the accolades you received for
Lunatics and Running Time, it is still a struggle for
you to get a movie made and what do you do with yourself
while out of work?
this Kirk? With all due respect, it's none of your business
how much money I make. But unless you make some kind
of hit film, there isn't much money to be made in indie
films. Financiers don't much care about good reviews,
they want to see revenue. And I'm bascially always out
of work unless I make the work. I've just written my
second book in the past year and a half. You can't go
into independent movies thinking you'll make a living
because you probably won't.
is at least two films you have really liked in the past
year? And man take it from me, I read Ball Breaker and
I have been acting it out to my friends and getting
them to read it as well. Do what ever it takes to get
that made. The writing style in that one and only script
out of your catalogue is sort of reminiscent to my own
writing. I picture Micahel McCleery (L.A. Confidential)
playing Ivan and Leo Rossi (Relentless, Analyze This)
playing Frank. Just a thought. If I ever become a director
in the near future I would definetely option the script
and not change a word. You have nearly made me decide
to shoot my 16mm film silently and dub the sound in
during the editing process by having the actors record
their lines after the film is done. What do you think,
I am in a state of confusion.
glad you like the script. You could shoot your film
entirely silent and just put the sound in later, or
you could shoot a lot of it silent, then have a short
sound shoot and cut the sound bits in across the film,
or you could just record sound, which isn't really that
big of a deal -- I did it on TSNKE, which was extremely
low-budget. But shooting on film still looks WAY better
than video. If you do shoot silent and loop later, don't
let the actors improvise. Make them stick to the script
so you'll know what you're looping later. If they play
with the lines you'll never figure out what they said.
Try to avoid close-ups of people talking, and always
make sure you have the over-the-shoulder shots, so you
can have people begin to talk on camera, then cut over
their shoulder so you can't see their mouths. Good luck.
read one of your archived reponses about Dogme '95 and
noticed that you like the idea of it. (That is, emphasis
on storytelling) Have you seen any of the Dogme movies
that you actually enjoyed? I've only seen two so far,
The Celebration (Festen) and The King is Alive. I really
got into the former and felt that the story was important.
The latter was interesting and much of the acting was
good. However, I felt that there wasn't a proper introduction
to the characters (especially their motivations).
Ever since I first heard about Dogme, I thought about
you-though I know you would never confine yourself to
do like a lot of the ideas, although I haven't seen
either of those films yet. There's nothing more important
in a film than the story. Period. Any extra emphasis
that can be put on that idea is good. As I've already
mentioned, I really don't like the nonsensical idea
that you can't use a tripod or a dolly. The montage
of a movie is also important and will never be any good
if it's all hand-held. Lars Von Trier's "Breaking
the Waves" might very well be a good film, but
I bailed out in fifteen minutes because of the awful
have read from books and been told by various teachers
that screenwriting "isn't literature", that
it's just a blueprint for a movie, which I suppose on
the surface, that's true. How do you feel on this subject?
I think screenplays are literature. It's format and
narrative are written differently than a novel, but
there's plenty of room for themes and meanings.
forward to seeing your response,
ought to contain themes, and metaphor, and any depth
that can be put into them. But by not being literature,
what is meant is that they're not really meant as a
reading experience, they're meant to be made into movies.
Average people don't read them. That doesn't mean they
shouldn't have every bit as much thought and consideration
as any play or novel.
my name, forget my e-mail, you are a pretentious jackass
whom I wouldn't want to be associated with. Keep spitting
your hot air like you know something. I saw running
time and it was a damn joke! The only reason it got
picked up was Bruce was in it. You have no talent, and
I don't think it's fair that you run your mouth to kids
who are looking for some serious advice. Biological
Clock... You should have all of your cameras taken away
from you. Once again you are a prententious, failure,
who is riding the coat tails of something that you had
no impact on in the first place (Evil Dead). Wake up
for the advice. Since you haven't even got the guts
to include your name, I'll take what you say very seriously.
Cynthia E. Jones
of Bill Lustig and "bad" movies, I finally
watched "Mosquito" the other day. Damn, was
that bad. I remember, I was working at a video store
when it came out on VHS, and my friend and I were like,
"Shouldn't the tagline be: 'This Movie Sucks'?"
I mean, come on, it's begging for it. At any rate, it
was entertaining to see you for two minutes on screen
and then get killed, although we didn't even get to
see that part. But that chick was pretty hot, though,
and you got to get naked with her, so hey.
the "good" movie front, how do you feel about
Cassavetes? My filmmaking teacher in college was obsessed
with him (and realism in general).
Cassavetes is my spiritual filmmaking mentor. His need
to make his own films his own way still inspires me.
Some of his films can be rough to sit through, but I
think they're worth it, particularly "A Woman Under
the Influence" and "Faces." As for "Mosquito,"
it is what it is.
just noticed Running Time is playing at the East Lansing
Film Festival, along with Fanalysis and with Bruce hosting.
Are you going to be in attendance? It'll be fun to see
RT on the big screen again.
it's Bruce's deal. It will be projected from the DVD,
so it will probably look and sound better than it ever
agree with the "Star Wars" camp. I think "Jaws"
was close to the end, but not quite! I saw Jaws in the
theatre when I was 10 years old. I remember I had to
go with my sister who was older than me. It was my first
"PG" rated movie I had ever seen and I remember
it scared the "shit" out of me! I thought
the shark was going to come in my room at night. Funny
you like "Jaws"? I watched it when it came
out on DVD and I still think it holds up well over the
years, although, gladly, I can sleep at night without
fearing the shark is in my room now! Hehehe....
am glad you recieved the Roy CD. He is actually considered
the Dylan of the UK, but he never gained the stature
that Dylan has, and he has dabbled with different sounds
including much more rockier stuff which is also quite
agree his voice and his guitar playing are nice and
he keeps getting better with age. His last album "The
Green Man" is totally acoustic and it is exceptional.
He has influenced a great many people including myself.
glad to finally be familiar with him. Thanks again.
Yes, I love "Jaws," which I think is Spielberg's
best movie by a mile, mainly because it's not really
a Speilberg movie, but actually a Zanuck/Brown film
and Speilberg was just a hired hand. It holds up beautifully,
and it's snappy as all get-out. Great editing, Beautiful
direction, incredible music, terrific performances.
It scared the shit out of me, too, and I was seventeen.
But I never thought the shark would get me in my bedroom,
respect your opinion Josh, and I have respect for most
films even if they are not of the highest standard.
I realise Bill Lustig is a bad filmmaker, in fact he
is very bad, but I get a kick out of watching his films,
not to watch and disect and what not, but just 90 min
of fun. Gangs of New York is by far not as good as Mean
Streets, Taxi Driver, Gooodfellas or any of the earlier
works, but I still am in love with his vision. I dont
think its fair that you say my taste is tasteless. Would
I have bad taste if I said I enjoyed TSNKE? I'm not
criticising you but I do have to set the record straight.
When I was 5 I grew up with Vacation, The Producers,
Young Frankenstein, See No Evil, Hear No Evil, Beverly
Hills Cop, Hudson Hawk, and many of Scorsese's films,
but when I reached my teens I began to gain interest
in B films and indie flicks, with bad lighting and low-budgets,
my taste is diverse. Some of my favourite films of all
Mean Streets, The Producers, and The Deer Hunter.
could you please answer my question on your opinion
on the use of adult film actors in legit films.
(I'm not mad I swear) Dan.
for impugning your taste (although I have no respect
for "The Deer Hunter," either). I don't watch
porno films, so I don't know if there are any decent
actors working in them. Of the porno films I have seen,
the acting was certainly of the lowest possible quality.
I think you'd be better off with theater actors. Personally,
I like trained actors, and the more training the better,
and they're not making porn. Regarding bad movies, I
lost all interest in how bad movies could be many years
ago. When most of the really expensive films are truly
awful, what's the point? Nor do I find anything fun
or amusing about Bill Lustig's films. I find them utterly
boring and entirely inept, and that doesn't interest
me in the slightest. I think it's much more important
and far more edifying to watch good movies. And, to
reiterate, "Gangs of NY" is a complete disaster,
and I seriously don't think Scorsese knows what the
fuck he's doing anymore. That opening fight scene looked
like it was directed by someone who's watched too many
commercials and music videos, and wants everyone to
think he's young and hip. And to set up a revenge plot,
then have the character in a position to take revenge
within 20 minutes, but don't let him for two more hours
is bad writing at its worst.
Just wanted to tell you that I have been at two of the
sold out screenings of Bubba Ho-Tep at the South by
Southwest film festival and the audience loves it. I
think it is the best thing Bruce Campbell has been in.
Him and Ossie Davis make a great team. I hope this film
can make a theatrical run.
is interesting that the book "Easy Riders and Raging
Bulls" chooses "Heaven's Gate" as the
last of the personal, "non-studio interference"
films, and the "Trio" documentary special
actually ends with "Star Wars" which is what
you feel ended that period as well.
think it would be well worth a viewing for you if you
have access to cable. Maybe I could tape it for you
if you are interested?
not the only one that uses "Star Wars" as
the dead-end of decent filmmaking. Some people use "Jaws,"
but I disagree. BTW, I got the CD and I've listened
to it once, and was very interested. I'll listen to
it again in a minute. Thanks very much. Harper is much
more of a Bob Dylan kind of guy as opposed to a Pink
Floyd kind of a guy. Good voice, nice guitar.
by your opinions, and your last three features, it would
seem you have a keen eye for direction and character
and story development. But could you honestly say your
first feature wasn't a youthful venture on your behalf.
Just a slasher flic? I don't want to sound like i'm
being rude, but i am just curious. Did you see Blood
Diner? It sucked the only funny part to me was the car
jumping up and down to Lacukaracha? Have you seen Buddy
Giovinazzo's Combat Shock? Beyond the amatuerish acting,
I feel the film is gritty and raw and the writing is
brilliant, and presented in that post-apocalyptic atmosphere.
I recomend it to you, it's disturbing, but i would like
it if you could review it on this site.
course it was a youthful venture. I was twenty-one when
I wrote it and twenty-five when I made it, with ten
cents, in my backyard. But I don't even feel like seeing
movies like "Combat Shock" anymore, or TSNKE,
you seen Gangs of New York? did you enjoy it? Only one
thing I did not like about it and that was the use of
a U2 song, I though dramatic score would have been fine
instead of the hands that built America.
Otherwise I loved it, now I can appreciate anything
on the large (definitely not TITANIC or and ANTHONY
MINGHELLA film) or small scale, but this was grand and
as a major fan of Scorsese, I have been waiting for
this for many years. What is Bill Lustig doing now,
since Uncle Sam, he has seems to have produced a bunch
of shorts and documentaries, does he have anything in
the works, cause I enjoy his films, Relentless and Maniac
Cop being personal cult classic in my friendship group.
Question if hypothetically you were desperate for film
work as a newcomer and could not get work anywhere,
would you ever consider working on adult film sets?
Hypothetically? And what is your stance on the use of
pornstars in legit films? Would you ever hire a porn
star for a small cameo? Cause I think I would, I have
actually written some parts in my other feature scripts
for pornstars to play, because I feel that some of them
have talent that goes unrecognised due to them fornicating
for a living. I met Ron Jeremy last year, and watched
his documentary and I feel he is a great character actor,
and he appears to be setting the standard for many other
porno actors to follow his footsteps. Great guy to.
I got in touch with an actor from four or so films today,
and he has asked me to send my scripts along. I hope
it goes well.
all due respect, your taste leaves something to be desired.
Bill Lustig may be the worst filmmaker since Ed Wood.
"Maniac," "Vigilante," and "Maniac
Cop" are three of the worst films I've ever seen.
Also, "Gangs of NY" is by far Scorsese's worst
film, and truly a piece of crap. But if you like these
films, God bless you.
watched a good program on "Trio" that is running
all week. If you have cable check it out. It is called
"Ez Riders and Raging Bulls" which is a documentary
about the films of the 60's and 70's directors that
broke the studio system. There are also other interviews
which are scheduled at different times which are interesting
too. There is some great bashing about the Hollywood
of today and the horrible advent of "The Blockbuster".
let me know when you receive the Roy Harper CD.
read the book "Easy Riders, Raging Bulls"
and it's very good. I recommend it to everyone. I understand
the parameters the author, Peter Biskind, chose, which
was 1967 to 1980, or "Bonnie and Clyde" to
"Heaven's Gate," but I would personally dispute
it. I think it goes from 1967 to 1977, "B&C"
to "Star Wars." I'd say "Star Wars"
changed the film business much more dramatically than
"Heaven's Gate," which simply destroyed one
already failing studio. But Mr. Biskind's point is well-taken
though in that "HG" was the last huge, personal
film by a director, basically without studio interference,
which wasn't aimed at kids. But it was already a dead
issue at that point. The kid-audience had already taken
are your thoughts on realism in cinema? I've noticed
that a number of movies these days are made with the
goal of giving the audience an "experience".
Particularly war movies, like Blackhawk Down, and most
action movies in general. Personally, I think this focus
on realism is less than fascinating. I'd argue that
if you want to experience "reality" you should
step outside of the house once in awhile. Cinema shouldn't
really be about giving the audience an "experience",
but rather offering them ideas that they can process
and make judgements on. I'm not saying that the best
films are distant and purely intellectual, but are actually
a combination of many things. When I hear people say
that they love a movie because it was so real and intense
I think they're very easily amused. Not much different
from a video game. I've read interviews with directors
like Lucas and Spielberg in which they claim that the
future of cinema will be some sort of a 3D headset that
taps right into your visual cortex. Movies that you
experience as if they were real. I'm wondering is this
is kind of missing the point in terms of the ideal response
to a film. Virtually experiencing the horrors of war
seems less significant to me than viewing an artist's
portrayal of the same thing.
don't think there's anything wrong with realism, per
se, it's just what's done with it artistically. Let's
face it, to end up as a movie everything must go through
the minds of humans, be processed, then spit back out.
It's only realistic to a point, no matter how hard you
try. The realism of "Black Hawk Down," for
instance, was fine with me, my problem was the piss-poor
writing and utter lack of characterization. They didn't
allow me to truly experience their realism because I
never cared about the characters in that reality. The
true beginning of realism in cinema was the Italian
neo-realist movement right after WWII, where, for the
first time, we got to see regular old poor people, living
miserable lives, wearing ratty clothes, trying to scratch
out a meager living. Vittoria De Sica's wonderful "The
Bicycle Thief" is a very realistic depiction of
life in post-war Rome, but it 's also highly artistic.
De Sica was able, as an artist, to make me feel how
desperate this man was, that his whole world hung on
having a bicycle, and it was stolen. I felt WAY more
for that guy and his son and the missing bicycle then
I did for the entire platoon of soldiers in BHD. So
which one is more realistic?
surprised you liked "Slacker." There was no
structure, no likeable characters to care about, no
plot at all. I'm sure that was the point of the movie,
but still a terrible bore IMO. "Tape" was
pretty good itself, although don't waste your time on
Ethan Hawke's directorial debut "chelsea walls"
which was shot on the same camera (sony PD-100). I was
actually surprised when watching the credits for "Tape"
how many people were involved in making that. For a
film like that it seemed like Linklater could have done
most everything technical himself. I think it was Stanley
Kubrick who said, and I may get this quote wrong, when
asked why there was only 2 people working the camera
and he replied, "How many do you need?"
don't want to defend "Slacker" too strenuously
because it's not that good, but it certainly does have
a structure -- each character, or group of characters,
takes you to the next character. Period. It's incredibly
simple, but it's still a very clear structure that no
one had used before. Sadly, the last ten minutes when
it goes into super-8 is just awful. As far as a camera
crew goes, generally they're made up of: the DP, the
camera operator, the 1st assistant cameraman (who pulls
focus), the 2nd AC (who loads the camera and makes sure
it's all properly set up, and keeps the log), and the
clapper/loader who loads the magazines and runs the
was interested to read your post on the Baby Cart films.
I recently saw "Baby Cart at the River Styx"
on TV and I thoroughly enjoyed it. How adorable is that
Also, speaking of Lord Larry Olivier - did you ever
see the film "Inchon" which was financed by
the Reverend Moon? Larry played the part of General
McArthur and I was wondering what you thought of his
performance in that. Apparently that was one of the
biggest bombs since "Heaven's Gate".
ashamed to say I've never seen it, and they never show
it on TV. Casting Olivier as MacArthur is insane, although
Gregory Peck wasn't so hot, either. Lord Larry was taking
any piece of shit they offered him there at the end
of his life. I'm still a little shocked by him in "The
Betsy," "The Jazz Singer," and "The
Boys From Brazil." He began doing accents from
countries that don't exist.
what a surprise you know the "sword of vengeance"
series. I have four of the films in japanese with English
subtitles. I have the comics too, and the films are
very faithful to them... You know, I have a dog named
Daigoro, like the son of Ogami Itto, the ronin... :-)
I know that a lot of movies are based in comics now,
but I think the worst thing is... they are bad movies.
From Hell is a wonderful story in the comic, you know
who the ripper is and why he kills these women... the
political reasons and the personal mystic reasons of
the killer. Is a great graphic novel, but was too much
intelectual for a hollywood movie. So they transformed
Inspector Abberline in... addict Johnny Depp who fall
in love with this top model whore of Whitechapel...
Well, sorry, I did want comment that a lot time ago.
There are good comics, but is hard remember an adaptation
that results in a good movie...
have nothing against comics, other than they're not
a very good basis for movies. Actually, superheroes
of any kind I can live without, but I realize that's
just part of the world of comics and graphic novels.
I really do love "Shogun Assassin." At the
beginning, after his wife is killed, Ogami puts little
baby Daigaro on the floor, sticks his sword into the
ground, then sets a colorful ball a few feet away. He
says, "Choose the ball, you go with your mother.
Choose the sword and you come with me." Daigaro
looks like he's going for the ball, then at the last
second changes course and goes to the sword. Ogami says,
"You are truly my son," then picks him up
and kills ten guys while holding his baby.
Jules ( the homeless,bag guy)
probably wondered day after day about what happened
to that Jules guy. Well I've been up here in frozen
Canada doing some acting and voice-overs in the Canuck
language for the last 3 years. So! anything else going
on? Just thought I'd say HI! Is Pato still around? I
picked up the DVD Running Time, Great comments and good
good to hear from you. I really enjoyed working with
you. I just transcribed all of your dialog word-for-word
as I did the "Running Time" dialog-continuity
script (which is the exact transcription of all the
dialog as spoken, not as written). RT will be on the
Independent Film Channel starting in June. The best
of luck to you up in the great white north. Pato moved
back to Bolivia.
of boring films, ever see Richard Linklater's debut
"Slacker"? Man, what a piece of shit. And
I thought "Kids" was the worse film debut
from an unknown director, but Linklater proved me wrong.
I should have known not to pick it up at the video seeing
how "slacker" inspired kevin smith to write
"clerks" but then I thought what the hell.
At family video it's 2 movies $1 so I don't feel bad
about turning that off after a half hour. I'm surprised
I even made it that long. Anyways, I have one question.
You said that you had a meeting with the Troma guys,
I was wondering what it was for. A film you were trying
to get financed by them? That would be kind of amusing
seeing Troma pictures presents: A Josh Becker Film.
was to try and get them to release TSNKE, in which they
expressed interested. Then they jerked us around for
months, constantly lowering what they would pay and
changing the deal. We finally told them to get lost,
but it cost us four or five months of wasted time. I
actually didn't mind "Slacker," although it
completely ran out of steam long before the end. I absolutely
hated "Dazed & Confused," though. I rather
liked "Tape," although the direction is by
far the worst thing in the film.
think an actor by the name of Kristian Monday played
someone named Terry. I haven't seen him in awhile and
wanted to know if he was okay. Any info would be great.
Patrice Jones of Sacramento
did play Terry in my film "If I Had a Hammer,"
and I thought he was very good. The last I knew he was
living in LA, but I don't know where. I wasn't even
able to contact him for the cast and crew screening
of the film.
ran out and hired Texas Blood Money ages ago when it
first came out when I was 16, cause I was excited to
see Scott Spiegel's direction after Tarantino praising
him in his biographies cause Intruder is hard to find
in Australia. Texas Blood Money sucked, the genre should
be comedy instead of horror or action, cause some of
the directing made me laugh. His use of P.O.V.s were
silly, corny and overused in the film. Like the fans
moving side to side, Duane Whittaker with his the front
of his hat covering the top of the screen, and one that
my friend predicted before it happened was the shot
looking up at Robert Patrick through the skeleton. I
own The Rookie, and have seen Evil Dead 2 and I read
some of your collaborations with Scott, (Ball Breaker
my favourite in particular, should have been made, it
has potential to make my top 50 list, witty and tough),
and I feel that he is a talented writer, but he directs
films they way we used to do when we put together home
made horror films in our younger days. Even at sixteen
I was laughing at his style, but everyone deserves a
second chance. Is he directing an adaption of Modesty
Blaise. If possible could you tell me who are some of
the cast members, I must admit, the possibility of this
films release is exciting and I hope he does better
with this one
don't know who's in "Modesty Blaise," but
I think it's done. I haven't spoken with Scott in years.
so agree with your take on movies of today. In fact
I teach an Intro to Communications class at Manhattanville
College and I want to demonstrate all they are missing
out on by not renting the classic movies. I have copies
of Gladiator and Spartacus. WHat scenes from each would
you suggest that I show to them?BTW a few years ago
Dave Brubeck's son gave a concert in this local church
and low in behold his dad showed up and jammed away
on the piano. It was quite surreal. My friend and I
were the only two in the audience who were not members
of the congregation. Yet they treated us well and served
tea out of china cups.....anyway thx if you can help
me out on this i will appreciate it aand we can enlighten
a classroom of college age kids!
done a reasonably good job of putting "Gladiator"
entirely out of my mind. I just watched "Spartacus"
again for about the 50th time the other night, and I
just love all the scenes with the Romans, particularly
the scene between Peter Ustinov and Charles Laughton,
or the scene near the beginning when Crassus (Laurence
Olivier) and his friends show up at the gladiator school
and have them fight to the death for their amusement,
which is what ultimately causes the slave revolt. Olivier
is so good it just tickles me when I watch it -- he's
the perfect Roman nobleman. But I don't think there's
anything comparable in "Gladiator," so you
can choose any part of that film because it's all equally
think one of the reasons films are becoming duller is
that everyone is trying so hard to find the "reality"
of whatever situation the film portrays. "Being
real" is the buzz-word combination of pretty well
every actor I come in contact with. Characters are being
played so low-key that they're all about as interesting
as the colour beige. I think I'd rather see James Cagney
chewing up the scenery than a true-to-life portrayal
of a gangster and his son. As if people in the entertainment
industry didn't leave normal behind a long time ago.
There's a quote in the extras of The Shining dvd, where
Jack Nicholson is talking about why he played his author
character in broad strokes. He said Stanley Kubrick
said (I don't remember the exact quote, but...) "Reality
is all very well and good, but it's not always so very
What does "Japanese baby-cart film" mean?
was a series of Japanese comic books in the 1960s and
'70s called "The Baby-Cart" series, or more
accurately, the "Sword of Vengeance" series,
about a ronin samurai who pushes his little son around
in a wooden baby-cart. These were made into seven Japanese
feature films ("Lightning Swords of Death,"
"Baby-Cart in Peril," etc.). Some guys at
Roger Corman's company took two of the films and re-edited
them into "Shogun Assassin," which I just
loved and saw many times. I then saw all the rest of
the films in their original versions. These films are
beautifully done, with incredible direction, strong
scripts, and amazing fight scenes. That's what "Road
to Perdition" is based on.
Cynthia E. Jones
lively and literate commentary of late! It's wonderful
to see. I just wanted to let y'all know that you can
buy a CD by David Zink, who played Bobby Lee in "Hammer,"
if you go to Amazon.com. And he has a website: http://home.earthlink.net/~davidzink/.
I really dug that guy.
a less-musical, more movie-related note, I'd like to
say that "Six Feet Under" has some amazingly
real moments in it. Have you seen any episodes? The
first season's on DVD now, and I dug it highly, except
for a bit of over-the-top drama toward the end there.
I'm renting HBO tv shows now because every new movie
I've rented has warrented nothing higher than an "Oh,
that didn't COMPLETELY suck," rating. I'm starting
to wonder, where are the talented artists who are alive
today? I'm guessing they're all broke and working day
worse than Hollywood just makes shit, it's that they
know they're making shit so what's the difference who
makes it? If the end result is going to be garbage and
everyone knows it, then why not let the producer direct
it, or some first-time kid. Directors used to be strong
personalities with a vision, now they're ass-kissing
wimps because that's how you get a job. At DGA meetings,
I felt like if I yelled "BOO!" most of the
directors in the room would piss in their pants. We
used to have powerful guys directing, like John Ford,
Raoul Walsh or Victor Fleming; now you've got these
weasels that grew up jerking-off to "Cinderella"
and "Snow White," who won't shut the fuck
up about their "inner-child." I wish I'd become
a boxing referee.
really like your site Josh, and have been coming to
it since I was 15 or 16, i'm now 19 nearly twenty, and
I admire your dedication to an industry that is driven
by sheep ie corporate execs. I have been trying to find
Running Time in Australia for a while now, but no luck.
I had planned my first feature a while ago, but it fell
through. I have some mentor/friends who are in the industry
and they told me to shoot on video. If all else fails
I would do this, but their is something fake about video
format. I wanted to make my first feature "Formal
Ring of Red" on 16mm, and to save money I would
sacrifice coverage, and cut out different camera angles,
using a similar method to what you supposedly used for
Running Time. Did you use any different camera angles
or did you just shoot it in one take? I am a penpal
of actor Robert R. Shafer (Psycho Cop, Rosebud Beach
Hotel), and I asked if I could feature a picture of
him in my film (I wrote him in as a reporter in a newspaper,
with his picture in it due to not being able to fly
him out). Other actors with minor film credits were
lined up as well, but everything keeps going wrong before
I begin shooting.
What is the best thing to record sound on when shooting
on 16mm, and where could I find it?
How much would it cost to get music rights for unpopular
songs by famous artists, like the ones on the albums
were not singles
I have been trying to get jobs of movie sets as a Production
Assistant for experience, how is possible to be hired,
with no prior movie credits?
I feel sorry for you having to deal with people asking
you for jobs, when it seems hard enough for you to get
things made for yourself. Keep your chin up, and hopefully
you and I will make a break.
very difficult getting movies made, don't give up hope.
I didn't make my first feature until I was twenty-five,
which is still pretty young. You record your sound on
a Nagra sound recorder, which is a synch reel-to-reel
tape recorder, or a digital sound recorder, if you've
got more money. If you're clever, you can shoot all
or most of your film silent with a Bolex, which is much
cheaper, then put the sound on later. I have a friend
who has been shooting a 16mm feature on weekends now
for five years and has shot quite a bit of it. When
he completes shooting all of his silent footage, which
is the bulk of the picture, he'll then have a one-weekend
shoot with a sound camera and recording sound. Video,
of course, is much easier in many ways, but it still
looks like video, I agree with you. Still, if you were
willing to really put in some time and effort into the
lighting, it could look great. As for the songs, if
they're by known bands, they will all be way more money
than you can afford, whether they were hits or not.
Get a local musician to score your film for you. As
for trying to work as a PA, you need to ingratiate yourself
to a production company, which isn't easy. None of this
is. If it was easy, everyone would do it. Good luck.
all of your movie connections like Raimi and Tapert
and Campbell, i thought you would be in a good position
to get some of your unreleased scripts funded. Do you
like Troma films cause beyond their violent exterior,
I feel they make clever stabs at society, and are witty.
Lloyd Kaufman like John Waters over exaggerates his
point so the viewer not only gets the message, but has
no choice but to agree with it! Have you seen Adam Rifkin's
new film Night at the Golden Eagle? If so did you like
On your next project I have a list of actors you should
use that are under appreciated.
Miano (Donnie Brasco)
William Katt (House, Big Wednesday)
Miles Dougal (The Chase, Detroit Rock City)
Ron Jeremy - need I say more
Reverend Jen Miller (Terror Firmer, Thus Spake Zarathustra)
Will Keenan (Tromeo and Juliet)
Valentine Miele (Tromeo and Juliet)
Robert R. Shafer (Psycho Cop, Hollywood Shuffle, A Brillian
William Sadler (Trespass, Shawshank Redemption)
for the list. I personally can't stand Troma's films,
all of which that I've seen were very poorly made even
more poorly written. Having tried to do business with
those idiots, I found them lacking on an ethical level,
too. As for being friends with Raimi and Tapert, they
have their own lives and careers. Getting any picture
financed is a huge ordeal and is never easy under any
was just looking through IMDB, looking at the careers
of some of my favorite golden era actors, when it dawned
on me that, beyond some Chaplin and Keaton films and
a few landmark films, my awareness of films prior to
1933 is virtually non-existant. After 1933 or '34, irrespective
of who I was looking up, I knew almost all of their
films, or at least was aware of the title. Since I haven't
made any systematic study of films, this lack of familiarity
with earlier films is likely not coincidental. Do you
know of a change in film style or technology occurring
about this time which might account for the very sharp
division in my awareness. I know most of my golden era
films from television, as oppossed to art houses or
the like. Thanks,
it's called the Golden Age of Hollywood, which went
from about 1935 to 1955. The sound films before 1935
are, for the most part, rather crude. Before 1927 are
the silent films, which no one pays much attention to
anymore. I think that's shame, personally, because movies
had hit a level of visual sophistication between 1924
and 1928 that really hasn't been recaptured. Films like
"The Big Parade," "The Crowd," "Sunrise,"
"The General" and "The Freshman"
I find quite amazing.
just finished reading "Above the Line" a few
hours ago and I enjoyed it for the most part. It reminded
me a lot of "Biological Clock". I see that
your alter-ego Aaron is in this one as well. As a matter
of fact it seemed as though Aaron, Cathy and Shauna
are pretty much the same 3 characters from BC.
think you have a very interesting and strange view of
women. At first I was a bit put off by how sexually
aggressive Cathy and Shauna were. But then again, men
are portrayed as being sexually aggressive all the time
so what the hell! I do agree that Cathy was not the
most likable character. Yes, sometimes people who are
smart and attractive can get away with being unlikable
but it does not always work that way. Have you ever
met an intelligent and attractive person who comes off
as being very interesting at first but then after you
talk to them for awhile their attitude and personality
fucks their face up? Cathy kind of reminded me of that
type of person. However, she was not all that bad. If
I slept with a guy and gave him VD and then slept with
him again and got pregnant I would probably split too!
You certainly made the guy the hero of the story. In
both this script and "Biological Clock" Aaron
is the one with his head on straight (for the most part)
and the female lead is a wacky/neurotic chick. There
is a very "Taming of the Shrew" quality to
both of these stories. Does this bother me? As a woman
I would have to say yes. As a writer I would have to
say that it works because you need the conflict. But
then again I read and see negative portrayals of women
day in and day out and it's very depressing. I think
you are a much better writer then that. Or maybe I should
just shut my trap about this whole gender issue thing
and write a script with a strong female lead myself.
Yea! I bet I'll get that made!
actually enjoyed the whole movie within a movie within
a movie aspect of the story. I thought you dealt with
that very well. It totally reminded me of "Adaptation".
You WERE ahead of your time Josh! Normally I would rather
jam a pencil in my eye then go to see a film about people
making films. But I thought that "Above the Line"
had a very personal feel to it and that really appealed
to me. Aaron was very easy to identify with because
he is just a regular guy who happens to be in the film
business. He's the type of guy that an audience can
root for and he had a good smart-ass quality to him.
You should write more personal stories like this one.
You are very good at it. I enjoyed how you plugged in
all of your old friends from Detroit into this script.
I also liked how the script opened. That was rather
clever and it set a nice tone for the rest of the story.
I really enjoyed the sort of heightened reality that
the characters lived in. Very, very Los Angeles. Aaron
truly lives and breathes for movies.
think that the script's weakest point was the character
of Shauna. To me, she was just pointless and annoying.
Forgive me Josh, but the scene where she goes to his
apartment and ends up fucking him came off as just a
juvenile sexual fantasy. She only had 3 character traits.
She was cold, strange and beautiful. Not nearly enough
for me to actually pay attention to her.
a whole I thought that "Above the Line" had
a pretty solid story. I personally think that "Biological
Clock" is a better script. I just think that the
story in BC helped give the characters more dimension.
my two cents!
for the interesting review. In my defense regarding
"Above the Line," all I can say is that it
was written fourteen years ago. I think the female characters
in my more recent scripts have been more three-dimensional,
or at least I hope so.
would you say is the most boring movie you'eve ever
seen? I ask this because in the last week I've seen
some horribly dull movies and I just don't get what
the directors were going for when they made these things.
I've barely made it out awake from a bunch of Tarkovsky
and Michael Mann movies last week in class. Then over
the weekend I saw the Road to Perdition, giving it a
second chance after a bad time of it in theaters. The
most self-important piece of dull nonsense I've seen
in awhile. Just incredibly awful, which is a shame that
Conrad Hall wasted his amazing talent on such a huge
pile of boredom. Can I blame it on Hollywood directors
having a drug problem? I swear Michael Mann had to be
on something when he cut Last of the Mohicans. Plodding
on and on, one scene more boring than the last. Its
almost like "boring" is an esthetic nowadays.
Like if its "boring" its important or something.
I'm not even looking for a fast-moving film, just something
that tries to engage its audience. I saw The Seventh
Seal and found that to be reasonably engaging even if
it was incredibly obvious. I notice that audiences nowadays
seem to be under the impression that newer movies are
more entertaining. That's simply not true at all. I've
got a really shitty attention span and I can much more
easily sit through a 30s black and white gangster movie
than some piece of shit like Road to Perdition. Its
like movies from back then were more lively or something.
There's something to be said for the pure thrill of
an actor enjoying his performance even in a mediocre
story. The director's and actors these days feel comatose
to me, they just took a bunch of painkillers and are
too cool to be interesting.
can I say, it amuses me watching other people arrive
where I am. Welcome to the modern-day reality of movies.
The true culprits, in my opinion, are the writers. There
hasn't been a decent script written or shot in Hollywood
in years. I haven't seen "Road to Perdition,"
but you're dealing with a story that's a remake of the
Japanese baby-cart films, that were in turn based on
comic books. I was one of the few people the year Michael
Mann's piece of shit "Last of the Mohicans"
came out that simply hated that film. I actually walked
out about a half an hour before the end and just sat
in the lobby waiting for my friends. I just saw Mann's
newest piece of shit, "Ali," and it's a fucking
travesty. It wouldn't have been possible to make a worse
film about the great Muhammed Ali (as Teddy Atlas, the
announcer of Friday Night Fights, said after seeing
it, "That was awful! They shoulda gotten that guy
who made 'Raging Bull'). Anyway, what was the most boring
film I've ever seen? That's too big of a subject, let's
just keep it to recent releases. I was pretty stupified
with boredom this last year watching the horrible "Chicago."
With all due respect to my friend Sam, "Spider-Man"
deeply bored me. "Lord of the Rings" was so
dull I had to turn it off. "The Royal Tennenbaums"
completely and utterly bored me. That awful film Bruce
was in, "Serving Sara" was painfully dull.
"Minority Report" went on forever. Robert
Altman's "Dr. T and the Women" was mind-numbing.
"Donnie Darko" was so stupid I became comatose.
"A.I." was the most boring of this whole list
so far. "Memnto" bored me stiff. I'm going
to stop, there's far too many boring films these days.
I'll take any film before, say, 1977, over most anything
that's come out since.
Cynthia E. Jones
just finished reading the "Making Of" essays
for "Hammer," and I have a question: What
were the 'digital effects' you did for the film? Just
neglected to mention that I really loved the lighting.
Esp. in the club, it looked like an actual club with
multi-colored lights, and it wasn't too bright in there.
Nice looking stuff.
Someday I hope everyone gets to see a top-quality transfer
of the film, then you'll see how really terrific the
lighting is. Kurt Rauf, the DP, did a wonderful job.
Meanwhile, the digital effect, which you commented on
in your previous email, is when Phil is walking up the
street and you see the TV light flickering in all the
windows. Other than him walking up the street, every
element in that shot was digitally replaced -- the buildings,
the cars, and the street lights.
do think you need to research the Guadalcanal campaign.
The Army's contribution was major and it lasted from
Nov42 to Mar 43 when the island was declared taken--Jones
wrote himself into the book as Cpl Fife and the sequence
in which Fife kills a Japanese soldier while taking
a crap is based on what happened to Jones. I do agree
with you re the movie--it was much more Malick than
have no doubt you're right and the army made a big contribution
to the Pacific campaign. Nevertheless, the real story
on Gaudalcanal was the marines taking the island. James
Jones wrote about the army there because that was his
experience, he was in the army and fought there. Write
what you know. But the fact that Jones was stationed
at Pearl Harbor when it was attacked allowed him to
make his great contribution to literature, "From
Here to Eternity." "The Thin Red Line"
is a secondary book in his career, as well as to WWII
literature. And it's a crappy film.
you guys rent lights for the shooting of evil dead or
just use shop lights and such. i'm looking for a good
way to get around having to rent a kit. thanks, travis
we we rented lights, and we could have used more. We
had a 5-K, two 2-Ks, four 1-Ks, and quite a few little
clamps lights, too.
Cynthia E. Jones
where did you find David Zink? He's amazing!! his song
kicked so much ass! And that Jason Kyle Webb rocks,
too. Great casting! Okay, I'm done.
found them both in LA. The place is stinking with talented
people who never get to be in anything. David Zink and
Jason Kyle Webb were particularly good, I agree. I think
Jason is particularly good in his scene with Brett about,
"What's it like to be a negro?"
again for buying and watching it.
Cynthia E. Jones
Finally got my VCR working again...All I know is, it
worked for two hours and I finally got to watch "If
I Had A Hammer" last night! What a great movie!
I was thinking, "Oh, this is going to be political
and important, blah blah blah," and of course it
turned out to be "History according to Josh Becker,"
which was great. The TV commercials (nice touch! I especially
loved the cigarette ads), the way that everyone sat
in front of the TV instead of going to the rally, that
shot of the glowing TVs was like that shot in "Network"
but without everyone yelling "I'm mad as hell,
and I'm not going to take it anymore!" out the
window. The apathy...yes! Finally...someone makes a
movie about apathy. Thank you. And when Brett Beardslee
sings "If I had a Hammer," he sounds exactly
like Iggy Pop. I laughed so hard I almost died. Wow.
Not what I was expecting. Great movie. So funny, and
I loved that scene where they got high together... "But
that's marijuana!" "Why don't you say it louder,
so the cops can hear ya?" You rock. I think about
seven times while I was watching this movie, I said
that out loud: "Josh, you rock!" So. There
you go. I think I'm going to watch it again this week,
it was like actually going to a Hootenanny (open mic
night--whatever, which I do sometimes), which I dug.
done it again, my man. Now I need the DVD with commentary,
please. I want to hear your voice over the production,
saying "Yeah, this guy, he's like me when I was
21 years old, and this other guy, he's like this other
part of me..."
so pleased you enjoyed it, and that you got your VCR
working. I'd of course love to do a commentary track,
should the film ever be released, that is. And yes,
it is history according to me. But I think there's some
Sorbo's health problem was that aneuryism in his shoulder
and arm, which caused him great difficulties on the
last two seasons of the show. He could no longer work
out, nor was he supposed to strain himself, which
was a major problem for an actor playing Hercules.
The last time I saw Kevin on the set -- Herc and Xena
were shooting in the same location -- he was as out
of shape as I ever saw him, which still meant he was
in better shape than me. But Kevin Smith was just
awesome. I've told this story before, but I'll repeat
it. On that last ep of Xena I did with Kevin Smith,
he had his shirt off between takes (his black leather
outfit was rather warm on a hot sound stage) and Ted
Raimi dressed as Joxer walked by, saw Kevin's physique,
and muttered, "I'm horrible," and walked
you once more for your intriguing response.
I may continue the discussion, I am very impressed that
Kevin Sorbo was able to for the most part maintain an
overwhelming physique and act in such a physical capacity
despite his aneuryisms. I was not aware that it had
caused him nearly as much discomfort or prevented him
from exercising- I had only recalled that it resulted
in one of his film roles being cancelled (a film known
as Black Dog, I believe).
the way, if you could also please describe which season
or episode of Hercules you last saw Kevin Sorbo.
you for repeating this story- it is very interesting
and impressive! I am certain that Kevin Smith had a
terrific physique. By the way, which Xena episode was
this? Could it possibly have been "Amphipolis Under
Seige" (a very fine episode)? Of course I do not
recall that Joxer was in that episode.
the way, I hope that Ted Raimi intended his comment
to be humorous (and did not really feel adverse). It
is certainly possible to be in fine physical condition
without being very muscular, I believe.
Xena episode was "Soul Possession." I don't
know what episode of Herc Kevin Sorbo was on then. But
he wasn't just in discomfort, he was seriously ill.
That's why Bruce Campbell stepped in and kind of took
over the show in the last season. Kevin could only work
for a few hours a day, and couldn't do anything difficult.
Thank goodness he fully recuperated.
don't suppose you know how much it cost to make the
movie Raising Arizona or at least how much it grossed
in at the box offices do you?
don't know either answer. You might try Variety. I do
know that it wasn't very expensive, though.
saw an ad for Bruce Willis' newest film, something with
"Tears" in the title. I will never see this
movie unless I'm captured by the enemy (I'll probably
talk first) but I did have a reaction to a scene in
the ad. The scene is of two F-15's flying over a central-African
battlefield. What struck me about the scene is that
it is shown from the perspective of a man hovering three-thousand
feet from the ground. "Pearl Harbor" did this
sort of thing as well, placing perspective from a falling
bomb, or one thing or another.
were not establishing shots; not shots from outside
of a plane in flight to show that you are now hearing
the voice of the pilot of the plane. These scenes strike
me as entirely gratuitous. I compare the scene in the
Willis movie with the napalm strike in "Apocalypse
Now", a scene which I think a lot of directors
profess to admire, and the Willis movie fails. How can
you take a scene seriously if there is no way to connect
with the perspective? "Apocalypse" conveyed
a sense of awe at the perverse beauty of the napalm
strike. The Willis scene made me think about Gillete
sorry, but I don't know what you're referring to regarding
this new Bruce Willis film. The oddball POV that got
me, many years ago now, was in Oliver Stone's early
film "The Hand," where Michael Caine gets
his hand chopped off, then rest of the film we keep
getting hand POVs as it crawled around. I wanted them
to cut back finally and see the hand holding an eyeball.
E-mail: HOUOF BEARS
you know the name of the silent film that I'm
searching for? It is about a villan kidnapping a local
girl and ties her to train tracks. Then the hero fights
the villan and saves the girl? Yuors truley
Sarah Hellen age almost 13 years old
believe the clip you're referring to is from the silent
serial "The Perils of Pauline" made in 1914
and starring Pearl White.