BYOB – Beware The Nines Of April
Travel day.
What other familiar phrases could use refreshing?
And what else do you have to say?
April 25, 2024
BYOB
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BYOB: 235 Years Of Relative independence
BYOB Weekend: Hop, An April Fool’s Gag?
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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?
So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.
And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.
There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.
I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.
So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.
But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”
My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher
“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.
~ David Simon
I saw Sweeny Todd at long last, and was surprised at how much I liked it (considering I normally dislike musical – especially DreamGirls) and how much my wife disliked it (who normally likes musicals – except DreamGirls). It didn’t really wrap up well, and Depp should have gotten whatever singing training Helena got (as she was excellent), but it was definitely one of the better movies of last year. I’d put it on par with Atonement, which I liked more than most.
Angela Lansbury reprised her role as Nelly Lovett on stage the other night, singing Worst Pies In London with no props… and oh, what a difference.
I saw The Counterfeiters last weekend. Very interesting take onthe Holocaust/Concentration camp thing.
SPOILER ALERT
There was one scene that made me think of Shawshank (my all-time favorite movie by far). In fact, the whole thing had a bit of a Shawshank feel. But the best part was the different views of morality it presented. I am sure it has been compared to Life is Beautiful (another film on my top ten list) but I wouldn’t necessarily go there as a comp.
if you happen to be in l.a., the john doyle production of ‘sweeney todd’ at the ahmanson is pretty amazing…. the critics i was with on opening night all agreed that judy kaye is the best mrs. lovett ever (and we’d all seen most of them)…..anyway, if you’re a fan of the show this one is well worth the time…..
well, would’ve been worth the time if it hadn’t just closed….that was quick…
I caught the Doyle “Sweeney Todd” last Saturday and was really blown away. For every revival of “Sunday in the Park with George,” I just get stuck as they so live in the shadow of the original cast recordings. I was afraid “Sweeney” would do the same, but it’s just such an utter re-invention that I loved the hell out of it.
Only sad thing is that I loved Lauren Molina on the new cast recording, but it was her understudy on Saturday night. Doh!
I really wanted to like SWEENEY TODD but was just thouroughly underwhelmed by it. In fact I saw it on a Saturday then saw a commercial for it the following Wednesday and told myself, “Oh man, I gotta see that still!” Then that night I remembered I had seen it.
What happened Don Lewis aka Peta? Lose your log-in or something? Nevertheless; the new MOBY album is the balls. It’s like 1991 all over again, but without the 90s aftertaste.
Speaking of the new Moby, anybody here into Calle 13?? I just got turned onto their two albums and have to say, those records are the balls right there.
Anyone seen 88 munites? i’m hearing thats BALLS too. Not the good kind though.
Seen the new Iron Man clip over at Apple. Can’t wait for the film!!
HAPPY 18TH BIRTHDAY KRISTEN STEWART!!!!!!!
HELLZ YES!!!!!!!!!!!!!!!!!!!!!!!!
K-STEW *OWNS*!
WISH THE STEW A HAPPY BIRTHDAY.
BOW DOWN. BOW, SON.
What’s up, child molester?
Gee, wonder how Jeff has made it through the last hour, all feverishly hitting response to see what kind of response that ugly, unpleasant, baiting bullshit would garner. 80% all pleased with himself, giddy that someone might acknowledge his off-putting ass, and 20% mildly ashamed for being such a joyless, hostile scumbag. Are you this off-putting in real life, sir?
Obviously no one else will, or would want to, call him out for his bullshit, since even people WHO ARE NICE TO AND ENGAGE JEFF get treated to CHALLENGES TO FISTFIGHTS and UNCONSCIONABLE INSULTS. But why is this guy not even more of a fucking pariah than he already is?
Lex, you have a severe irony deficiency. I cannot believe you, of all people, would post what you just posted, after months of posting the most asinine bullshit and then pretending like it was all meant for ‘laughs’.
Oh, and which one of your ‘up’ phases, which happen about once in 20 posts relative to your ‘down’, ALL CAPS phases, was it that you were nice and engaging to me? I don’t remember it.
For one, when people were doing that JEFF WHACKS IT TO TORTURE MOVIES SHIT, I called it out as unfair and unpleasant, and said something like, yeah, McM can be a rod sometimes, but that was just wrong. Why, just the other week we enjoyed a pleasant exchange, a bit of the ol’ give-and-take, guv’nor, about I AM LEGEND. In my own delightful way, I’ve attempted on some occasions to express my enthusiasm for certain movies or actresses to you. Sure, I’ve lobbed a few defensive or maybe mild cheap shots, but I don’t make a habit of following up your posts with “ad hominem” jabs like “You’re drunk,” “God, shut up,” etc.
Anyway, I’m all for squashing it, I don’t want and I definitely don’t seek a “beef” with you. I’m not going to stop expressing my ENTHUSIASMS in a LEX-LIKE WAY, but I don’t do so as a means of riling you or anyone else up, nor to court your attention. I almost allowed that there was a 1% chance you were being blustery and attempting humor above, but it seemed like some papparazzo-level dig to provoke a reaction, which of course it did.
As always, you’re more than welcome to just ignore whatever I post if it’s that appalling to you. I don’t really care. If I wanted, I could follow-up your factual/movie opinion posts with FUCK YOU BITCH, and it’d be about as productive or valid as the game you’ve been running for some time now in response to me.
Anyway, what the fuck ever. Take it or leave it, homes. I BOW BEFORE NO ONE and STAND BENEATH NO MOTHERFUCKING FLAG, but given the choice, I’d prefer not to having you riding the UNSTOPPABLE WAVE OF LEX as a hater. Get on the bus, son.
Thanks for the reminder. What happened to that guy, a year ago, who in the last few months has been replaced by someone else?
And of course my post above was intended as humor. Very, very, very dry humor. What other response could you have expected, “Yeah, I’d bone her now that she’s legal”? Be honest here, you set yourself up on that one.
Yes, I think your current schtick is obnoxious and bizarre, and that’s because I see this place as a discussion forum. If you see it as an electronic bathroom wall, I guess I can’t stop you.
Since this can’t be interesting to too many others, I’ll try to turn it around and ask the peanut gallery a legit movie question:
Any consensus here on MY BLUEBERRY NIGHTS?
WKW *does* have an incredible style, even if he’s done his same woozy romanticism a billion times now; In America, this shit would be ALAN RUDOLPH. When it’s done in HONG KONG, he’s a fucking genius. Maybe Alan Rudolph should move to Asia and he’d be recognized for the underrated dude that he is.
Anyway, some WORLD-CLASS HOTNESS here, between PORTMAN (YES), WEISZ and NORAH JONES. I haven’t seen it yet, but can I assume they’re all slickly lit and neoned up? Hell yes.
If WKW could just throw in some shootouts and do cop movies… his visuals would work well with that.
Plus, I tend to think no movie should have the word BLUEBERRY in the title.
Let me just add that basically, I get annoyed with you because I really don’t have any idea how else to react to your stuff. When somebody types something insanely stupid and/or offensive, my gut instinct is to point it out. Perhaps I need to get over that.
Lex: rent Ashes of Time. No guns but it’s a WKW action movie.
IO, I gotta say Last Night starts off really well and then just dissolves. I really like the songs towards the end (from “Degenerates” onwards if I remember correctly), but they don’t fit with the album at all and bring it right now. And apparently he was trying to make a concept album revolving around one night in NYC. I can’t see where he achieved it. LOOOVE “Everyday is 1989” (very Black Box), “I Like to Move In Here” (Grandmaster Kaz!) and “Disco Lies” is completely nu-rave ridiculous but I still love it.
If you ask me he’s still never beaten 1993’s Everything is Wrong. Where would we be without “God Moving Over the Face of the Waters” I ask?!
IO-I changed it because I’m starting to try and get my name out there more as a writer/critic and I don’t want to use blog sigs to promote my projects and website any more.
Plus, I’ve been more active at Film Threat with my festival coverage and writing and also with calling BS on other writers and bloggers who are full of shit (as I did here…must be bait Jeff Wells week: http://www.filmthreat.com/blog/?p=1032) and the PetalumaFilms sig seemed too close to being an anonymous sig. I got nothing to hide!!
If Lex gets too worked up, there’s always Love Guru. Just pause it on Jessica Alba-then a little work with the mouse, you can watch her walk forward and backwards. It brought a smile to my face, anyway
ALBA.
Random thought… maybe not that random, since the first post above mentioned Atonement:
Watched it again on DVD. Still kinda like it, still some massive flaws. But that Dunkirk one-take shot? I don’t know if I enjoyed it as much the 2nd time around. The first time, I was just wowed by the precision and scope of it (while even then acknowledging it has little to do with the main story at hand). But once you know what you’re in for, you find yourself asking questions like, WHY IS A DUDE DOING GYMNASTICS in the corner of the frame? Maybe the merry-go-round is factually accurate and all, but about three minutes into that setpiece, I was expecting Wright to throw in circus clowns popping out of a ’70s hatchback.
Joe Wright reminds of me of Hugh Hudson. What happened to that guy? He was part of the British New Wave along with Lyne, the Scotts, Parker, etc. I always kinda liked that movie he did with KING AD ROCK.
You know, Lost Angels. That was almost Colors-esque as the ultimate ORION movie. Did ORION shoot their movies on Cannon’s film stock? The skies always looked so gloomy in all their films.
Camel: Moby has a tendency to wind things down with all of his albums. He keeps on rocking then around track 9… he slows it down. The only time Moby has ever kept it consistant was Everything Is Wrong. So I do indeed get where you are coming from Camel, but I am accustomed to Moby’s albums never carrying a consistant thread.
Gotta say that I agree with your affection for “Lost Angels,” Lex.
That’s probably Hudson’s best (if most undeservedly obscure) work. Great performances by Donald Sutherland, Amy Locane (what ever happened to her??) and, yeah, Adam Horovitz is pretty terrific, too. Kind of surprised Horovitz never pursued an acting career after this film.
(Your Cannon comment was pretty funny, too.)
I love that sort of late ’80s feel to movies like Colors. I get a kick out of seeing movies like that on TV or even VHS because they haven’t been cleaned up and rejiggered. They feel kind of cheap, but sinister, like I’m not meant to be watching them. Or something. I dunno. it’s hard to explain. VHS holds a place in my heart for those sort of movies. I remember watching The Last Seduction on VHS soooo many years ago and it felt so sleezy and then watching it recently on DVD was completely different.
Lost Angels, by the way, does include my favourite version of “Many Rivers to Cross”, by Toni Childs.
IO, I liked the slower stuff at the end of Last Night (seemed kind of like film score material, actually) but it just didn’t seem to fit the album at all. Maybe “The Stars” is meant to symbolise getting high in the sky and then “Degenerates” onwards is “i’m about to pass out” territory.