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April 25, 2024
Box Office
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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
Not B.O related, Dave, but I’ve been thinking a lot about Ebert’s “Phantom of the Opera” post in which he reflects on his relationship to his own body, and waiting for a BYOB to get some reaction:
Is Ebert the first truly iconic public figure whose web presence has completely superseded his physical presence? On his site, the man is not diminished in the least; the deterioration of his physical body is entirely secondary to being Roger Ebert. If he were not so unflinchingly honest in posting images of himself, or in discussing his cancers and surgeries, no one would have the slightest clue that anything was “wrong” with him (and I recognize that this is his point — nothing essential is “wrong,” as he keeps insisting).
Thoughts?
Ebert often points out he was an early enthusiast of online presence, starting with his Compuserve forum in 1990. (He first logged onto Compuserve in 1983 with his handy Tandy 100.) Here’s a WIRED interview from 1996 with more information.
I’d like to dedicate this to LexG:
http://www.youtube.com/watch?v=zByX8-lZENY
I guess Changeling has performed respectably, given the downbeat subject matter, but I’m rather surprised it’s being more or less dismissed as Oscar bait. I thought it was a sturdy piece of storytelling, despite some overly old-fashioned bits such as the asylum stuff, which plays like a cinematic nuthouse’s greatest hits. Jolie is superb, and I can only ascribe the nay-saying to kneejerk anti-Angelina sentiment. But I guess I should dig out Dave’s thread about it and remind myself of what specific problems he had.
ANGELINA OWNS.
Martin: HA! AWESOME. I almost threw in the towel for a sec during Diddy’s (hilariously) hyperbolic intro, but that movie IS EXACTLY WHAT I’M TALKING ABOUT; If ONE MAN can live that life SHOULD NOT ALL MEN?
THAT is pretty much how I’m picturing myself at all hours of the day (only the music would be more palm-muted open E string distorted crunch run through an Ibanez metal pedal and sound sort of like the main riff from BLACK HAWK DOWN.)
FUCK YEAH, ALL MEN should aspire to such a life, and this is the kind of thing that plagues my thoughts when instead of being all CONTINENTAL and OWNING and having three supermodels flanking my every move, I’m working in some Valley hellhole sausage-fest post-douche office with a bunch of slob motherfuckers talking about they upcoming gig at the KNITTING FACTORY and rocking the CHAIN WALLET while I color-correct videos and tweak timecodes and all other manner of BULLSHIT while OTHER MEN ARE BECOMING THEIR OWN GOD, with the most important of all SUPERPOWERS, the POWER TO COMMAND HOT MODEL SQUACK (ie, MONEY.)
THE WORLD IS YOURS. Except that it’s not.
Anyone notice this gutless correction in the NYT arts section today: ‘A caption last Sunday with an article about Carole Lombard, using information provided by a publicist, misidentified an actor shown with Lombard in the film “Nothing Sacred.” He was Walter Connolly, not Charles Winninger.’
Essentially: “We were wrong, but it wasn’t our fault. It was the unnamed publicist we consulted because our staff is too lazy to fact-check the name/picture of a (fairly prominent) character actor of the ’30s.”
Hey Lex, here’s a site that might amuse you.
http://www.adequacy.org/public/stories/2001.7.19.184414.295.html
Are Dirty Harry’s reviews similar to this?
Excerpt:
Once the threat of the draft had passed, Macy returned to the United States and enrolled at Goddard College in Plainfield, Vermont. It was there that he fell under the corrupting influence of playwright David Mamet. Mamet, whose “plays” consist of little more than sexual irresponsibility and endless strings of almost unbelievable profanity, has done very little to advance American culture. In point of fact, he has contributed much towards its destruction. And those contributions are very evident in the actions of Mr. Macy, who has been at Mamet’s side through all of the trash and filth.
(Okay, it’s a parody. But it’s not that different from the real thing.)
PS:
This business with Typekey/Typepad or whatever it’s called is intolerable. I’m posting this from a laptop, but I’ve been unable to make a single comment from my mobile device. Does this issue continue to plague anyone else?
Yeah, TypePad is still hinky. The web (and the world) continues to be plagued by “improvements” that actually do the opposite.
Re the Connolly/Winninger NYT mixup, such mistakes seem more common lately. The new issue of ET has a little Oscar Best Actor/Actress chart that has a tiny pic of Sally Hawkins captioned as Kristin Scott Thomas. Oddly, Hawkins herself is not listed on the chart as a possible nominee.
I finally saw “Changeling” Friday after I missed “Synechdote, NY” due to black Friday traffic. Man, talk about your odd films. At times it felt like “Changeling” was a melodramatic comedy or a satire on old melodramas. Then it would calm down and hit a groove…then it would get downright silly again. Very odd flick.
Wow, Ray, thanks for that link. It’s humbling to realize that Ebert’s more “digital native” than I am, although this makes perfect sense in terms of where he’s at now. And, he saw all this coming more than a decade ago.
Might I also take this opportunity to say how evocative your photos of Chicago are. Excellent stuff.
…from another TypePad sufferer:
Am I the only one who truly loved “Changeling”?
For me, the film totally worked: as a “true crime” saga; as a (gorgeously) reconstructed period piece; as a Mother Courage tearjerker; and as an “Eastwood film.” I was hooked from the opening scene, and never grew restless, bored or impatient throughout the entire 2 hour-plus running time. (When you see as many movies as I do–527 films in 2008 and counting–that’s the ultimate compliment.)
While I’m not sure whether it belongs in the same rarefied pantheon as Clint masterpieces like “Unforgiven,” “Mystic River” and “Million Dollar Baby,” it definitely earns a slot in the second-tier group alongside “Letters from Iwo Jima,” “Bridges of Madison County” and “A Perfect World.”
I totally agree with Yancy that the slams against Jolie’s performance can only be chalked up to an anti-Jolie bias: this is unquestionably her finest work to date. And Mr. Eastwood deserves much of the credit for that.
On a completely unrelated note, has anyone else seen Overture’s “Last Chance Harvey”? I was a little wary going in
(it sounded dangerously twee, and very mid-to-late-70s Eurotrashy), but was completely won over. Hoffman and Thompson both give superb, ineffably charming performances, and the entire movie is perfectly pitched, never overselling its (admittedly) modest, albeit substantial virtues. I think this has a legitimate shot of playing to the same upscale audiences who dug O’s “The Visitor” earlier this year when it goes “wide” in late January.
A middle-aged “Before Sunrise”? Quasi deconstructionist perhaps, yet not too far off the mark.
I’m not complaining about the mistake, yancy. Mistakes happen. I’m complaining about supposedly the best paper in the country blaming its error on a “publicist,” and doing it in the space where it’s supposed to be taking responsibility for its mistakes.
Does anyone watch enough Showtime that they’ve now seen the incessant ads for DIABLO CODY’s Toni Collette series UNITED STATES OF TARA?
HOLY SHIT is that some EMBARRASSING shit right there. I should probably tread lightly in dissing it in advance, since Spielberg is attached and critics usually fall all over themselves for Showtime series AND for middle-aged actresses doing the “campy” thing (see, Tracey Ullman.)
But godDAMN does this look obnoxious, unpleasant, grating and shrill; Imagine DROWNING MONA times CONNIE AND CARLA but in series form, what with Collette making stupid faces and uglying up with a trucker hat and dangling smoke and cornball accent, then doing Waters-esque high camp trying to seduce John Corbett.
UGH. It has that Waters/Hairspray/Bette Midler vibe I just DO NOT GET AT ALL where women are mugging and being aggressively unpleasant and shrill and wearing ugly makeup and scrunching up their faces into some distorted lens.
Oh yeah I also wanted to say I saw TRANSPORTER 3 and must pronounce it BEST OF THE SERIES.
Statham is THE greatest working actor because YOU CAN ALWAYS BET ON STATHAM and 100% of the time you know you’re going to see the wicked shit. He didn’t disappoint here, T-BAG fucking RULED, Jeroen Krabbe is a LEGEND, the action was insane, and I liked how they added some legit emotion, romance, and pathos to this entry after the cartoonish second one.
But mostly, THAT RUSSIAN CHICK OWNED; She was down to DRINK AND PARTY, and that fucking RULED when she started popping pills and CHUGGING VODKA and flirting with Statham, and when he peed on the gas station shop floor is easily ONE OF THE TOP MOVIE MOMENTS OF 2008. I usually don’t go for freckles or firecrotch but that chick should be on that wack DARKHORSE CHART.
KNOW.
I have to say, as far as Ebert’s current appearance, most of the ‘shock’ at his post-surgery looks came from the fact that he wasn’t wearing his trademark glasses. I’ve seen one photo that I’m pretty sure is post surgery, but with glasses, where he only looks a little bit different.
Thanks for the comment on the Chicago photos, notdavid.
“Milk” is projected to debut in the national top 10 but is already drawing pickets in the People’s Republic of Boulder.
Yes, Prop 8 ugliness has come to Colorado.
Your post is confusing, Chucky. You seem to be mocking the city of Boulder (where I have relatives) and conflating ‘pickets’ with ‘ugliness’. Is this what you mean?
Hey wait a minute this NOBEL SON shit looks like it might OWN.
What’s the score on this? Looks like OWNAGE.
HILTON ON FERGUSON HILTON ON FERGUSON
MASSIVE WHOLESALE MEGAOWNAGE
MOST BEAUTIFUL WOMAN EEEEEEEEEEEEEEEEEEEVER.
PARIS = GOD.
HEY Twin Peaks CONNOISSEEEEEURS:
Isn’t this henpecked fat guy douche in all these WAMU commercials THE AWESOME MOTHERFUCKER who ran the bar in FIRE WALK WITH ME and laid some sleazy moves on LP despite being all fat and Canadian?
I am almost positive this commercial dude is that Jacques motherfucker from the show and definitely the movie. AM I RIGHT?
That chick in TRANSPORTER 3 fucking OWWWWWWWNS, my ALL-TIME DREAM WOMEN that would fucking RULE to drive around in some FAST CAR with some awesome Russki chick who’s down to DRINK AND PARTY and PEE ON FLOORS then MAKE THE FIRST MOVE holyshitdidthatchick OWWWWWWWWWWWWWWN.
MASTERPIECE.
Lex: Walter Olkewicz, who played Jacques Renault, is 60 years old now. The WAMU guy definitely bears a resemblance, but looks to be a couple decades younger. I’ve seen him in lots of stuff, but can’t think of his name.
Olkewicz was one of the first celeb sightings I had when I moved to LA. He was in a grocery store parking lot.
Yeah, I guess that WAMU dude is nowhere near 60; He’s just SO damn familiar and looks either like Jacques Renault or some dude from the Ernest movies.
GodDAMN does FIRE WALK WITH ME own. Fuck, I used to just wait till I was all fucked up (which is frequently) and put on that BAR SCENE WITH THE STROBE LIGHT and fucking ZONE OUT; MASSIVE MEGAOWNAGE and one of the best scenes EVER.
Almost goes without saying, but as always, Yancy totally knows his shit and is down and fucking cool as hell. Dude fucking owns.
(A) TP:FWWM is a terrific movie.
(B) Lex’s dream woman is doing exactly as he described above, but her standards are too high for him (aka no fat dudes).
HOLY SHIT that STROBE LIGHT part OWNS even a BILLION TIMES HARDER than I remember!
“THE GREAT WENT” = AWWWWWWWWWWESOME.
STROBE LIGHTS FUCKING OWN and I watched that scene all fucked up with the lights off and it was INSANE. ESPECIALLY when the other chick shows up and the strobe is owning and they show the chick’s name in subtitles, fuck yeah rules.
Did Ferguson laugh right in Hilton’s dead-eyed zombie heiress face? He’s too good a man to do that, but one can only hope…
Hey yancy…
Because I know it’s been keeping you up nights, looks like Not Jacques Renault the TV pitchman is named Bob Stephenson, who’s in a billion commercials and has been in most of Fincher’s movies.
By the way, FWWM is a great Lynch flick, but man has anyone noticed how dated EARLY 90S shit looks these days? It’s like four years on from the glam hair metal era, but Laura Palmer’s hair looks like fucking VIXXXEN or some shit.
Also forgot to point out that apparently Laura Palmer is still going to high school at AGE 37.
Thanks, Lex, for the Bob Stephenson info (and the kind words upthread). I’ll be able to forgo the Sominex tonight.
Fire Walk With Me is the one of the best horror movies ever made. Scary shit right there.
Not David, thanks for the words about the Chicago pics.
Good call Not David Bordwell, “… how evocative your photos of Chicago are.” of light, incredible light, and mise-en-scene, as digitally natvie as a Man Ray, http://thisis606.blogspot.com/