The Hot Blog Archive for February, 2007

Trump Eats Shark?

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Why is it that eveyr shark jump lately seems to involve seeing more of someone’s skin than we really ever wanted to, aside from “our” fantasies? (Oddly, I think that the reality of Ms. Spears’ vagina, amongst others, spoke to the fantasy life of men, which is not as singularly vagina-focused as many tend to believe.)
In any case, Donald Trump, whose real estate seminars, blow-up/pin-up wife, and self-exploitation fighting Rosie “Pick A Harder Target” O’Donnell seemed to be as far as a man with money could sink, is topping himself with an appearance at the next WWE Wrestlemania (23… oy… I remember the first). He will shave his head if… well, something happens at the even on April 1. The release doesn’t even indicate what the “bet” with Vince McMahon is. All I know is that we can expect to see Vince’s bald pate on April 2. And Donald Trump is at 14:58 on the Warhol clock.

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The Daily David – Feb 21, 2007

How does the Sirius/XM merger reflect on the movie business?

And the YouTube version…

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The First Ever Daily David


And the YouTube version…
Also from the ACE Awards – Tarantino notes that he is heading back into the editing room for his last 10 days of cutting majors scenes… he and Sally Menke need to cut the big car chase in Death Proof. Meanwhile, a bunch of Grindhousers are heading to a pro wrestling match to enjoy and promote today. Ever quotable Quentin also said, “An editor is a psychiatrist who keeps the director from committing suicide.” He also called Menke, “his one true collaborator, from start to finish.”

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Klady's 4-Day Pres Weekend Estimates

Notable: Lou Lumenick tells the world that Alien v Predator and Freddy v Jason were actually the highest openers without screening before Ghost Rider. Noted.
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MoBO4U

Okay… so if, as a blog commenter wrote, Bridge to Samantha Stevens’ Daughter (aka Bridge To Terebithia) actually cost $30 million… or even $40 million or $50 million, a $28 million 4-day weekend – for a kids movie, likely to signal a film that cracks $100 million – will make the movie a major profit center. (Far more so than An Inconvenient Truth, which Peter Bart oddly claimed a few weeks ago is Paramount’s “Paramount’s single most profitable release.”)
Meanwhile, February has become

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Gollum & Smeagol Duet

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Klady's Friday Estimates

There is so much to say today and so little time.
Ghost screenings worked out burningly well for Ghost Rider.
Terabithia

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Lunch With… Anthony Hines & Peter Baynham

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Two of the writers of Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan sit down and chat with David about the process of making the film, why Bruno pisses off more poeple than Borat, what’s next, and making a waistcoat out of Dakota Fanning. And away we go….

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20 Weeks – Dead Horse Beating

Everyone liked something. Generally, the hate levels were down. And while nothing particularly unexpected is expected a week from Sunday, there really isn’t much opportunity for anything remarkable to happen.
Really

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Nobody Knows Bill Goldman…

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There is a full list here…

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Zzzzzzz

I’m only going to ask these questions for now…
1. Why would David Fincher want to be Alan J Pakula when he is so good at being David Fincher?
2. Why can’t anyone (except del Toro and Scorsese) seem to be able to do high visual style lately and actually do an effective job of storytelling?
3. A 2:40 period drama that had no clear clock or ending did manage $60 million this Christmas… but why would anyone think a similarly period story without a single box office draw and no clock or ending would be worth doing at 3 hours?
4. Wouldn’t Fincher have been well served by seeing Se7en and resepcting what worked about that film before making another movie about a serial killer?

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Rashomotor

Lou Lumenick’s blog sent me scurrying for more info about the Volkswagon Relentless Drive Award, given to a Sundance filmmaker each year. This year it went to deborah Kampmeier, who made the now infamous Dakota Fanning movie, Hounddog.
As “reported” in a press release written by The Motion Picture Group, which is funding Ms. K’s next film:
“The Relentless Drive Award” pays homage to the incredible amount of dedication, determination, sweat, tears, spit and downright unyielding will to get an independent film produced. This year, Volkswagen owners selected the director with the best story of how they used music in their quest to make their film happen. VW owners were able to vote throughout the Festival in the Volkswagen tent, after which the “Relentless Drive Award” was awarded to Kampmeier.
Volkwagon announces the competition on its own site:
The theme this year will be Music in Film. The award will go to the director whose movie was most inspired by music, or in which music played a huge part in it’s (sic) creation. Directors will submit their stories, and we’ll advertise them on the back page of the Daily Insider. VW Owners will vote on the winner who will then drive off into the sunset with the use of a free VW for one year.
So…. Volkswagon owners who were at Sundance and who voted for the film most inspired by music, or in which music played a huge part in its creation made this call. Could it have been more than 50 people voting? And is there any way they wouldn’t vote for the film named after an Elvis Presley mega-hit? And is this one reason why there is no publicity on the win – going to a very controversial film – from Volkswagon itself?
It’s not a big deal. But once again, one person’s dedication, determination, sweat, tears, spit and downright unyielding will is another man’s minor marketing ploy.

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Will Jackie Costigan Have An Oscar In His Mitts Next Sunday…

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Or will he (and his movie) end up in an awards ditch?
(Some say he’d happily take the ditch in order to get Marty Scorsese his Oscar. But I think he’d like to survive this version of The Departed.)

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TypePad Problems?

Can anyone sign in?
Update 2:18p – Well, I can’t sign in to comment… and I’ve gotten a few e-mails about others with a similar problem. Sorry about that, chiefs. No idea how to fix it. Waiting out TypePad probelms seems to be the only real solution. The wave of spam from opening up commenting without it is too ugly.

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The Hot Blog

Quote Unquotesee all »

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