R.I.P. Mitch Hedberg
"I wrote a script and I gave it to a friend of mine whose job it is to read scripts. He read it and said 'it's good, you should rewrite it.' I said fuck that, I'll just make a copy."
Mitch Hedberg
1968-2005
Thoughts on movies and other media from a man who loves movies
"I wrote a script and I gave it to a friend of mine whose job it is to read scripts. He read it and said 'it's good, you should rewrite it.' I said fuck that, I'll just make a copy."
According to the best Paul Thomas Anderson site on the web:
WJBK, the local FOX affiliate, ran a promo for their local 11PM newscast during which they showed a picture of who was kicked off Amercian Idol and promised more details. Normally this would not be worth noting, but they revealed who was kicked off the show fifteen minutes before it happened "live" on the real program.
Fellow AMGer Tracie Cooper has started what is possibly the best new blog of the year. Harry Shearer once said that really good satire should piss off the target of the satire. So all you thirteen year old republican girls should stay away from Republiteen.
In addition to the story about Ben Affleck adapting Dennis Lahane's Gone Baby Gone (a topic I will delve into great detail about soon), this story also sounds very promising.
This weekend brought a pair of strange pop-culture collisions. There is a love scene between Joan Allen and Kevin Costner in The Upside of Anger (review coming soon) and as I was watching it all I could think was, "Wow! That's Jim Garrison having sex with Pat Nixon!"
The Bravo network (by the way guys I'm still waiting for my Rollergirl Poker....I mean Heather Graham Poker....I mean my Celebrity Poker Showdown DVD) started up the third season of Project Greenlight this week. I have never seen a second of the first two seasons partly because I hate reality TV and partly because I don't get HBO. Bravo made the kind of mistake that should infuriate any halfway intelligent viewer. During the show the producers (the money guys) and the creative guys are debating which script they are going to select. One if a crime thriller, one is a comedy, and one is a horror film. The show establishes a great deal of tension and conflict concerning the selection. During this scene Bravo throws up a promo on the bottom of the screen that says something like "Watch the horror of making an independent film next Tuesday at 9". Because Bravo does not trust viewers to find the program a second time, they ruin the program they are running underneath the promo.
It sure seems like every year somebody wins a big time Oscar and within a month they divorce. This year I never expected it to be Alexander Payne but it is.
On the back of the soon to be released DVD of Rhinestone this line appears on the top of the back cover:
"When Dolly Makes a Deal With Stallone, Country Music Takes a Beating!"
With films like The Negotiator and Set It Off, F. Gary Gray showed a knack for staging action sequences and building suspense. Why that makes him an ideal choice to direct the Get Shorty sequel Be Cool is difficult to figure. The books of Elmore Leonard have almost always been more about the characters than about the plot - although the plots always offer a strong narrative drive. The best Leonard adaptations (Jackie Brown, Out of Sight, and Get Shorty) struck the correct balance between people and events. Gray loses the tone of Be Cool (which to be fair is one of Leonard's least interesting books) in less than twenty minutes. His editing is crisp in spots, but often he lets the scenes linger on longer than they need to, especially when the actors appear to be improvising. Since they rarely say anything revealing, funny, or even amusing these moments grind the film to a halt. What really sinks the film, however, is John Travolta giving arguably the laziest performance of his career. The ten years between Get Shorty and Be Cool (a decade that saw him take millions and millions of dollars for such drivel as Basic, The General's Daughter, The Punisher, and Domestic Disturbance) have taken much of the "cool" off of Travolta. In Get Shorty Chili Palmer seemed like the smartest guy in the room, a man constantly feeling out the angles of the people he was manipulating. In Be Cool Chili seems like he knows all the angles because Travolta, who comes off smug and/or tired much of the time, has read the script. While none of the supporting actors embarrass themselves, none of them have anything all that interesting to do and each must contend with the black hole that is Travolta's performance sucking what little life there is clean out of the movie. Just because it is a cliché to say that John Travolta has had more career comebacks than just about any actor in history does not make it any less true. After the dead-end that is Be Cool, it would seem that Travolta should begin looking in earnest for his next Quentin Tarantino or at least his next talking baby.
My brother Scott pointed out to me that among the characters portrayed by the men who won acting Oscars this year, there is only one working eye. I think this may be the best factoid like this since 1995 when Hollywood laid bare how it feels about women by giving the female acting awards to a woman playing a nun and a woman portraying a whore.
But if the last sentence in this story is for real than we are one step closer to the end of times.
You too can enjoy the healthy restorative power of freshly squeezed orange juice.
Criterion has put out an absolutely beautiful two-disc set of Gus Van Sant's My Own Private Idaho. Rewatching the film within the context of Van Sant's recent work (Elephant and Gerry), which marked a return to his art-house roots, shows how much of a restless talent he has always been (a fact that can be forgotten in the face of Finding Forrester and Good Will Hunting). And yes, it is still sad to consider what River Phoenix could have become had he not overdosed.
Just some thoughts and observations on the 77th Oscar telecast: