Good News, Everyone!!

Over the years of serving up your Cup of Joe (fresh and hot), this semi-experimental online  original commentary on our collective Past, Present and Future, well, sure, there's been great focus on politics. But something happened.

Pretty much a year, two even, have been posts about the Con Man Who Swindled America.

Titanic effort has been applied all along by yours truly to resist attempting to endlessly post pithy captures our current Idiocracy. The effort has won the day, so, in the words of Professor Hubert J. Farnsworth, "Good news, everyone!" More normal weird and wonderful items are making a welcome return here.

(No, I'm not turning blindly away. How could anyone? We all know what a horrible place we've become. America is now the place parents warn their children about. "And if they catch you, they'll lock you away forever.")

So.

First we heard about an Alabama man who allegedly had an Attack Squirrel, which he had been feeding meth in order to make it "aggressive", so the police better watch out! Then came The Chase after said owner of the perhaps meth-addicted Attack Squirrel.



Ok then.
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Movies have been on my mind too, as always. Especially regarding the process of making them. As a hardcore fan of the films of Stanley Kubrick, I I enjoyed this oral history about the making of the orgy scene in Kubrick's final film, Eyes Wide Shut.

"Peter Cavaciuti (Steadicam operator): Stanley’s precision was the thing I remember most. I had three lasers on the Steadicam, pointed to the ground, and when they all lined up, a grip would drop a plumb line from a string from the lens; then I’d line my lasers up, and then the grip would talk me into the mark, saying I was two inches, one inch on the mark. That level of precision was pretty exceptional. You’d very rarely do less than 20 takes. So physically and intellectually, it was demanding. Very often, Stanley would say to me that I wasn’t on my mark. I’d look down and I had my three lasers, so I’d say, “Well, I am on the mark, Stanley.” And one time Tom Cruise whispered to me, “Just move the camera, Pete.” [I realized] it was just code for saying that Stanley wanted to put the camera in a different place."

As much as he was known for being a control freak, it is much more a case of his being a collaborator - gathering very talented people, work with them for months to create the best way to tell a scene or a story, and still at the moment of shooting the scene being open to what else might be possible. 
I was also struck by descriptions of Tom Cruise and Nicole Kidman as great to work with - helpful and contributing to the work. One doesn't spend years working on a difficult project unless their is great commitment and excitement.

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How about pretty much every way you can cook a potato?

Every 1970s Movie Reviewed

This website I'm linking to is so good I hardly know where to start. The name nails it well - Every70sMovie. Every day writer-filmmaker Peter Hanson posts a review of a 1970s movie, a task he's been at since October 2010.

So yes, big. And an incredibly wide range of theatrical and TV movies are here. Random sample One:

The Devil's Widow (1970)
Only movie directed by actor Roddy McDowell, starring Ava Gardner and Ian McShane
Based on a Scottish myth, "The film begins at the sprawling Scottish estate of Michaela Cazaret (Gardner), a middle-aged woman of unclear national origin who populates her castle and its grounds with swinging young people."

Sample Two:
(this is one of my favorite 70s movies by far)

The Last of Sheila
written by actor Anthony Perkins and Broadway composer Stephen Sondheim, but this is no musical. The story is that Perkins and Sondheim and friends were game lovers, played many scavenger hunts, and this murder mystery movie grew from that. It's got a fantastic cast - James Coburn, James Mason, Raquel Welch, Dyan Cannon, and more rich-and-idle characters who find out too late they are all soon to be victims of revenge
Hanson calls it a "jet-set caper movie.


Not even the tip of the iceberg of this site, which also lists movies by title and a giant list of names of all the players. Just go read and get lost for a while.

The First Baby-Boomer Horror Film Returns

"The Texas Chainsaw Massacre" was a raw, relentless assault on moviegoers in 1974. And it's still as grim and challenging today - forget those weak generic "remakes" of recent years. They are not worth ten seconds of your time. The original is being re-released in a new digital restoration in theaters this summer (slated for Nashville's Belcourt July 25 and seeing this one in a theater is an amazing experience, bested only by seeing it on a drive-in movie screen, the sounds of saws and screams echoing in mono sound across the parking lot.).

Here's the trailer for the re-release (maybe NSFW)

Writer John Bloom, aka Joe Bob Briggs, authored a terrific history of the making of the movie in this 2004 essay, go read it. Bloom keenly observes:

"Chainsaw was the first baby-boomer horror film, in which pampered but idealistic suburban children, distrustful of anyone over thirty, are terrorized by the deformed adult world that dwells on the grungy side of the railroad tracks. There had been other films that treated rural America as a place of seething, barely contained violence—notably Deliverance—but never one in which the distinction was so clearly made between an old America, of twisted, deranged adults, and a new America, of honest, right-thinking children."

And there's this:

"We had no prop man, so I found the props. We didn’t even have a chain saw. I found one. Of course, today I would know that if you’re making a movie with ‘chain saw’ in the title, you should have ten, not just one. But we had one. A McCollough. I had to take the teeth out of it so it wouldn’t hurt anyone. I remember we wrote a letter to McCollough, thinking they might want to invest in the movie. They never answered us.”

Bloom details the movie's connection to a wee baby Gwyneth Paltrow, director Sidney Lumet, and the resignation of President Nixon. Bloom of course is a horror/drive-in legend for his Joe Bob writings, and was even given a cameo in the 1986 sequel, the movie which also gave us Bill Mosely as Chop-Top and Dennis Hopper in all his bizarro glory as a Texas Ranger hunting down the cannibal family. But this sequel is more of a mash-up of Looney Tunes and Chainsaws.

The original is a take-no-prisoners descent into madness.

Director/writer Tobe Hooper did such a good job scaring the crap out of audiences and Hollywood, his career never really took off, despite his success with "Poltergeist". And oddly the formula he created for the independent (now mainstream) horror movie was copied and repeated to bring massive success to John Carpenter and Sam Raimi. But Hooper, the first to break thru so many barriers, was a casualty.

Where Are The Women?

I noticed an image of four film directors who have been the premiere filmmakers of the last few decades, Scorsese, Spielberg, Coppola and Lucas – which I liked for simply the way it looked and for the influence these fellows have had over movies. But the image prompted a friend to say that despite the radical changes these men made, they didn’t really provide much change for opportunities for women as filmmakers.

It’s a good point, to which she added that perhaps in decades to come we’ll see a collection of grey-haired ladies who have made movie history. I think it’s worth noting that an elite group of women have been crucial to the success of these fellows, though.

Scorsese has had one person, film editor ThelmaSchoonmaker, craft all his films into shape, from “Woodstock” to his current projects. His films have a total reliance on editing, providing the rhythms and structure that are seen as hallmarks to his work. Likewise, Spielberg’s first two film s, “Sugarland Express” and “Jaws” were edited by Verna Fields – let’s be honest, it’s the editing that makes “Jaws”.

But most consistently, he has relied on producer Kathleen Kennedy – from “E.T.” onwards, and she recently took the helm as the boss at Lucasfilm, and has control over all the upcoming “Star Wars” films as well. Kennedy’s work has garnered 120 Oscar nominations so far. Her credits are most impressive.

Yet, she is quoted on IMDB as saying:

“I don't think there's a great deal of discrimination -- although I'm completely perplexed and confused as to why there aren't more women. For instance, if we're looking for new, young directors, which is something we do all the time, we certainly never go look at films because they're directed by a man or a woman. We look at films because they are winning awards, they're good, and it has nothing to do with gender. And women certainly have equal opportunity to get into a university like UCLA or USC, to get into the film department, to take the same courses to allow them to make films, to deal with a whole gamut of subject matter, and yet I don't know what happens. There's something that happens in the process of getting there that seems to turn many women away.”

As for George Lucas – an interesting fact – his wife Marcia was integral to his earliest works, again as a film editor, for the “Star Wars” films, and on “Taxi Driver” with Scorsese. But, once the couple divorced in 1983, she left Hollywood and filmmaking. Scorsese’s wife Barbra Da Fina was also his producer from “Color of Money” to projects now underway – but they too divorced.

Coppola – well, that has brought us his daughter Sofia, a rising star director.

In truth, these four men did much (successfully or not) to mark the end of studio control and the rise of independent filmmakers, but they are certainly the Old Boys network leaders today. Fighting those powers, asserting control, all was a rather constant and often brutal struggle.

And let’s be honest too – when it comes to the forms of Western drama, women were just barely allowed onstage as late as the mid-late-1800s. That’s a huge hurdle to overcome. Oddly, back in the old Hollywood studio days, women were pretty much in charge of all film editing, as wage-workers mostly, since studio heads saw the job as rudimentary and lacking artistic merit.

Recently, film director Lexi Alexander has been writing about the lack of opportunities and challenges women face in today’s filmmaking world. She is tackling the problem head-on:

“Gender discrimination in Hollywood goes far beyond women simply not getting the gig. It is reflected in movie budgets, P&A budgets, the size of distribution deals (if a female director's movie is lucky enough to score one), official and unofficial internship or mentorship opportunities, union eligibility, etc.

“Women in Hollywood have no male allies. There are some who pretend to be on our side, but yeah, not really. They may say the right thing because, after all, they're liberals and that's a public image they'd like to keep up. Others may actually believe in gender equality, but are not willing to put up a fight for it that could sacrifice their own status or relationships.”

Here’s what I know for certain, no matter that much of the world can’t seem to grasp this idea: It’s a grave error to marginalize women, no matter what the field of endeavor. And changing this view is indeed a large obstacle.

Camera Obscura: Infinite Vampire Twilight ShlockFest Extravaganza and Emporium

Worldwide vampire obsessiveness weekend is upon us - suitable fare for a Black Friday Shopping Weekend During The Economic Collapse.

The finale of the Twilight series movie "Breaking Dawn Part 2" has emerged as such an enormous cornucopia of Weird that I had to make a special post about it. (Truth be told, I did a search of my blog for use of the word vampire and it came in at more than 30 posts, which means vampires have easily been 10% of this blog's entire output, which include these two of my own personal faves, A) Hot Vampy Sex Talk from the first movie and B) the Sarah Palin-Twilight Convergence)

Understand too, I am a deep-dyed fan of Bad Movies and Cinema Shlock and have forced many a friend to endure Something Awful. Big Budget Awful really stinks up the place, though. I recently watched the movie "John Carter" and it is merely Done Badly, whereas say, "Anonymous" was Stunningly Awful and made me Pity The Actors, and answered the question "What happens when the folks who made the alien-invasion 'Independence Day' investigate the world of William Shakespeare?"

But vampires? Hell, even I have written and produced my own vampire play, but it's sheer genius compared to the bizarre path the bloodsucking genre has taken in movies and TV. Example - this year we've had Abe Lincoln hunting vamps, while on Hulu the Korean TV series "Vampire Prosecutor" is gaining fame and I'm still searching for a copy of the short film "Davy Crockett Battles Kung Fu Vampires".

The hilarity of reviews are MUST reading, no matter what you might think of the movies/books/adoration/obsession. Some samples:

The Confused Notes Of A Twilight Newbie Forced to Watch Breaking Dawn Part 2:

"Is his face always like that? It's like he washed it with a powdered doughnut.

"Eww, now I get imprinting. He made that vampire baby the love of his werewolf life. Or something. It's kinda gross — definitely weird. And even more disturbing that those teenage girls found it so funny.

"T-Laut nicknames Renesmee "Nessie." K-Stew angrily shouts, "You nicknamed my daughter after the Loch Ness Monster." Is the Loch Ness Monster real in this world or was K-Stew making a joke? If the latter, why would Nessie be a laughable idea, while talking wolves are serious business?

"Vampires seem to not be affected by the weather, so why do they wear jackets and turtlenecks?"

Twilight: Breaking Dawn Part 2 is Completely Insane and Actually Worth Watching. Seriously

The Final Twilight Movie Is Like A Porn Film With Action Figures:

"It turns out that many vampires have X-men-esque superpowers on top of their default vampire superpowers. We already knew Alice could see the future, and some of the Volturi could read minds and create mental anguish, but now we find out that there are airbender vampires and electricity-shooting vampires and omega mutant vampires who can go all Dark Phoenix on your ass.

"The point is, there is a fight scene. A long, improbable, laugh-out-loud at the abysmal special effects fight scene, in which we discover that you can kill a vampire exactly the same way you kill an action figure. Just pop off its head! Boink! It comes off with no blood! Just a kind of SNAP just like plastic. Even if you never go to the theater to see this movie, I urge you to rent it at some point just to fast-forward to the fight scene so that you can see the weirdest thing ever."

Occupy: Sparkle

"It began when I read the first two books on my honeymoon in December 2008. My new wife and I listened to Twilight and New Moon on a road trip. We saw the first movie when we returned home, and a few months later we were divorced. I'm not saying Twilight killed my marriage, per se. I am saying there is a strong correlation between consuming Twilight content and no longer being happily married."

 Even The Actors In Twilight Hate Twilight

I have to say that I'll likely see this "finale" one day, but try as this current generation might, all this Vampire MashUp has been around for a long time. Even the old Hammer Horror folks stirred it all up in the early 1970s with the movie "Legend of the Seven Golden Vampires" which marks the arrival of the trope All Vampires Know Karate Because Dracula Did. (See the trailer for the movie here which has some NSFW images)

Indie film director superstar Jim Jarmusch is at work on his take on vampires in a movie set for next year, "Only Lovers Left Alive", starring Tilda Swinton, so even though vamps are being squicked out of all decency the darned things JUST NEVER DIE.

That's quite charming.

Camera Obscura - Shooter, Watchmen, Bergman, Blow-Up

Conspiracies and secrets fill the movies on today's menu, along with generous amounts of tough guy-isms. Plus a few news items on movies coming out in The Future.

Speaking of The Future - the award for dumbest idea I've heard in a while is the project to make "Magic 8-Ball: The Movie". Yeah, the toy from the 1960s. At least it isn't a musical with John Travolta in drag (yet). Mattel and Hasbro are also pitching movies based on the board games Candy Land, Monopoly, and others. Hopefully all these ideas (like a lot of toys these days) will get recalled before they ever get rolling. Then again, if I could finish up my script for "Slinky vs Silly Putty" fast enough, I could be a major player in no time. No, you don't like that idea? Wait -- how about "Easy Bake Oven From Hell"??

A movie yet to be finished (or even started) held much of the attention at the San Diego Comic-Con which just wrapped up. The talk about the long-planned and now in pre-production movie version of Alan Moore's brilliant graphic novel "The Watchmen" was most intriguing. Director Zack Snyder, whose work has been just darn near flawless, has spoken of some terrible casting ideas in recent weeks, but the things he said in San Diego give me hope:

"One of the things I think is important about Watchmen is that it have resonance within cinematic pop culture as well as superhero culture. Because I believe there's a relationship between Rorschach and Travis Bickle in Taxi Driver."

"On running time for the film: "I don't have a time frame right now. I think it's running pretty long right now - it's about 130-140 page script, not counting "The Black Freighter". "The Black Freighter" (an essential subplot from the comic) is about 16 or 17 pages as a script."

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I have to give a big thank you to Les Jones, who wrote about a movie called "Shooter" out earlier this year and now on DVD. Based on action/adventure writer Stephen Hunter's book "Point of Impact," it didn't get much of a push from studios and disappeared quickly from theatres. But what Les wrote made me remember it and want to see it. Good call, Les.


Now you can watch it at home and prepare to be surprised. The story opens with a sweeping shot of burning villages in Ethiopia and the camera then tracks an oil pipeline, and by the end has covered several years and reaches deep into dark conspiracies about oil and government secrets. However the center of the story is Bob Lee Swagger, played by Mark Wahlberg, who is channeling Lee Marvin or Charles Bronson here. Swagger is a deadly sniper/marksman for the Army who is reluctantly drawn back into action when they appeal to his patriotic duty. There's enough action movie cliches here to make you pause, but don't -- this one plays out like an intense game which just gets better as it goes along.

Some key points -- never, ever mess with a guy who can shoot you from a mile away; lots of modern weapons tech and strategy play big roles; Ned Beatty does a nearly hilarious impersonation of Dick Cheney; and as Les noted, there's the scene in Athens, Tennessee - 'patron state of shootin' stuff' as Swagger calls us, where Swagger meets actor Levon Helm as a master of the history of weapons in a juicy part which Helm delivers with true style.

Wahlberg - and here's something I thought I'd never say -- is really impressive on the big screen. Contrast the steely-eyed Swagger with the nebbish and nervous hitman character he plays in the action/comedy "The Big Hit" or the soldier he plays in "Three Kings." Not to mention the small but fierce part he played in the Oscar-winning "The Departed."

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The Modern Tough Guy in movies was pretty much created by the pairing of director John Woo and actor Chow Yun Fat. Almost every video game shoot-em-up and most action movies that followed are all part of the Woo-Fat Pattern.

Their creation now comes full circle as a new video game for the PS3, "Stranglehold", is set for release. The game is a sequel to Woo's "Hard Boiled", where an animated Chow Yun Fat, playing a tough cop named Tequila (heh heh) will be the character you take through the continuing adventures in Hong Kong.

The action and characters and explosive action sequences have colored most U.S. and international movies made since it's release in 1992. And it still holds up very well. A new 2-disc DVD set of "Hard Boiled" is now out so I can finally retire my battered letterbox VHS copy.

From Woo to Wahlberg, the urban landscape has replaced the Monument Valley backdrop of John Ford westerns, but the themes about the nature of revenge and justice are just as vibrant today as ever.

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Two legends of cinema history died recently, Ingmar Bergman and Micheangelo Antonioni. They were masters of cinematic imagery.

Their influence permeated movies and directors and actors for decades and still does today. Both men discarded conventional filmmaking and searched, some would say desperately, for ways that cinema turns into expressions of our most complex emotions. No - they certainly do not make movies like that anymore.

While Bergman's works are worthy of viewing and study, it was Antonioni who had the most influence on me. "The Adventure", about a woman who vanishes during an afternoon of sailing, is almost purely metaphysical. It's as if her indifference literally makes her disappear from sight. And the response of her friends is to casually discard her disappearance as well, sealing her fate.


But for me, his movie "Blow-Up" is one of the best I've ever seen. Critics and writers have all pointed to the movie as a benchmark for the Lost Souls of 20th Century Life. And it surely does provide characters who dwell in a portable and throwaway lifestyle. But for me the story is about perception itself and how we make our own meanings about reality and life. Did the photographer played by David Hemmings witness a murder or did he imagine it? It's a plot that has been very popular ever since. Antonioni does not provide the answer - you either participate in the movie or it may just bore you to tears. I remain fascinated by the movie, though I am certain to perceive layers where others perceive little at all or nothing. I kind of think that was Antonioni's point.

See, I do watch something besides mindless action movies and zombie stories. Oddly, I have often wondered what the death-dwelling mind of Bergman would have done had he made a zombie movie.

We do know that Bergman lost the chess game. (He should have, like Bill and Ted, asked to play Clue or Battleship instead.)