Elliot Gould’s apartment from The Long Goodbye is available for rent. For $2800 a month you can live in one of the most awesome apartments ever used on the silver screen, not to mention have a legendary view. People will call you Marlowe. You will have some hippie dippie neighbors who like to take their clothes off. And you will have a very finicky cat. Watch out for Jim Bouton though.
If I actually had money and lived in L.A., I would be on this very fast. Alas, neither condition applies. But if I did have the money, you know what car I would park there? Tammy Wynette’s limo.
In the interview, his first since that Nazi kerfuffle at Cannes back in 2011, Von Trier revealed that nearly all of his past works have been fueled by heavy drug and alcohol use, claiming he used to drink a bottle of vodka every day in order to feel creative. Expressing concerns that all his sober mind could produce were “shitty films,” he said that Nymphomaniac, his first film after going to rehab, took him 18 months to write while the script for Dogville was finished during a 12-day drug binge. “I don’t know if I can make any more films, and that worries me,” he said.
“There is no creative expression of artistic value that has ever been produced by ex-drunkards and ex-drug addicts,” he added. “Who the hell would bother with a Rolling Stones without booze or with a Jimi Hendrix without heroin?,” a comment that will surely be well received by Nymphomaniac co-star and outspoken ex-addict Christian Slater.
I thought this was an appropriate response:
@erikloomis Where do you even begin with the counterexamples? Blue Train? Tenor Madness? Falconer? Cathedral? Infinite Jest?
— Darcy James Argue (@darcyjamesargue) December 2, 2014
Von Trier has accomplished making both the worst film I have ever seen and being an utterly horrible human being whose has dedicated most of his career to exploiting women on screen while daring uncomfortable film fans to watch. Unfortunately, they will largely do so because ART.
In 1938, a couple of Jewish Americans went on vacation to Poland, where one of them was from. They made films of their trip. Some of them survived. Thanks to their grandson finding them and donating them to the Holocaust Museum, you can now watch 3 minutes of film of the Jewish section of Nasielsk, Poland just before World War II. Powerful, haunting stuff given what is about to happen there. Of the 3000 Jews who lived there in 1938, about 80 survived the war.
In a massive change of pace, Michael Bay is going from toy tentpole to a Benghazi political drama.
Bay is in negotiations to direct 13 Hours, the adaptation of Mitchell Zuckoff’s book about the attack on an American compound in Libya that left U.S. Ambassador J. Christopher Stevens dead.
Chuck Hogan wrote the script adapting the book, which details how on Sept. 11, 2012, terrorists attacked the U.S. State Department Special Mission Compound in Benghazi. The focus is on six members of a security team that valiantly fought to defend the many Americans stationed there. They only partially succeeded: Stevens and a foreign service worker were killed in one attack, and two contract workers were killed during a second assault on a CIA station nearby.
Erwin Stoff is producing the Paramount film.
Bay has spent the better part of almost a decade in the land of Transformers movies, which have budgets of more $200 million, if not $250 million, each. He also took time to do a passion project, 2013’s Pain & Gain, which had a budget of around $26 million. Sources say that 13 Hours would be budgeted in the $30 to $40 million range.
$30-40 million? Can Bay even shoot the scenes where the Obama Administration gives security information directly to Al Qaeda for that money?
Hidden for more than 90 years beneath the rolling sand dunes of Guadalupe, California, an enormous, plaster sphinx from the 1923 blockbuster movie “The Ten Commandments” has been rediscovered and is now above ground.
The public will be able to see the sphinx on display as early as next year, once it has been reconstructed — a necessity since it became weather-beaten during its stint beneath the sand, said Doug Jenzen, the executive director of the Guadalupe-Nipomo Dunes Center, who oversaw the recent excavation.
The roughly 15-foot-tall (4.6 meters) sphinx is one of 21 that lined the path to Pharaoh’s City in the 1923 silent hit, directed by Cecil B. DeMille. He later remade the film, with Charlton Heston as Moses, in 1956.
Legend has it that after filming ended, the movie crew dynamited the set and buried the sphinxes in a trench, but Jenzen has found little evidence of such a dramatic end. Instead, the wind, rain and sand likely collapsed and buried a large part of the set under the ever-shifting dunes. The sphinxes are in roughly the same place they were during filming, he said.
In fact, the film helped guide an excavation of the site in 2012.
“We’d work during the day, and we’d watch the movie at night to figure out what we were finding,” said M. Colleen Hamilton, a historical archaeology program manager and senior historical archaeologist with Applied EarthWorks in California.
I rarely put forth or publicize online petitions but I will make an exception here. The oldest standing monument to the film industry is falling apart and needs preservation before it is torn down. Vitagraph Studios was a leading maker of silent film from its studio in Brooklyn. Warner Brothers bought the company in 1925 and of course the film industry had already moved out of its New York original home to Hollywood.
Personally, I’d like to see a government-sponsored early film museum created in the area around the smokestack. It’s an incredibly valuable piece of the nation’s cultural heritage and is worth the investment.
I have been light on the blogging lately because of a week that has gone as the following:
Monday–teach, drive to brother in law’s house, watch Jets be the Jets and lose hilariously
Tuesday–visit Valley Forge, give lecture at Muhlenberg College, forced to ditch all my Lutheran jokes after finding out there are hardly any of my people there.
Wednesday–tour coal mine with Muhlenberg students. Buy chunks of coal for office decorations.
Thursday–eat ridiculous and amazing breakfast sandwich at Allentown’s indoor farmer’s market that includes not only eggs and bacon–but deep fried bacon! Drive to Providence in rain.
Friday–move to a new apartment.
Saturday–clean old apartment in the futile attempt to convince my landlord not to screw me on the deposit.
That was actually the short version that left out a bunch of stuff. So all I have to say right now is this: Face/Off was awesome. I should watch it again.
Now that I finished my 2nd book manuscript in 3 months, I have time for a vacation. About 50 minutes in fact before I get to the 4000 things that must be done yesterday. So I spent it watching John Ford’s 1951 film This is Korea. This is the Korean War version of the World War II documentaries the military commissioned from leading film directions. While I don’t know if it quite matches the artistic glory of John Huston’s The Battle of San Pietro, This is Korea is probably the best war documentary Ford made.
Ford pushed this project hard, convincing the government to allow him to make it. And he had to put together the editing, narration, voice work, sound, and concept. But the real heroes here are the war photographers, filming this absolutely jaw-dropping footage. I can’t easily find a number of U.S. military photographers who died in the war, but no doubt the number was significantly above zero, especially given that these guys were right on the front lines. Amazing.
Now, Ford does slightly simplify Korean history for American audiences. The film starts with him painting a Korea at rustic peace before the evil commies arrived. I mean, sure, there’s those 40 years of brutal Japanese occupation, but hey, let’s not let history get in the way of a pat narrative. And Ford never was too much into subtle imagery or messaging in his feature films, never mind a documentary made to get Americans on the home front to sacrifice for the cause–give blood or send care packages at the very least. But he was pretty bloody convincing to me in doing that. His soldiers’ lives are brutal. Terribly cold weather, dug in enemies, hills, a lack of clear progress. Throughout it all, the soldiers are brave. Not heroic. But just regular guys doing a job and doing it well and dying at it.
Well worth a viewing.
A couple of weeks ago, I referenced Stanley Kubrick’s 1953 film The Seafarers, a promotional film he did for the Seafarers International Union. I couldn’t find an easily accessible copy at the time but have since alleviated that problem. Here it is, although not entirely safe for work given that seamen love pictures of topless women and evidently so does Kubrick.
Now, this is not the greatest film ever, nor does it really showcase Kubrick’s future talents, although the long, languorous shot of the food in the cafeteria is pretty great. Really, it’s more interesting as a window inside the mid-20th century labor movement. If you are looking for your leftist ideal of a labor movement, replete with socialism, cross-movement solidarity, etc., you never were going to find it in the SIU. It was formed as an AFL counter to Harry Bridges’ International Longshore and Warehouse Union (ILWU). What this union is about, as it states repeatedly, is security for workers. For most workers, this is the most important thing a union can offer and it, not radical social change, was at the core of labor’s appeal. This film was intended for use in convincing new members to sign up and it’s pretty effective in that, focusing on the concrete benefits for workers and their families and the internal democracy of the union.
Narrated by Don Hollenbeck of CBS News (imagine the reaction if Brian Williams or Wolf Blitzer narrated a union promotional film today!), this is just a really useful document for understanding American unionism at the peak of its power.
I was unaware that Stanley Kubrick had made a documentary about the Seafarers International Union in 1953. I have not seen it, but it is now available here, although I will have to wait until I am back in the U.S. to watch it.