Writer guy Bob Westal was literally born in Hollywood and has commented on the worlds of movies, popular culture, politics, and food ever since. His interest in cocktails is more recent, but he made up for lost time with hundreds of “Drink of the Week” blog posts for Bullz-Eye. In addition to writing and editing, Bob also talks a lot.
Via Popbytes, The new trailer for “Nine”
I gotta say, the first one isn’t all bad, but I like the second one better. The music is, very definitely, immensely better. But, then, when it comes to sheer arresting imagery and great movie melodies, just try and compete with Federico Fellini and Nino Rota.
* The rep of PG-rated horror these days couldn’t be much worse. So, I have no problem believing CHUDster Devin Faraci that a publicist sent out a blast e-mail crowing about the R-rating given to “The Wolf Man” for “‘bloody horror, violence and gore.”
I’m excited enough about what appears to be a nicely movie-movie stylized general approach to the movie from director Joe Johnston, of the underrated “The Rocketeer” among other movies, to still be looking forward to seeing this, I think. Moreover, I am a fan of the fairly sanguinary (and, to me, truly freaking scary in more or less the best way possible) “An American Werewolf in London,” but I’m still a bit nonplussed. I realize I’m a bit of wuss about too much gore, certainly compared to the typical horror fan.
Nevertheless, I can’t help finding the attitude of AICN’s Quint a little Stephen Colbertesque in its equation of blood and gore to “nards” (Colbert would just come right out and call it “balls”). I also think making a tough, scary film really doesn’t have that much to do with how much colored corn syrup you throw around. But then who listens to a guy who likes musicals?
* The most disconcerting news about “The Wolf Man” is not the above, but the news last month about the decision to apparently drop a mostly completed score by Danny Elfman. Yesterday, Jon Burlingame of Variety wrote an even more disconcerting piece arguing that film composers are being devalued. Here’s the article ending quote from respected composer James Horner (not my personal favorite, as it happens, though he’s certainly worked on plenty of good movies and I’m perhaps not giving him enough credit):
“No one just says, ‘What do you think of my picture? I want you to write what’s in your heart.’ I haven’t heard that in years. That simple concept does not exist anymore.”
Apparently, though, it does for some composers, when they’re working with really good directors. Michael Stuhlberg’s interview with Anne Thompson a while back indicates the Carter Burwell’s music may have changed the tone of Coen Brothers’ “A Serious Man” considerably and that he was given considerable latitude. Real filmmakers apparently still realize that musical choices — when and how to use it, or not use it — are absolutely crucial.
Among the worthies honored by the Kennedy Center and the White House last night were one Mr. Melvin Kaminsky, i.e., Mel Brooks, and one Mr. Robert De Niro. The introduction for Mr. De Niro is not online, but President Obama’s description of Mr. Brooks is, and it’s a doozy.
Since I don’t have anything on from the presentation featuring the president and Mr. De Niro, I’ll have to go with his on-air meeting with another important personage.
Just for the record, the non-movie honorees were jazz great Dave Brubeck, opera singer Grace Bumbry, and, yeah, Bruce Springsteen. The show will air on CBS on December 29.
Lots going on…
New Line has picked up a pitch from Darren Lemke, the writer behind the studio’s Bryan Singer project “Jack the Giant Killer,” that reimagines the classic tale of “The Nutcracker and the Mouse King” as an action-adventure movie.
I’m thinking Steven Seagall for the lead, with Jet Li as Kato, though I’m not sure how either of them are at dancing to the music of Tchaikovsky. Okay, actually, this version won’t be a ballet (obviously) and they’re going for more of a “Chronicles of Narnia” vibe.
* Brad Pitt will be producing, but not playing the lead, in an action-oriented flick about the young Vlad Dracul (his buddies call him “the Impaler”). I’d prefer if they would be honest and call this “Dracula Begins,” but the actual title is “Vlad.” The studio will be the “Twilight” driven Summit. How much you wanna bet this vampire-to-be has a tortured love-life?
* Hand drawn animation appears to be coming back to Disney in a big way. Yay. Film-maker Brendon Connolly has some interesting hints.
* And one more item from THR/Heat Vision that I can’t really ignore. Cowriter-producer Peter Jackson has announced that auditions for “The Hobbit” have begun and the only role that’s precast is Ian McKellan as Gandalf. So, actors, if you’ve got a snub nose, a pasty complexion, are never chosen first for basketball, and have hairy feet, I suggest you get into gear. They are denying rumors that James McAvoy could be in the running for Bilbo, though he does have an overall Baggins thing going on, I think. Another actor who screams “hobbit!” to me is writer Peter Morgan’s favorite star, Michael Sheen of “Frost/Nixon,” “The Queen,” and “The Damned United.” Of course, whoever it is, I guess it will have to believable that he’ll look like Ian Holm when he gets on in years.
Borys Kit from The Hollywood Reporter last Thursday:
….”Slide,” a fictional indie drama featuring Jimi Hendrix being written by R.H. Greene, who also will direct….The story revolves around two gangsters, desperately trying to get away from a mob boss they double-crossed, who inadvertently kidnap Hendrix, then at the height of his career and drug addiction…it will not use Hendrix’s music nor feature his family…
Music rights are a perpetual problem and source of confusion for films dealing with the past. Fortunately, at least for now I can present this following beautiful excerpt from “Jimi Plays Monterey” by Chris Hegedus and D.A. Pennebaker.
There’s something about the footage taken by Pennebaker & company at the 1969 Monterey Pop festival. Much more than other footage from that time, there’s a really mesmerizing quality to it. Of course, it helps when you’ve got a performer as unparrelled as Hendrix was.
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