Pictures and pages
Working on that posting about WRESTLING WOMEN... it should be up before the weekend.
If you're interested in more, there are plenty of pictures to see... I've uploaded a batch to my online albums (with some other photos); I also recommend Em Hemeyer's (she was one of the wardrobe designers) photo site; and for a day-by-day account with some cool photos, there's art director Justin Powers' MySite blog "diary of a low budget film" (17 parts) .
Local film reporter Dan Lybarger came out for a night of shooting to interview some of the cast and crew - his story, 'BRAINIAC' OFF THE ROPES IN COLUMBIA, is now on-line on the Kansas City Star site.
The rest of the summer appears to be quiet so far - nothing major so far. Barring any other work that comes up, I'll be working away on a documentary based on footage I shot during the production of JMM's SUPERSTARLET A.D. and helping with getting SONG OF THE DEAD out to the waiting public.
I'll be updating some links on the blogs and the home site as well, and adding some more content there by summer's end, as well as working on the next batch of MICRO-FILM articles & reviews. So things will be busy - just at my procrastinating pace.
If you're wondering why movies today seem so shitty, two books related to screenwriting and writers help shed some light: BACKSTORY 4, is a collection of interviews with screenwriters of the 70's and 80's. I have the previous volume which features writers of the 60's, and the fourth volume is a good companion to that - featuring interviews with Larry Cohen (the whole reason it caught my attention), Paul Mazursky, Walter Hill, John Milius, Elmore Leonard, Donald E. Westlake, Robert Benton, Blake Edwards and more... (if the names aren't familar, IMDB 'em)
David Kipen's THE SCHREIBER THEORY is an entertaining manifesto that fires a warning shot over the bow of the auteur theory... you know, the theory that a bunch of French critics (who later became directors, it must be noted), came up with that stated that the director was the author and main visionary when it came to filmmaking. Kipen's half-mocking take on this (but half-serious, too) is the above, where the writer of a film is a far more consistent marker on the quality of a movie. I think that goes out the window when one considers THE FLINTSTONES (32 writers and the experience of watching it is so horrible, a tooth extraction is more preferable); but he has a point, and he has a lot of fun making it.