MCN Blogs
David Poland

By David Poland

Tour of the Titan-ick!

Can’t get enough of the Big Boat? Well, Oscar-winning composer James Horner will be touring the country this summer with his Titanic score and more, including a 30-minute suite of music that was cut out of the movie, “Titanic: The Composer’s Cut.” Guess this is kind of like the Shine tour last year only I’ll be the only one shaking my head and talking to myself as the music plays.
MOUSE DROPPING: Your husband just won three Academy Awards, you were in a $100 million movie last year and you’re still a blonde bombshell. What are you gonna do? Linda Hamilton is going to Disney’s world! She just signed to voice the evil demi-goddess Nemesis on Disney’s TV version of Hercules. Things are tough all over.
JUST WONDERING: Is Kevin Bacon doing a nude scene in Wild Things tat for tit?
KNIGHT AND DAY: Les Visiteurs is one of the highest-grossing comedies of all time in France. Yes, even bigger than The Nutty Professor. But when the film arrived in the U.S., seemingly predestined for remaking, nothing happened. Why? The film is based around two medieval knights transported into modern day. The argument was made that there is no tradition of knighthood in America, so the central premise was faulty for an American remake. But John Hughes sees it differently. No word on what the Home Alone creator will do to make the concept U.S.-friendly, but at some point, I expect to find the lost knights in a house that three burglars are trying to rob.
LOW-LITA NEWS: I have been critical of the censorship buzz around the distribution problems of Adrian Lyne’s Lolita up until now. I still say the biggest mistake the production made was making the film before having a domestic distributor. When a movie like Basic Instinct got into trouble, the director could take the heat. But if a studio buys Lolita, the finished product, there are no excuses to make. On top of that, the film demands a minimum of $15-$20 million in prints and advertising to launch. The commercial failure of sexually controversial films like Henry and June and Showgirls means even that minimal amount could be wasted money. All that aside, the refusal of playdates on pay-per-view by DirecTV, Request TV and Viewer’s Choice can be seen as nothing less than censorship. Hard to claim that Howard Stern and “His Many Lesbians” is OK to sell but a film based on a classic novel is not. A film that has already removed any nudity by the body double for the 12-year-old title starlet of the film. The one cable outlet still in talks with the producers is Showtime Networks, the exclusive cable home of The Red Shoe Diaries, Beverly Hills Bordello and the aforementioned classic, Showgirls.
READER OF THE DAY: From Geoff W: “While Stanley Donen’s speech may have been more gracious than Cameron’s, they both were the products of the pure joy that they each felt. Plus, Donen’s was rehearsed and planned. Cameron was king of the world and shouldn’t be criticized for saying it. That was how he felt and how most people would feel. Especially after spending three years of his life on the film and having to deal with all the criticism before the movie came out. Congratulations James.”

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima