Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Weinstein Sighting Results in $10,000 Mystery


This is kind of great: Cinematical stalwarts Karina Longworth and Martha Fischer shared a text-message exchange a while ago after Fischer spotted Harvey Weinstein stalking down the street in NYC. I never have this kind of fucking luck:

––I just walked past harvey weinstein. He was talking about ‘splitting ten grand’ – probably lunch plans.

––Well, it might have been Bob – are they both fat and unshaven?

––I just saw a pic of Bob – this was definitely Harv.

Oh, Jesus Christ–like you could not spot Harvey or hear his seismic approach from a mile away. And like you could not tell the difference between him and Bob! The effrontery! See if he ever gives Longworth or Fischer an interview in their lifetimes.
As far as why Harvey was “splitting ten grand,” maybe he was taking out a hit on me. Or maybe he was installing new, top-of-the-line tin cans and string to fix those nagging communications troubles at Weinstein Company HQ. Or maybe he is the one behind this radical cell-phone short film contest upstate, the winner of which gets $5,000. Or maybe he and Bob were splitting up their holiday bonus (they are not dealing with Disney money anymore, you know), or even going halfsies on bribing Quentin Tarantino to stop acting. It could have been anything–you really must ask next time, Ms. Fischer. His followers are counting on you!

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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