BYOB Archive for November, 2007

BYOB – November 26

Running around New York today… hoping that the Broadway strike ends so I can see Brian Cox in Tom Stoppard’s Rock-n-Roll tomorrow night. If not, The Gothams could await!
Here is some room for y’all to stretch.

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BYOB – Post-Thanksgiving

Still flying about… but the weather in Bermuda was lovely and NY, upcoming, is cold and wet, so I gather… still, quite a lot to be thankful for…
Here’s room to stretch out. I don’t think we’ll be obsessing on box office on MCN until Saturday, so feel free to start here…

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BYOB – Another Day, Another Airport…

You know, much as I love my own voice. if I were you, I would invest some time listening to the WGA strike discussion… and Holbrook… and Adams… and another couple LWDs that are coming up this week. But that’s just me. (Sadly, you’ll get stuck listening to my voice again in the process, but hopefully I get out of the way of some very smart, very interesting people who have something of real value to say.)
My internet access will be spotty until the weekend. I’m sure I’ll turn up a few times. But as ever, you have the floor while I am gone. Play nice and enjoy the run for the gobble gobble… even you foreigners!

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BYOB – November 18

It’s a travel day… and though I have figured out how to post via iPhone, I will be flying when box office numbers land. So here’s some space for you.

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BYOB – Nov 14

It’s funny how even an internet project can start to feel like “real” television.
We continue to knock out Lunch With Davids that will, I am told, arrive soon… we swear. Very time consuming, but very, very pleasurable. Amongst the LWDs that are in the editing bay right now are the entire Diving Bell & The Butterfly family, Hal Holbrook and Emile Hirsch from Into The Wild, Phillip Bosco from The Savages, Todd Haynes & Christine Vachon from I’m Not There, the director of Hairspray, Adam Shankman, and more.
Right now, it’s a little like a production. I’ve done my work. Now it’s in post. Then we have to get it out to you. The team is getting better, in front of and behind the camera, each week. And tomorrow, we’re shooting A Very Special LWD.
In the meanwhile, sorry if I am not as blog attentive as usual. I also missed my weekly Hot Button this morning, which I am still working on. But you all have been great in your responses to a couple of the recent posts.
And again

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BYOB – Too Much

Just a note and some free space before I run off again.
This week has been relentless and the blog has suffered. On the other hand, I have no interest in being a Disposall for every e-mail that comes my way regarding the strike. God bless those who wish to position themselves so, but there is so little discussion of the real issues and so much discussions of celebrities on picket lines, alleged “secret meetings.” firings that never happened, etc.
The sad part is that everyone knows that very few people are interested in a serious discussion of the issues… even less so when the strike ends.
I wish it were a lot more complicated than knowing that when WGA actually struck, the studios went into a well-planned mode of response, which will actually make about a month of the strike profitable for the studios. If you want to know why there is so little coverage of the strike in town, it’s because there is no news… just more rumors and personalities. The borderline for some between gossip and news seems permanently busted.
Meanwhile, careers go on, production continues across the globe, and the story of how this strike is all about working writers making another $10k a year isn’t really playing. The stakes just aren’t high enough or important enough to make it a national story more important than whether you’ll see a new Leno next Monday. And remember, all the talk shows combined reach less than 10% of the American population these days.
Sigh… off to another screening…

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BYOB – November 7

My entries are getting longer and rantier… so here is some space for you to relieve yourselves.

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BYOB – November 5

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Quote Unquotesee all »

“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