I’m never watching one of these made-for-IFC documentaries again. They are always disappointing. This one is particularly so. God knows how they took this topic and made such a boring film. Only saving grace is the occasional vox pop from John Waters, who is always entertaining.
Incredibly low-budget little film focusing on a young working class couple. There isn’t any story to speak of and the only conflict centers on an annoying sister who keeps coming by uninvited (Brenda Blethyn in a role so convincing I wanted to gouge her eyes out.) Very, very funny is a wonderfully misanthropic kind of way. Good stuff if you like this sort of thing.
Had I read Richard Fariña’s first and only novel as an undergad (like you’re supposed to) it probably would’ve had some impact on my life. Good thing I waited, as the protag in this tale is a classic self-involved, irresponsible bad influence. Some very good writing, humorous scenes and enough “far out, man” wonder to keep you smiling. It is no surprise he & Thomas Pynchon were buddies — there is a definite similarity in their styles. A book for the young or at least people who fondly remember being young. (Jurgen — I’m sure you’ve read this, but if you haven’t I’ll lend you my copy — I thought of you and “Tiger” quite a few times.)
Principle Photography is over over over and I can finally get some sleep. We have one day of 2nd Unit shooting on Tues, but that will be a breeze. All I have to do now is deal with the Everest-like collection of receipts on my desk and figure out just how over-budget we went (the answer: considerably.)
I offer up a few additional photos — there are many more on their way.
Frank Deal enjoys a cold beverage after getting into makeup.
Cathryn Long from All Creatures Great and Small wrangles up some Madagascar cockroaches.
Grip Dave McDonough takes 5.
Rob is his post-head-dunked-in-Ammonia makeup.
All of our heatfelt thanks to Satan.
L to R: Sam Bailer, Jordan Hoffman, Deborah Gibson, Kerry Dye, Leslie Kendall, Rob Gomes, Matt Patches.
Putzing around the internet early this AM I came across this cover from 1971. New Riders of the Purple Sage doing “Connection” from Between the Buttons (my favorite pre-Beggars Banquet album.)
Keith also did it live with the X-Pensive Winos in 1988. Listen.
Ah, hell. Here’s the original.
The first film I’ve watched in weeks. Haven’t seen it since the theaters and it is better than I remember. The opening (Kirk’s death — or is it????) is flat-out awesome. The premise of “The Nexus” (and the special effects) are pretty frickin’ cool, but the subplot of Data’s emotion chip and some renegade Klingons. . .I dunno. . .that really feels like something I should be watching at 2 am on Spike TV. There’s a kick-ass Picard era film coming up next in the series (at least that’s what my memory of “First Contact” is) but other than that, TNG never quite crystalized on the big screen. Anyway, this movie is pretty good, I guess. Yeah, it’s good.
We’ve got fewer shooting days ahead of us than behind us — and man does that feel good. There are some big days ahead: many company moves, a (no doubt) sweltering day in Rob H. & Kim T.’s Brooklyn brownstone hallway, plus a day on location at a real live mental hospital. Yowza. We are excited, though, because that day on location will feature our special guest star — the multitalented and vibrant Deborah Gibson. I can tell just from the few phone calls I’ve had with her that she will be a blast to work with. Kerry and I are very psyched that she has agreed to be in our movie.
So here are some photos from our last two shooting days (6/28 & 6/30).
Some time before we wrap, I will get to slap the clappy thing.
Here is most of the company camped out in Sakura Park. I will pat myself on the back for finding this fabulous location. Those years as an NYC tourguide paid off.
As the great Johnny LaRue always said — the last shot in the movie ought to be a crane shot. Leslie Kendall prepares for the shot as Raoul sticks chewing gum in the mechanism to make sure it holds together. Kerry and I look into the monitor and, if you look closely, a barricade of nannys and strollers hang out by the gazebo. This is the second most expensive shot in the movie. (The most expensive, scheduled for Sunday, involves. . .well. . .I’ll leave that a surprise.)
Dave McDonough & Spencer McCormick put together the cage for our “Falun Gong” tableau. The cage was designed by the great Ann Farrell.
In-Just-Iss! In-Just-Iss! Free Our People! Stop the In-Just-Iss! Hats off to John Wu and Pamelyn Chee for turning a sentence fragment in our screenplay into an unforgettable moment thanks to their performances.
Hoffman’s directing style: Holding up a hammer and shouting “Do my bidding!!”
Irma St. Paule is waiting for a bus.
Irma is escorted to her close-up by our fantastic leading man Rob Gomes.
Kerry holds Andy’s foot, another brilliant creation from Cynthia O’Rourke.
Kerry is waiting for a bus.
Leslie is waiting for a bus.
Gaffer Meg Schrock creates lights out of tin foil and the sun. It is very impressive.
Kerry and I flank Rob in his dopey hat. Actually it is my dopey hat. But I lent it to Rob when he needed it for the scene. He gave it back.
There’s a lot of actors and actresses running around in their underwear on this show. And there’s an old saying. . .”never make your actors do something you wouldn’t do.” So. . .there it is. Lunch was cancelled this day.
DP Raoul Germain really loved Cynthia’s foot.
Raoul gets up close with Rob Gomes.
Rob and John Wu in the Falun Gong setup.
Pamelyn Chee in between takes.
Rob in the makeup and hair chair.
Our two cops, Antony Hagopian and Saidah Arrika Euklona, take 5.
