Year: 2009

“I heard someone on the radio once say that they were tired of the prejudice aimed at the overweight, Ricky Gervais has recently said/written. “They said something like ‘you’re not allowed to make fun of gay people, so why are you allowed to make fun of fat people? It’s the same thing.’

“But it’s not the same thing, is it? Gay people are born that way. They didn’t work at becoming gay. Fat people became fat because they would rather be that way than stop eating so much. They had to eat and eat to get fat. Then, when they were fat they had to keep up the eating to stay fat. For gayness to be the same as fatness, gay people would have to start off straight but then ween themselves onto cock. Soon they’re noshing all day getting gayer and gayer. They’ve had more than enough cock…they’re full…they’re just sucking for the sake of it. Now they’re overgay, and frowned upon by people who can have the occasional cock but not over-indulge.

“When a doctor tells me that that’s how you become gay, I’ll stop making jokes about fat people.”

I’ve had The Visitor’s Hiam Abbass in the Oscar Balloon’s Best Supporting Actress category for months, and now the New York Observer‘s Chris Rosen has gone on record in agreement. Finally…somebody! I’m also with Rosen about two of the best underrated performances of ’08 having been given by Che‘s Demian Bichir (the guy who played Fidel Castro) and Santiago Cabrera (the smiling bearded cadre who explained the ventriloquist/”vanilla piss” remark). But of course, each and every performance in the Che films is exactly right.

A filmmaker friend wrote last night that a certain production company “will have an extra bedroom available for the nights of 1.19 through 1.21 departing the 22nd for $200 per night. The condo is not in town so a car or cabs will be necessary to get around.”

I replied as follows, just to mess with him: “The hottest, most energetic Sundance days are always the first four or five — in this instance 1.15 to 1.19, Thursday to Monday. (I always arrive a day before — 1.14 in this instance — to get myself all situated and set up.) The buyers, the buzz and the pulse are a memory by Tuesday. Who’d want to arrive on the 19th? A person looking to avoid excitement?”

I didn’t mention that I kind of half-like it when all the heat dies down. It becomes more about the films at that point, although, truth be told, the films that show for the first time on Tuesday (i.e., 1.20) to the end of the festival have basically been given the bum’s rush by festival programmers, and they know it…everyone knows it. Your film not showing within the first five days at Sundance isn’t exactly a kiss of death, but the symbolism is unmistakable. Yes, yes…there have been and will be exceptions, and thank heaven for that.

The Sundance situation has reversed and I’m now offering rather than looking. I’ve got a shared bedroom (two single beds, you get one) in a two-bedroom condo open for $125-something per night, on a seven-day basis starting Friday, 1.16. The condo has wi-fi, and sits high above (i.e., looks down upon) Park City’s Main Street. Hubba-hubba.

Ari Folman‘s Waltz With Bashir is a strikingly original, deeply affecting animated docudrama about war and morality and monsters within — easily one of the year’s finest. But I wonder if maybe…just maybe the National Society of Film Critics decided to give this Sony Classics release its 2008 Best Picture prize in part because of the awful echoes going on right now in Gaza.

God help those who are about to get caught in the crossfire between Hamas and the Israeli military over the next few days and weeks. Bashir is about Israel’s invasion of Lebanon in ’82, and particularly the slaughter of Palestinian civilians by Christian Phalangists at the Sabra and Shatila refugee camps. Think about it — how could the NSFC have not had Gaza on their minds?

The Bashir win also symbolizes the vague disquiet and even unhappiness that many feel about the leading Best Picture Oscar contenders. LAFCA, NYFCC and now the National Society of Film Critics have all said the same thing, i.e., “fuck the popularity contest, fuck crowd-pleasing, fuck everything except what we really and truly admire to the hilt.”

Milk‘s Sean Penn and Happy Go Lucky‘s Sally Hawkins won for Best Actor and Best Actress. And Happy Go Lucky ‘s Eddie Marsan (yay!) won for Best Supporting Actor, and Edge of Heaven‘s Hanny Schygulla won for Best Supporting Actress. HGL’s Mike Leigh won for Best Director and Best Screenplay. That’s four big honors for Happy Go Lucky.

Man on Wire (what else?) was named Best Non-Fiction Film.

In Three Days of the Condor, Robert Redford‘s Joseph Turner has forced Faye Dunaway‘s Kathy Hale to miss a New England skiing rendezvous with her boyfriend and lie to him in the bargain. Now that they’re saying goodbye, Turner wonders how it’ll all play out when she finally goes north. Turner. Your boyfriend…he’s a tough guy? Hale : He’s pretty tough. Turner: What will he say? When you tell him what happened? Hale: (sighs) Understand, probably. Turner: Wow…that is tough.

Hoboken’s Erie Lackawanna train terminal, used 33 years ago by director Sydney Pollack as backdrop setting for the farewell scene between Redford and Dunaway in Three Days of the Condor

“As Hollywood faces grim times, there’s a silver lining for 2009,” writes Variety columnist Anne Thompson. “If the studios, God forbid, are forced by the credit crunch to make fewer, less expensive films and spend their own money producing them (as the L.A. Times reports in this grim forecast written before the SAG strike looked less likely), they will take less risks, yes, but they’ll also pay more attention to making strong commercial films with a market niche. In short, they will make better films.”

I agree but in a slightly different way. Having tons of money to burn has never upped the quality of creativity for anyone or anything, and having less money always results in more discipline and a lot of honing, which tends to result in better work. Martin Scorsese had loads of dough to work with on Gangs of New York and look what happened. And he was working on a relative shoestring when he made The Last Temptation of Christ and look what happened.

I was looking for a clip of the last two or three minutes of Patton, which ends with George C. Scott describing the victory procession of an ancient conqueror and concluding with the following: “A slave stood behind the conqueror holding a golden crown and whispering in his ear a warning that all glory is fleeting .” Those last four words make me gulp every time I hear them.

As a dad, I think I understand a bit of what John Travolta is feeling about the sudden death of his 16 year-old son Jett. It goes a bit beyond that, actually, with my oldest son having the same name. Travolta’s Jett was born in ’92, four years after mine. Jett wrote me yesterday saying “there’s now one less Jett in the world…feels weird to see my name in an obit.” My sympathies all around. This is awful.

“For all the crap talk of ‘choice feminism’ — whatever the hell that means — we are never going to feminize the world. Women who want to succeed pretty much have to work as long and as hard as men typically do, and that’s that.

“What does Caroline Kennedy know of this hellishness? She hasn’t held a paid position since her children were born, nor did she have a proper job even before that.

“Kennedy is entering the political fray under exceptional circumstances: she’s a former First Daughter, and her family functions as American royalty. No other women with less-blue blood could even attempt to get away with what she seems to in fact be getting away with. This is not sexism; this is reality.” — author Elizabeth Wurtzel (“Prozac Nation”, “Bitch: In Praise of Difficult Women”, “More, Now, Again”) writing in the Daily Beast.

Inspired by Defiance, Ed Zwick‘s drama about the Nazi-fighting Jews of the forest (which isn’t half bad, by the way), Lewis Beale has written a 1.4 L.A. Times article about the receding of the Holocaust mentality and how that has allowed for the emergence of the scrappy, two-fisted, gun-totin’ Jewish fighter.

Author Rich Cohen (“Tough Jews”, “The Avengers”) tells Beale that “most European Jews died in the Holocaust, and [for a long while] that was the story. People felt the other side could be read as a criticism of those who died. The story of the Holocaust for Jews became holy over time, and for that reason, anything that muddied that story, there was no interest in it for a long time. But now there is. The image of Jews has changed.”

For some reason Beale doesn’t mention that half of Quentin Tarantino‘s upcoming Inglourious Basterds is about a band of raging Jewish G.I.s out to murder and scalp as many Germans as they can get their hands on during World War II. There’s a character named Donny Donowitz, a.k.a. “the Bear Jew” (played by Eli Roth) who carries around a baseball bat, looking to shatter German skulls and cause their brain matter to go glop on the cobblestones.