A friend asked me to riff about the various festival entries for a video interview piece, and I said fine. We were halfway through when a young festival rep came up and said sorry, no video inside the festival reception room unless a festival rep is observing. We all said cool, but I asked the rep why the rule exists. “No biggie but where’s the harm in shooting an occasional video interview?,” I said. She said she didn’t know. “So you haven’t asked your bosses to explain why?,” I said. No, she answered. “Okay,” I replied.

An excerpt from Aleksandar Hemon‘s “Beyond The Matrix,” a 9.10 New Yorker piece about Cloud Atlas: “It was on the day before they left Costa Rica that the Wachowski brothers and Tom Tykwer had a breakthrough” about how to write the script of David Mitchell‘s ‘Cloud Atlas‘. “They could convey the idea of eternal recurrence, which was so central to the novel, by having the same actors appear in multiple story lines — ‘playing souls, not characters,’ in Tykwer’s words.

“This would allow the narrative currents of the book to merge and to be separate at the same time. On the flight home, Lana and Andy carried the stack of rubber-banded cards they would soon convert into the first draft of the screenplay, which they then sent to Tykwer. The back-and-forth between the three filmmakers continued, the viability of their collaboration still not fully confirmed.

“By August, the trio had a completed draft to send to Mitchell. The Wachowskis had had a difficult experience adapting V for Vendetta, from a comic book whose author, Alan Moore, hated the very idea of Hollywood adaptation and berated the project publicly. ‘We decided in Costa Rica that — as hard and as long as it might take to write this script — if David didn’t like it, we were just going to kill the project,’ Lana said.

“Mitchell, who lives in the southwest of Ireland, agreed to meet the filmmakers in Cork. In ‘a seaside hotel right out of Fawlty Towers,’ as Lana described it, they recounted for the author the painstaking process of disassembling the novel and reassembling it into the script he’d read. ‘It’s become a bit of a joke that they know my book much more intimately than I do,’ Mitchell wrote to me. They explained their plan to unify the narratives by having actors play transmigrating souls.

“‘This could be one of those movies that are better than the book!” Mitchell exclaimed at the end of the pitch. The pact was sealed with pints of Murphy’s stout at a local pub.”

After some delay Porter Airlines has cancelled the Newark-to-Toronto 10:10 am flight that I was on. After the cancellation news everybody had to line up and speak to a Porter agent in order to be assigned a new flight. For my sin of working on the column and therefore not listening to the initial announcement and not responding quickly enough, I’ve been been put on a flight that leaves two hours hence, or 12:10 pm. If I’d been a little more Johnny-on-the-spot I might have made the 11:10 am flight.

This is a metaphor with broad applications. If you don’t hear the proverbial “first announcement” and respond right away, you will pay the price.

In my exhaustion last night I forgot to plug in the iPhone, and without the alarm I woke up late and missed my 8:45 am Porter Airlines flight to Toronto. On top of which I now have to pay Porter a penalty fee of $150 if I want to go standby for the next flight, which leaves at 10:10 am. 9:15 am update: Currently at Newark Airport and ticketed for the 10:10 am flight.

On top of which the guy sitting in front of me on the crowded Port Authority-to-Newark Airport bus has decided to lean his seat back and stretch out like Caligula watching ESPN in his living room. People who lean their seats back into another person’s 18 inches of private space are ungentlemanly and uncouth. An upbringing thing, alcoholic father, etc.

On top of which this Caligula guy was right in front of me in the security line, and when he took his shoes off — I swear I’m not making this up — he was wearing gold-toe socks.

Honestly? I’d begun to forget Graham Chapman before seeing this animated 3D doc, which will play the Toronto Film Festival. I’ve written my review, but I can’t post until it screens in Toronto two or three days hence.

It was somewhere between unpleasant and deeply unpleasant to be roaming the streets of Manhattan today, more precisely between 2:45 and 4:45 pm. I was lugging my suitcases across several blocks, damp and straining and coping with Panama City humidity and rainshowers, cabs going off duty, mobs of slow people blocking sidewalks, etc. This town is only atmospherically tolerable in the fall, winter and spring. Forget the late summer. I’m off to Toronto tomorrow morning, and to that prospect I say “thank God.”

Several times while walking alone in Manhattan and Brooklyn I’ve been faced with a do-or-die situation, or more precisely a hold-your-ground-or-run-like-hell thing. You’ve just come around a corner and spotted a group of five or six kids — rowdy, trash-talking, maybe a couple of hundred feet away — hanging out near a stoop or walking in your direction. The first instinct is to reverse course and avoid them altogether. But I’ve stopped myself from doing this knowing that the gang will sense weakness if I do a 180 and perhaps follow me….who knows? The two worst things you can do in a street confrontation is convey too much weakness or too much macho belligerence. You have to be cool and steady and low-key, not seeking eye contact but not avoiding it. Once or twice I’ve turned tail but 90% of the time I’ve manned up and kept walking.

Yesterday and today I was shoved around and name-called by a team of leftwing p.c. mullahs and fascist feminist thugs. It was caused by their simple-minded inability to understand what I said in yesterday’s post about Ken Burns, Sarah Burns and David McMahon‘s The Central Park Five, a PBS-funded doc about the 1989 Central Park Jogger rape case that I saw two days ago at the Telluride Film Festival. They were alarmed that I seemed to be making a blanket statement about the victim, a 29 year-old Salamon Brothers employee, having “all but asked” to be attacked. I wrote this because I feel she nearly did by exposing herself to serious danger in a really dicey area at a much-too-late hour.

Let’s try it again because we have some seriously thick people out there who hear only what they want to hear and who truly live to take offense and point fingers. Anyone, man or woman, child or oldster, who jogs solo through the north end of Manhattan’s Central Park at 10:30 pm, which is when and where Trisha Meili, the victim in the above-named case, was assaulted and raped, is flirting with danger. Especially if you don’t look like Muhammud Ali of the ’60s and ’70s or like present-day Jason Statham, and double especially if you’re a young woman who’s not Katniss Everdeen and carrying a hunting knife.

Central Park is a dark unlighted haven for all sorts of goings on after it gets dark, especially after 9 pm. I’m an ex-New Yorker so don’t tell me. There’s an “element” out there, Central Park is not exactly flooded with cops, and bad guys can obviously hide in the dark between bushes and trees and wait to pounce. Anyone with half a brain knows this. Trust me — tourists from Missouri and Alabama and Virginia know this. If you must run through the park after dark you need to stay within shouting distance of well-lighted areas. You definitely don’t run above 96th Street when the clock goes into double digits. And if you ignore these rules and do what Trisha Meili did that night in April 1989, you’re not “asking for it” but you might as well be for all the caution and common sense you’d be showing.

The reason I brought his up in the first place wasn’t to beat up on poor Trisha Meili, but because I found it irksome that the Burns-McMahon doc never even addressed the fact that it was clearly irresponsible to expose herself to attack, particularly given the fact that New York City in 1989 was something of a racially incendiary culture. That was all it was…until the mullahs and the fascist goons jumped in and tried to turn it into something else.

Earlier today I asked one of them if they felt that late-night solo jogging in Central Park seemed even somewhat safe to them, and if they themselves would do this if they were into jogging. They didn’t answer but the answers are obviously “no” and “no.” Boneheads.

The mark of an insufficiently skilled singer is to allow your listeners to hear you suck in air before your phrasings. Singers need huge lungfuls of the stuff, of course — the point is to not make a lot of noise as you acquire it. If you’re singing “The Star Spangled Banner,” as Amber Riley just did before the Democratic Convention in Charlotte, you don’t want to start with “Owayghh!…oh-hoh say can you see…?”

I felt moved but irritated and occasionally infuriated by Ken Burns, Sarah Burns and David McMahon‘s The Central Park Five, a PBS-funded doc about the 1989 Central Park Jogger rape case and the five Harlem youths who were wrongly found guilty of the crimes and imprisoned for years — a travesty. I saw the two-hour film yesterday afternoon at the Telluride Film Festival and subsequently discussed it during yesterday’s Oscar Poker podcast.

I could write thousands of words about this but let’s just deal with the basics and my problems with the doc.

The Central Park Jogger case was about (a) an assault and rape of Trisha Meili, at the time a 29 year-old Wall Street worker, on 4.19.89, and (b) five coerced and nonsensical video-taped confessions by four innocent black males in their mid teens — Antron McCray, Kevin Richardson, Raymond Santana and Kharey Wise. (A fifth suspect, Yusef Salaam, “made verbal admissions but refused to sign a confession or make one on videotape,” the Wiki page says.)

There was no proof that the youths were guilty, certainly not from any DNA. The guilty party, a convicted rapist and murderer named Matias Reyes, confessed to the rape in ’02. But the kids having idiotically confessed (even though they recanted a few weeks later) sealed their fate, and they all did serious prison time and had their lives half-ruined. If anyone deserves to be financially compensated for a perversion of justice, it’s these guys. Their lawsuit is currently unresolved. But I was still bothered by the following:

Question #1: It was one thing when one mentally challenged defendant in the West Memphis Three case confessed to having killed three boys, but the mind reels at the idea of four guys who weren’t mentally challenged confessing to the Central Park rape, and with their parents or guardians in the room! Four kids plus four guardian/parents — that’s eight instances of massive stupidity. The kids had been grilled and pressured by NYPD detectives because they’d been involved in a “wilding” incident that same night in which a gang of about 30 kids from their general neighborhood had randomly attacked and beaten up a couple of victims inside the park. But the absurdity of four kids confessing en masse to something they didn’t do because they were tired and wanted to go home is mind-boggling. And the filmmakers barely touch this. It is simply explained that the confessions were coerced. Madness.

Question #2: Why the hell was the victim, Trisha Meili, jogging in the vicinity of 102nd street on a dark road inside the park around 10:30 pm? I know New York City and that is flat-out insane. A sensible single woman shouldn’t jog in Central Park after dusk, period, much less above 96th street, much less above friggin’ 100th street. The only thing she didn’t do was drape a sign over her jogging outfit that said “attack me.” Everybody knows you don’t tempt fate like that. And no one in the film, not a single soul, even mentions this.

Question #3: The five unjustly convicted youths were not blameless angels, although the film tries to indicate this. They were part of a roving gang that was harassing and beating the crap out of anyone they happened to encounter. The five say in the film that they were just watching this activity and going “wow,” but I don’t believe in my gut they were just onlookers. It was the metaphor of a sizable gang of black kids hurting victims at random and the inflaming of this by the media and politicians that got the five convicted as much as anything else, and I resented the film trying to sidestep the likelihood that they were bad-ass teenagers at the time who were up to no good.

Question #4: Not only does Trishna Meili not speak to the filmmakers, but a photo of her isn’t even used, despite her having written a book, “I Am The Central Park Jogger.” Her injuries were so severe and traumatizing that she’s never been able to remember the incident, but to not even explain the whys and wherefores of her absence from the film seems strange. She may not have wanted to be in the film, okay, but why not at least explain that? And why wouldn’t she want to be in the film if she’d written a book about the attack and her recovery? The film doesn’t even run a pertinent quote or two from her book. Incomplete and irksome.

I wasn’t initially enthusiastic about visiting the Telluride Film Festival. Concerns about work and other problems made it difficult to settle down about flying to a secluded canyon town, seven hours southwest of Denver, to watch movies for three days that only included one “sneak” (which turned out to be Argo). I couldn’t understand why hundreds of people from around the world would put up with 45 minutes of air-pocket turbulence in a tiny plane for this festival. But then I arrived.

Telluride doesn’t feel like Sundance or Toronto. There aren’t any flashing cameras, red carpets or lavish parties; just flocks of rich white people in North Face clothing enjoying themselves. It’s also beautiful and serene every time you walk out of a theater and gaze at the arching peaks a mile or so away. That said, I saw ten movies, and came out really bananas for only five.

I had a wonderful time with Noah Baumbach‘s Frances Ha and Ziad Douieri‘s The Attack, but for completely different reasons. I didn’t know anything about Douieri, and a critic we spoke to confided that he sensed in Frances Ha a slightly possessive boyfriend element, as Baumbach and star Greta Gerwig are a couple. But that didn’t materialize, and Gerwig’s lead performance felt like the most genuine I was ever going to see from her — it was perfect.

Frances Ha has a floating Brooklyn mumblecore pace and vibe, and is about a 27-year old dancer (Gerwig) who is lost when her best friend Sophie (Mickey Sumner, daughter of Sting and Trudie Styler), falls in with a rich boyfriend.

You can’t help but compare to HBO Girls, but it’s not that at all. It’s not about gross, uncomfortable-to-watch-sex; Baumbach already accomplished that with Greenberg. The writing is sublime, really tight and filled with pockets of hilarious improvised dialogue. The whole house was giggling and adoring Gerwig despite dealing with a 20-minute delay wen the film began without the center dialogue track.

The Attack, on the other hand, hits you in the gut and opens you up to perhaps the most heartbreaking story you could imagine, which is tied to the fundamental dynamic behind the Israeli-Palestinian struggle. Perhaps most affecting about the film was Douieri’s pre-film speech about how he almost lost confidence in himself during fundraising and pre-production. Knowing this and following this story of an Arab-born Tel Aviv surgeon trying to find out why his wife became a suicide bomber made this film, for me, a real triumph.

Dror Moreh‘s The Gatekeepers: A riveting documentary about Israel’s anti-terrorism organization, Shin Bet, told by former directors of the program over the last 40-odd years. It’s amazing the kind of access Moreh got with this documentary as it really sheds light on how even the biggest war hawks in Israel’s government feel how assassinations are ultimately pointless and/or self-defeating

Pablo Larrain‘s No: A great true story about how an influential advertising campaign led to the ouster of Chilean dictator Augusto Pinochet in 1988. But Larrain’s decision to use a 1983-era video camera (or a simulation of same) to convey the atmosphere or the times and to blend with 1988 ads and newscasts was, I think, risky. It got in the way. While No provides a compelling story, it would be seen by many as an even greater film if it had been shot with top equipment.

Ben Affleck‘s Argo: This was a really tight Hollywood thriller with a kick-ass cast that blended nicely with the Arab-esque theme of this year’s festival. As everyone else points out, the film really takes you home during the final 20 minutes. Affleck is getting better as a director.