Day: March 20, 2024

The great M. Emmet Walsh, whom I worked for in late ’85 and early ’86 and got to know moderately well during that brief period, has passed at age 88….just shy of 89.

Walsh’s three finest performances were given in Joel and Ethan Coen‘s Blood Simple (sleazy private detective), Ulu Grosbard‘s Straight Time (Dustin Hoffman‘s sleazy parole officer) and a flinty high school swim coach in Robert Redford‘s Ordinary People (’80).

I first became acquainted with Walsh while working as a unit publicist on New Line’s Critters (’85). I told him that his Blood Simple performance as oily shamus Loren Visser was the stuff of film noir legend and that it warranted a Best Supporting Actor campaign.

Walsh agreed and subsequently hired me to run the show, so to speak — creating press releases, creating trade ads and generating press attention that might push his candidacy along.

Walsh had a snappy, feisty mind, and he didn’t hesitate to tell me when my press kit prose was slightly off-kilter or over-baked.

We ultimately couldn’t persuade the Academy, but Walsh won the 1985 Spirit Award for Best Male Lead. I’d like to think I had something to do with that. Plus I got to join Walsh for a lunch with Joel and Ethan somewhere in downtown Manhattan in early ’86.

The Walsh campaign was the highlight of my publicity work during the mid to late ’80s (staff writer at Samuel Goldwyn, unit/in-house publicity for New Line Cinema, press kit writer for Cannon Films).

I ran into Emmet three or four years ago inside a Spirit Awards tent. Good to see him again.

“Same Old Song,” posted on 1.23.14: “The thing I dearly love about this ending is the fact that the mortally wounded Lorren Visser is, at the end of his life, suddenly very concerned about a tiny droplet of water on a water pipe that’s about to land on his face.

“It’s not the slug in his stomach, which he can do nothing about. He knows he’s about to go and is even cackling about it, weird guy that he is. What Visser can’t accept is that damn little glob of H20. Taking shape, getting heavier, larger. The water looks down at Visser and he looks up at it. Waiting, waiting…and then it drops.”

In a 3.19.24 q & a with theface.com’s Jade Wickes, Adam Driver is asked for any descriptions he can provide about Francis Coppola‘s Megalopolis, which may or may not be debuting in Cannes.

Driver: “It’s kind of undefinable, which feels very general until you watch the movie. Then my answer will be perfect. There’s not a lot of precedent for it and it’s wild on a big scale, which is what’s really unique about it.”

Wickes: “You play Caesar, a renegade architect. Can you describe him in one sentence?”

Driver: “He’s a visionary. He’s very much Francis [Ford Coppola], in a way, where he’s investigated every way of how people can do something and is trying not to get stuck on the right answer. That’s an idea that’s moving to me, and one that reflects Francis.”

I think we know what Driver is saying here.

Generic Wiki synopsis: “A young new York woman, Julia Cicero, is divided between loyalties to her father, Frank Cicero (Forest Whitaker), who has a classical view of society, and her architect lover, Caesar, who is more progressive and pining for the future. Caesar wants to rebuild New York City as a utopia following a devastating disaster.”

Alien: Romulus (20th Century, 8.16) is a bullshit horror film and a kind of Alien-saga prequel as it’s set between the events of Ridley Scott‘s Alien (1979) and James Cameron‘s Aliens (1986).

Directed and co-written by Fede Álvarez (along with Rodo Sayagues), pic stars the Thumbelina-sized Cailee Spaeny (5’1″) and the Tinkerbell-sized Isabela Merced (5’1″).

I prefer my female Alien stars to be a little taller.

A 46 year-old GenXer (Millennials didn’t begin appearing until ’81 or thereabouts), the Uruguayan-born Álvarez is a horror-genre opportunist who’s doing what he can to stay in the game. He’s apparently a journeyman in the tradition of Andy Muschietti, another South American who seemed so promising when he and Guillermo del Toro made Mama (’13). And then he made the It films, and the ball game was over.

The surging revolutionary power of #MeToo feminism in the late 20teens had nothing to do with the death of Daniel Craig’s James Bond character?

Bullshit. Double triple quadruple quintuple bullshit.

The Bond producers (in particular Barbara Broccoli) had to fundamentally acknowledge the new social reality and show obesiance to feminist social upheavals in the wake of Harvey Weinstein’s downfall of 2017. Broccoli had to symbolically kill Bond’s sexual predator persona — the rudest and most pronounced character trait of this historically sexist dinosaur of legend — and thereby re-set the Bond brand. Obviously.

Launched in the JFK era, the Bond franchise has been profitably rolling along for over 60 years, and various new Bonds have come along at various intervals — Sean Connery, George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan, Daniel Craig.

And yet all during the long Bond history none of the James Bond characters were killed. Because there was obviously no need as it’s long been understood that the 007 franchise would continue to blitzkreig along with occasional replacements occurring.

But then sometime in the late 20teens Craig said to the producers that he didn’t want to be succeeded by a new guy. Instead he wanted the 007 character terminated with extreme prejudice. And for some reason Broccoli, the longtime (to the manor born) Bond producer, replied that this idea, after many decades of not even thinking of murdering 007, seemed like a good one.

And yet as we speak there are dangerous psychos out there who are insisting that the #MeToo groundswell had absolutely nothing to do with Bond being blown to pieces in No Time To Die.

Repeating: Decade after decade there was no reason to have Bond killed as they knew all along he’d coming back anyway so whadaya whadaya?

Repeating: The Bond producers had never killed Connery, Lazenby, Moore, Dalton or Brosnan so why did they kill Craig? Obviously there was a particular motive or special reason, and don’t give me that “Oh, Craig took Barbara aside one day and just sorta kinda suggested it, and he was so persuasive that Barbara felt she had no choice” crap.

Repeating: Craig has said that the killing of James Bond (his Bond) was a necessary re–set. What he meant was that 007’s demise was decided upon as a symbolic apology gesture to the #MeToo community — as a solemn ceremonial acknowledgment that the sexist Bond of yore (even though Craig’s Bond was generally courtly, demurring and well-behaved with the ladies) had to be symbolically executed as a political–social statement — an acknowledgment of guilt, an apology to militant feminism, a ceremonial beheading of a sexual conquistador.