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A producer who was peripherally involved in the development of an early version of the First Blood screenplay, written by Michael Kozoll, has passed along the following story about a conference between Kozoll and First Blood exec producers Andy Vajna and Mario Kassar.

“Kozoll was in his first meeting with the producers after delivering his first draft. As is pretty standard, they were going through it page by page. They had gotten to a climactic moment in the script in which Rambo was surrounded, cops and guns on all sides, ready to slaughter him.

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All real men accept the idea of occasionally pouring hot tap water into a cup filled with Starbucks instant coffee, and being more or less okay with that. I know this sounds like a bit but I’m serious. Sometimes you have to suck it in and say “okay, not perfect but good enough.”

If you’re one of those prissy guys who insists on putting on the hush puppies and going down to the hotel restaurant and asking for a pot of steaming hot water on a tray along with a nice cup, saucer, spoon and cloth napkin…if you insist on all the proper trimmings then you’re probably too metrosexual, or in this context not really a man. Certainly not by the Hollywood Elsewhere definition of that term.

Yes, I’ve described myself as confidently metrosexual in the past but it’s actually more of a mixture of this plus the usual samurai poet warrior thing plus the spirit of Lee Marvin in the mid’ 60s, particularly the guy he played in The Professionals and not so much “Walker” in Point Blank.

Hollywood Elsewhere arrived in Savannah yesterday afternoon around 5:15 pm. Mellow greetings and yukey-dukey to the SCAD Savannah Film Festival, which is again hosting in fine style. Straight shuttle to the Brice Hotel and then to the big opening-night screening of Roma and…well, not to the after-party because I began to feel whipped a little after ten. But Sunday beckons. It’s warmish down here (70s, sunny) and a lot nicer than New York-era weather, I can tell you.

Sidenote: I was disappointed to see that Parker’s Urban Market on Abercorn, which used to be a kind of cultured-Southern-atmosphere store that mixed food and clothing and odd bric-a-brac, has been shorn of the funky and transformed into an aggressively upmarket 21st Century gas station-slash-gourmet deli. Thoughts of some management asshole a few months ago: “This place is too Savannah-like…too reflective of local history and culture…we need to turn it into a deluxe rest stop you might find off the Garden State Parkway in central New Jersey….aahh, that’s MUCH better!”

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Last night the belles of Roma, Yalitza Aparicio and Marina de Tavira, were honored at the SCAD Savannah Film Festival. Opening-night screening, big media deluge, q & a with Hollywood Reporter columnist Scott Feinberg, general hoo-hah.

I ran into Yalitza and Marina yesterday afternoon in the lobby of Savannah’s Brice Hotel, where the festival organizers have graciously installed me for something like the fourth of fifth time.

(l. to r.) Roma costars Marina de Tavira, Yalitza Aparicio, Hollywood Reporter columnist Scott Feinberg during last night’s post-screening q & a.

Marina is the beating, persistent, never-say-die heart of Roma. She generates this and more without once resorting to “acting” or “selling”, and because of this and other subtle reasons she easily warrants a Best Supporting Actress nomination.

Yalitza’s performance, which is Bresson-like in that she’s not a trained actress and is playing a kind of wordless, silent saint in the spiritual vein of Au hasard, Balthazar, is also stirring the Best Actress conversation pot.

From “Roma Mama,” posted on 9.11.18: “During last night’s post-premiere Roma party I spoke to Marina de Tavira, the prominent Mexico City-based stage and screen actress who plays Sofia, the spirited if frustrated mother of the family that that Alfonso Cuaron‘s ’70s-era drama is focused upon.

“Marina has played the female lead in a Mexico City stage production of Harold Pinter‘s Betrayal, she told me, and is currently preparing to star in a local stage production of David Hare‘s Skylight, which I saw performed in Manhattan three years ago with Carey Mulligan.

An unoriginal observation, sharing it anyway: Harry Davenport (1866 – 1949) was perhaps the greatest old-guy character actor in Hollywood history. It was Bette Davis‘ view that Davenport was “without a doubt the greatest character actor of all time.”

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AT&T, owner of WarnerMedia, Turner and Warner Bros. Digital Networks, is shutting down Filmstruck because it isn’t making enough money. I only just signed up for the service in mid-August, buying a full year’s subscription, and now it’s toast? Filmstruck will disappear on 11.29.18.

A Variety story, quoting a source familiar with AT&T’s strategy, is reporting that AT&T “is looking to eliminate peripheral projects that aren’t major producers of revenue.” Fucking weasels. Soulless corporate dicks. How about serving that portion of the public that really likes having pay services like Filmstruck and the Criterion Channel?

So how do I get my money back? Filmstruck’s farewell message says that “all current FilmStruck subscribers will receive an email with details about your account and the refund process as applicable. Please see the options below for more information or email the customer service team at help@filmstruck.com.”

Metro report, 11:06 am: “Police have arrested a 56 year-old Republican named Cesar Sayoc, Jr. on suspicion of being the MAGA bomber who sent 12 pipe bombs to Democrats and Donald Trump critics. Sayoc was taken into custody close to an auto parts store in Plantation, a suburb of Miami, around 10:30 Friday morning. He was traced by DNA evidence.

“Law enforcement officials were seen covering a white van close to the scene, which appears to be covered in photos of Donald Trump, and is reported to have at least one anti-Hillary Clinton sticker. That van was seen being loaded onto a police flatbed truck. Plantation is located in the congressional district of Rep. Debbie Wasserman Schultz, whose last name (misspelled) was listed on the packages.”

Incidentally: I’ll bet that on some level Sen. Corey Booker (D., New Jersey) felt left out yesterday when it appeared as if he hadn’t been sent a MAGA bomb package. Well, today he joined the club.

How about a list of bad or dreary movies with brilliant titles? This is a thing, no? Titles that are so zestily inviting and perfectly catchy that you want to see them right away, but then the movie turns out to be an amateurish slog.

And I’m not thinking of, say, Surf Nazis Must Die — a Troma title that told you right off the bat that it was almost certainly cheap garbage. But Ilsa, She-Wolf of the S.S., a title from the mind of director-writer Don Edmonds or screenwriter Jonah Royston, turned a certain lock in the mind, unleashing all kinds of dopey B&D leather-pervo fantasies plus hints of wicked humor.

For years I loved this stupid title without having seen the film. Then I finally saw it on DVD in the late ’90s, and my whole Ilsa realm was shattered. The reviewers weren’t wrong when they called it dreary torture porn. But you still have to admire the title. And it did well enough to inspire four sequels — Ilsa, Harem Keeper of the Oil Sheiks, Ilsa, The Mad Butcher, Ilsa, Tigress of Siberia and Ilsa, the Wicked Warden.

I was going also going to ask for the reverse — a list of unusually good or even excellent films that were saddled with a curious, interest-killing title. But there aren’t very many of these — Edge of Tomorrow, Quantum of Solace, Under Capricorn, Chartreuse Caboose, etc.

WHE’s 4K Ultra HD Bluray of Stanley Kubrick‘s 2001: A Space Odyssey has been a long time coming, and has gone through some delays and odd changes along the way.

Last spring it was being prepared in the usual way, allegedly based on elements that would have rendered a visual look similar to the 2007 Bluray version. The original release date was 5.8.18.

Then Chris Nolan‘s non-restored version, infamously tinted teal and piss yellow, debuted in Cannes and opened in select U.S. theatres. It was soon after announced that the 4K disc would be based upon the Nolan version, and widespread depression was felt across the land. It was also announced that the release date of the Nolan-ized disc would be 10.30.18.

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14 out of 26 Gold Derby “experts” have put Green Book‘s Mahershala Ali at the top of their Best Supporting Actor spitball lists. That’s roughly a 60% consensus, and you can bet that some didn’t pick Mahershala because he won a Best Supporting Actor Oscar less than two years ago for his Moonlight performance.

Ali had…what, four or five scenes in Barry Jenkins‘ Best Picture winner, if that? But his Don Shirley performance in Green Book lasts all through the film and abounds with pleasure — it’s almost a lead. In fact you could argue it is a lead performance, but that argues with Mahershala’s (or his p.r. team’s) strategy.

Mahershala is listed second on six Gold Derby lists. Face it — he’s almost a lock.

Ali’s strongest Best Supporting Actor competitor, Beautiful Boy‘s Timothy Chalamet, appears at the top of seven lists.

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Exactly two months before I had that 12.8.15 chat with Kurt Russell during a Hateful Eight junket, I experienced a “yes!” moment with a 10.5 Salon piece about guns by Amanda Marcotte. It contained one of the cleanest and most concise explanations of why the right is so adamant about the holiness of guns (i.e., refusing to regulate their use like the government regulates cars and drivers):

“Conservatives aren’t lying when they say they need guns to feel protected. But it’s increasingly clear that they aren’t seeking protection from crime or even from the mythical jackbooted government goons come to kick in your door. No, the real threat is existential. Guns are a totemic shield against the fear that they are losing dominance as the country becomes more liberal and diverse and, well, modern.” (“Diverse’, of course, being a code word for fewer whites calling the shots.)

“For liberals, the discussion about guns is about public health and crime prevention. For conservatives, hanging onto guns is a way to symbolically hang onto the cultural dominance they feel slipping from their hands.”

In the comment thread I explained that “50 years ago this country was more or less run by WASP whitebreads + Irish and Italian Catholics, etc. Blacks were seen as a minority, most gays were closeted and women worked the kitchen and tended to the kids. Those days are over and old-fart rural conservatives know it. That’s what the guns are about. To give them a sense of power in times of increasing powerlessness.”