42West announced the full cast of Woody Allen‘s The Bop Decameron, which will begin shooting in Rome on 7.11. And it’s hard to imagine that a film costarring Jesse Eisenberg, Greta Gerwig, Penelope Cruz, Roberto Benigni, Woody Allen, Alec Baldwin, Judy Davis and Ellen Page could be a problem. Costars include Ornella Muti and Alison Pill (i.e., Zelda Fitzgerald in Midnight in Paris). I’ll be expecting at least one scene featuring Eisenberg or Gerwig buzzing around on a scooter.

Warner Bros. marketers are trying to sell the notion that Glenn Ficarra and John Requa‘s Crazy Stupid Love (Warner Bros., 7.29) is another Steve Carell formula comedy in the vein of The 40 Year-Old Virgin (i.e., insecure, socially clumsy, sexually-inexperienced schmuck tries to make out with girls). But I’m told the film is more of a La Ronde-type ensemble piece with all kinds of criss-crossing fates, and that it’s nicely written by animated-feature and Fred Claus screenwriter Dan Fogelman. We’ll see.

It turns out that in the separation of Megan Fox from Transformers 3, Michael Bay, who ostensibly fired her, was only Charlie Partanna. According to a statement made by Bay to London’s Daily Mail, the whacking of Fox was ordered by none other than Don Corrado Prizzi — i.e., Steven Spielberg, the film’s executive producer.

Fox, who costarred in the first two Transformer pics, had been cast in Transformers 3. But in September 2009, shortly before production began, she gave an interview to Wonderland, a British rag, in which she said Bay was like Hitler on his sets. Bay told a Daily Mail reporter, “You know the Hitler thing? Steven [Spielberg] said, fire her right now.”

I attended an LAFF “Coffee Talk: Screenwriters” panel at 5 pm today at LA LIVE Regal. The two “stars” (in terms of the number of questions asked by the audience) were Diablo Cody and Dustin Lance Black; Christopher Marcus & Stephen McFeely (The Chronicles of Narnia, Captain America) and Josh Olson (A History of Violence), no offense, were back-up.

(l. to r.) Josh Olson, Dustin Lance Black, Diablo Cody and (I think) Christopher Marcus.

The most exciting bit of information was Cody announcing that her dream writing project, which she hasn’t begun working on (not even in terms of research), would be a biopic of Brian Wilson. The instant she said that, I said “Yes! Great idea!” The story of an obsessive who became a brilliant and transcendent composer-musician for a period of maybe three of four years (’64 to ’67) before he burned himself out and went down the drain…and then came back in a mild, contented way in the ’90s. Somebody asked who would play Wilson, and Cody said, “Good Question.”

I also asked Cody about the screenplay she wrote for Jason Reitman‘s Young Adult, and mentioned that my understanding (not having read the script) is that it’s “somewhat less congenial” than previous Reitman films, and she basically said “Yeah, you’re right.” What she actually said was that “‘congenial’ is actually a pretty good word for what Reitman’s films” — obviously including Cody’s Juno — “have been,” and that Young Adult is “not the kind of film that people might expect from me,” and that Charlize Theron‘s character is a “curmudgeon” and so on. I can’t wait.

A couple of weeks ago I drove out to El Monte and bought a little white Chinese-made scooter for $1500 — brand new, tax and license and registration, all in. It costs $60 bucks to fill up my car and $5 to fill up the scooter tank, and it gets about 100 mpg. And I can get to places much faster on the scooter than I can with the car, and you never have to pay for parking, ever. And it’s a lot of fun. I rode a scooter through Paris three weeks ago and it was heaven.

I’m going to the premiere of Larry Crowne (Universal, 7.1), in which Tom Hanks plays a laid-off 50ish guy who joins an LA Scooter club, etc. I read this morning that a few dozen scooter riders “will accompany Hanks and possibly costar Julia Roberts on an escorted Scooter convoy through the streets of Hollywood en route to the Larry Crowne world premiere on June 27.”

I wrote my Universal p.r. pally about riding along with this swarm so I can shoot video and stills and whatnot.

Reggie Brown is a fairly decent Obama impersonator, but his jokes about Mitt Romney, Tim Pawlenty, Michelle Bachmann and other righties, delivered last night at the Republican Leadership Conference in New Orleans, were deemed overly scathing. And so he was booted…er, escorted off the stage. That’s the right for you — fall into lockstep and “talk the talk” and don’t be any kind of impudent smartass, or you’re gone. Here’s a longer clip.

Boxoffice.com is projecting that The Green Lantern‘s total domestic theatrical gross will top out around $135 million after earning $52,685,000 this weekend. Indiewire‘s Anthony D’Allesandro reports that Green Lantern grosses “fell 22% between Friday and Saturday with another 15% today [i.e., Sunday].”

Warner Bros. will pocket around 90% of the $52 mill and maybe…what, 75% or 80% of the grand total? Even when you factor in overseas revenue, DVD/Bluray and pay/cable, etc., it still looks like a shortfaller considering the $300 million tab ($200 million to actually make the damn thing and, according to WB honcho Alan Horn, $100 million to sell it worldwide). So it’s a loser, a down-the-holer. No sequels, go away, etc.

What factors brought the curtain down upon The Green Lantern? Unfiltered Lens observer Ray DeRoussecites four killers: (1) Comic-book movies need a singular vision, and all Green Lantern really offered was soulless eye candy; (2) 3D is dead — “Nobody wants to pay $14 to $20 a ticket to watch Ryan Reynolds fight CG fart clouds in 3D… nobody“; (3) “Ryan Reynolds is not a movie star…yet”; and (4) “Comic-book movies have hit the end of the road.”

This Jack Torrance Father’s Day card was initially tweeted (I think) by Toy Story 3 director Lee Unkrich.

My father (who passed in 2008) turned me on to a few films that I admire, respect and still watch every now and then: The Four Feathers, Twelve O’Clock High, High Noon, Hiroshima Mon Amour, The Gunfighter, Gunga Din, Battleground, Sweet Smell of Success. I tried to return the favor occasionally, and he was generally receptive in the ’70 and ’80s and early ’90s. But I gave up on him when he called The Limey a piece of crap. “That’s it,” I told myself. “His taste buds are shot.”

I’ve got an hour’s bike ride and other Sunday morning stuff to accomplish so I don’t know about attending the LA Film Festival’s Coffee Talk with Directors panel, which starts at 11 am (or 44 minutes from now) at Regal Cinema #12. The three panelists will be Phillip Noyce (Salt, Clear and Present Danger, Rabbit-Proof Fence), Richard Kelly (Donnie Darko, The Box) and Ruben Fleischer (Zombieland, 30 Minutes or Less).

I’ll definitely be attending the 5 pm Coffee with Screenwriters panel with Dustin Lance Black (Milk, J. Edgar), Diablo Cody (Young Adult, Juno), Christopher Marcus & Stephen McFeely (The Chronicles of Narnia, Captain America) and Josh Olson (A History of Violence, One Shot).

I’ll also be seeing Lisa Jackson‘s Sex Crimes Unit, a doc, at 7:15 pm, and then Paddy Considine‘s Tyrannosaur at 10 pm.

This morning at 8:51 am Glenn Kenny (@ExtAngel) tweeted that “reams and reams of furious debate and still no input from @wellshwood means ‘cultural vegetables’ (being re-discussed by Dan Kois, A.O. Scott and Manohla Dargis in tomorrow’s N.Y. Times) is really a complete non-issue.”

I didn’t get into it because I said it all on 5.4 in response to Kois’ original N.Y. Times Sunday Magazine article, and I was re-posting an old piece at that. Because I’d addressed the issue 12 years ago in an essay that basically said that vegetable-like, ever-so-slightly boring films are generally necessary, sometimes nurturing and almost always worthwhile.

(1) “Quality movies flirt with being boring from time to time. A good kind of boring, I mean. Nutritional, Brussels-sprouts, good-for-your-soul boring. So in the backwash of our constant cultural deprivation, ‘a little bit boring’ is a serious compliment these days. You just have to mean it (or hear it) the right way.”

(2) “It’s important to understand the degree of boring I’ve speaking of here. I don’t mean sinking-into-a-coma boring. Or regular boring. Or even mildly boring. But a little bit boring.

(3) “My point is, it’s often a mark of quality if something is a little bit boring. But I do mean a little bit. Too much of it and you’ll go to sleep. There are dozens of films released every year that are wonderful sleeping aids. I’m not talking about those. I’m talking about films that are laced with boredom. Like a couple pinches of salt in a bowl of egg salad. Just the right amount of it is usually an indication that a film is doing something right.”

“Overall, the film is incredible. In the oldest sense of that word, it is awe-inspiring and grotesque. Stunning and heartfelt. It’s a love letter to a country, a time and a frowning clown singing mournfully about a weeping trumpet. We are all bad people. We hurt the ones we love. There can be no laughter without suffering.” — from a 10.5.10 Film School Rejects review by Cole Abalus.