Some kind of congratulations are in order, I suppose, for Dream House costars Daniel Craig and Rachel Weisz, who quietly married a few days ago. This would be a good time, obviously, to check out the Dream House trailer, but I can’t find it anywhere. What’s that about?

Dream House is a Universal/Morgan Creek production, and those guys know that any film coming out in 90 days has to at least have a teaser up. Wait — I don’t even see a website.

Jim Sheridan‘s haunted-house thriller shot roughly 13 months ago with additional shooting completed last December, and it’ll finally open three months from now (on 9.30.11) after bailing on a 2.18.11 opening, and there’s still no trailer? I don’t what to say except hubba-hubba, shake a leg, move it or lose it, etc.

There’s reportedly a movie called Cars 2 (don’t care, won’t see it) that will make $67 million by late tonight. Take no notice of the projected $31 million that Bad Teacher will earn this weekend. The C-plus CinemaScore grade plus Boxoffice.com’s Phil Contrino declaring the word-of-mouth is “toxic” is a fate-sealer. And The Green Lantern dropped over 65% with an expected $18 million for the weekend. Justice is served.

Hollywood Elsewhere friendo Phillip Noyce (Salt, Clear and Present Danger, The Quiet American) toured around Vietnam last month to promote a Vietnamese-language edition of Ingo Petzke‘s “Phillip Noyce — Backroads to Hollywood.” He and his family visited Ho Chi Minh City, Hanoi and several points in-between. And there’s economic health everywhere, he says. There’s a super-rich class (plus a middle-class and lower-class), thriving industries, friendly people, beautiful jungles and beaches. Delicious food, magnificent architecture. A nice place to visit.

Why exactly did 58,000 young Americans die over there between ’62 and ’75? To keep the Communists from landing on the shores of Santa Monica? I forget.

All I know is that reality-facing political insiders knew North Vietnam couldn’t be beaten early on, we all knew the war was a lost cause by early ’68, and we stayed for another seven years until the last chopper flew off the roof of the American embassy in Saigon in ’75. And for what? 58,000 Americans, mostly blue-collar guys, ate lead and shrapnel and rose up into the sky and became droplets of water in the great eternal fountain, and for what?

Vietnam’s Wiki page says that poverty levels are now smaller than that of China, India, and the Philippines. According to a forecast in December 2005 by Goldman-Sachs, Vietnamese economy will become the 17th largest economy in the world in 2025, with a potential growth rate of almost 10% per annum in real dollar terms that could push it up to around 70% of the size of the UK economy by 2050. Vietnam is now the largest producer of cashew nuts with a one-third global share, the largest producer of black pepper accounting for one-third of the world’s market and second largest rice exporter in the world after Thailand. Other key exports are coffee, tea, rubber, and fishery products. There’s also a thriving tech industry.

A DVD of Henry Hathaway‘s Woman Obsessed (’59) arrived yesterday. I watched about half of it last night. (It’s slow and draggy.) There’s a scene with Susan Hayward, Stephen Boyd and Hayward’s kid visiting a circus and taking a look at “the fat lady” — a side-show attraction. 50 years ago women this size were considered freaks; today they’re considered Middle-American housewives.

In the ’70s I flew across the country (Van Nuys to LaGuardia) in a four-seat Beechcraft Bonanza. The pilot was a Russian pediatrician named Vladimir. He’d agreed to take me and a guy named Gary in exchange for gas money. We left in the early morning, stopped for gas and lunch in Tucumcari, New Mexico, bunked in a St. Louis airport motel that night, flew out the next morning and arrived at LGA by the early afternoon. Anyway…

The fog was so thick when we were coming into St. Louis the air-traffic-controller guy had to talk us down. I was sitting shotgun and the air was pure soup, and I quickly fell in love with that soothing, Southern-accented voice, telling us exactly what to do, staying with us the whole way…”level off, down 500, bank right,” etc. When we finally got close to the landing strip and the fog began to dissipate, the landing lights looked like they do in this scene from The High and the Mighty. This glowing beacon of Christianity welcoming you, telling you everything’s gonna be okay, etc.

It was almost enough, during that moment and later that night as I thought about it, to make me think about not being a Bhagavad Gita mystic any more and coming back to the Episcopalian Church.

Last night’s passage of New York State’s gay-marriage law was cause for celebration among decent people everywhere. I wish I could have taken part in the Manhattan celebrations outside the Stonewall near Sheridan Square, or on the 8th Avenue strip from 14th Street to 23rd Street. I wasn’t in Berlin either when the wall came down.

Senator Mark J. Grisanti, a Republican from Buffalo, was the 33rd vote for the bill. “I apologize for those who feel offended,” he said. “I cannot deny a person, a human being, a taxpayer, a worker, the people of my district and across this state, the State of New York, and those people who make this the great state that it is the same rights that I have with my wife.”

It goes without saying that President Obama is too scared of hee-haw swing voters to have supported it, but hats off to Governor Andrew Cuomo.

“Ever since I had a memory about what my mother taught me, and my grandparents taught me, I believed that discriminating against people was wrong,” Obama said in New York two nights ago. “And I believed that discrimination because of somebody’s sexual orientation or gender identity ran counter to who we are as a people. It’s a violation of the basic tenets on which this nation was founded. I believe that gay couples deserve the same human rights as every other couple in this country.”

Most of the morning has been spent working hard on things that aren’t yet column stories or items or reports. It’ll all have to keep until I get around to it later this afternoon. It’s very easy to fall behind in this daily-column racket. Al you have to do is wake up a little bit late, and then take your time getting into things…and before you know it the time is 12:59 pm.

Weinstein Co. is announcing that some kind of official HD trailer for Apollo 18 has debuted on Yahoo…whatever. Speculative NASA fantasy pic (with simulated “actual’ footage) opens wide on 9.2.11. “While NASA denies its authenticity, others say it’s the real reason we’ve never gone back to the moon,” etc.

On June 10th L.A. Times/”24 Frames” guy Steven Zeitchik wrote about the coming of Nick Broomfield‘s anti-Sarah Palin doc, which I put a top-spin on the following morning. And today, 13 or 14 days later, Mike Fleming is reporting that “Deadline has learned there’s another Palin doc in the works [from] Broomfield” that’s “not going to be quite as favorable toward the former vice presidential candidate as The Undefeated.”

Nope, no mistake — Fleming is talking about same Broomfield documentary.

The exclusive part of Fleming’s story is a clip from the Broomfield doc in which two former associates (John Bitney, Palin’s former legislative director, and former Alaska Senate President Lyda Green, a Republican) recall how Palin was always texting during meetings and barely paying attention to “the business in the building….unengaged, cursory…lack of interest, wasn’t listening,” etc.

“Let’s create a luxury tax for Hollywood,” Marshall Fine has suggested, “comparable to the one Major League Baseball invokes whenever a team tries to buy itself a pennant by stocking up on expensive star players.

“Except, in the case of Hollywood, this would be a tax that Hollywood would charge itself every time it makes a movie that costs $100 million or more. There would be a tax of X amount of dollars — let’s say 10 percent — for every $10 million over the $99-million mark a movie’s budget goes (and I’m including the cost of advertising and marketing, which can double a movie’s price-tag). And we’d round up, from $101 million.

“That money, in turn, would go to a not-for-profit fund to help underwrite less affluent artists. It could be used for grants for low-budget independent films. Or perhaps — given Hollywood’s reputation as a hive of liberalism — it could be earmarked for the National Endowment for the Arts, which always has a bulls-eye painted on it by conservatives, targeting it for elimination.”

There’s no question about one thing: 93% of the time a smaller budget always results in greater creativity. Yes, 7% of the time an expensive movie will seem to be worth the cost with most of the the dough having been spent wisely and excitingly. Okay, make it 10% or 12% of the time. But the rest of the time big-budgets just smother the spirit.

Remember the old days when DVDs would deliver boxy, full-frame versions of films shot at standard Academy ratio of 1.37 to 1 (but which are routinely masked off at 1.85 to 1 when they’re shown in theatres)? Those are pretty much gone, and I kinda miss ’em. I like height (i.e., lots of headroom) and I love boxiness. But the 16 x 9 fascists have pretty much killed that aesthetic. Old studio-era films (mid-1950s and older) are still mastered at 1.37, of course, but that’s the extent of it.

Some day boxy frames will be regarded with the same damp-eyed nostalgia that old-time record collectors feel for 45 and 78 rpms.