Carmike Cinemas Inc. has pledged to install 2300 digital projection systems in its 37-state theatre chain by October 2007….good. Carmike is the first U.S. exhibitor to step up to the plate, dig deep and start rolling with this. The investment will cost them about $150 million. There are currently only about 100 screens in the entire country capable of showing digitally-projected movies. There are roughly 36,000 movie screens in the U.S., so this is only a small first step.

Words about Steven Spielberg’s Munich from a Manhattan- dwelling Academy member: “I have not seen it but I know several people who have and they are unanimous — it is too long, it is repetitive, it is pretentious, and they all wondered if anyone would have the guts to say that. I mean, Jeffrey…I have not heard more negative responses on what is supposed to be a quality film this year.”

That mention by my Manhattan friend about whether people will “have the guts” to critique or give a general thumbs-down to Munich is indicative of a lingering notion that Spielberg is a dispenser of great tribal power, and to say anything against him or one of his films could conceivably result in a negative reaction down the road. You have to at least consider that this psychology was part of the reportedly positive reactions to Munich at the Beverly Hills Academy screening last Sunday night. Take it with a grain of salt, but that’s what The Envelope‘s Steve Pond reported yesterday.

And I love, by the way, that boldfaced photo caption that ran with Pond’s piece: “Munich” was definitely not a bomb with the academy audience. It reminds me of that very-first-reac- tion to 1995’s Waterworld that got around after the first junket screening: “It doesn’t suck.”

The NYC transit strike began this morning, but this will not interfere with Hollywood Elsewhere’s plans to see Terry Zwigoff’s Art School Confidential, which is screening this evening at 6 pm at Sony headquarters on Madison and 55th. That’s right — I’m prepared to leg it both ways because I doubt I’ll be able to get a cab. From my Brooklyn apartment, which is near the corner of Montrose and Bushwick, I’ll have to walk a mile and a half west to the Williamsburg Bridge and then hump across the damn thing (which will not be pleasant due to the extreme windy cold), and then comes a 65 block walk north to Sony and after the screening comes another 65 blocks south and back over the bridge, etc. With the subways running I usually figure about 30 minutes to get to uptown Manhattan — now it’s at least two hours. I’m figuring I’ll have to leave at 3:45 pm, and after the screening ends at 8pm I’m figuring another two hour walk back…at least. If anyone is reading this and wants to try and share a cab, get in touch.

I don’t mind the transit strike. Walking is good for your mind, body and soul. Hardship is always a good thing when it comes to friendliness and community relations and people actually treating each other with caring and good cheer. Manhattanites are famous for coming alive when things are really tough. I wonder if anyone will be hitchhiking? So today’s forthcoming four-and-a-half-hour walk isn’t just about seeing the Zwigoff film. If nothing else, it’ll be about (hopefully) taking some good pictures.

The San Diego Film Critics made some bright interesting calls with their 2005 Awards. Capote‘s Bennett Miller as Best Director and Phillip Seymour Hoffman for Best Actor, The Upside of Anger‘s Joan Allen for Best Actress, Broken Flowers‘ Jeffrey Wright for Best Supporting Actor, The Constant Gardener‘s Rachel Weisz for Best Supporting Actress, Best Documentary Award to Werner Herzog’s Grizzly Man and a Best Screenplay Award to Shane Black’s Kiss Kiss, Bang Bang. Thought- ful independent-minded choices, all…and then the group went and gave their Best Picture award to King Kong. C’mon! Even its admirers admit Kong is only about two-thirds of an eye-popping emotional ride because the first 70 minutes more or less suck. So what happened? Obviously forces within the San Diego Critics group forced a capitulation to commercialism. If I were a member, I would run an ad to apologize to the citizenry for the group’s decision and make it clear that Kong, good as it is for what it is, sure as shit wasn’t my choice, etc.

I am comfortable with a certain lack of consistency in myself. Life is duty, beauty and criteria, but it’s also a series of moods and passages from one thing to another…highs and detours and occasional levitations and floatings. All to say I don’t what the hell happened when I ran my Best 14 Movies of 2005 list in the column a while back and omitted James Mangold’s Walk The Line. It’s #4 on my MCN Gurus of Gold list and I also submitted it as #6 in a Year’s Ten Best list based in my own personal criteria. Obviously on some level I mood-tripped my way out of including Walk The Line in that previous piece but I can’t figure why. I guess the boat rocked and some beer spilled out of the mug. Apologies for the oversight.

Slate‘s Edward Jay Epstein has written a blunt down-to-it piece about why Paramount honcho Brad Grey really bought DreamWorks, “according to people at Viacom, Paramount’s corporate owner.” When he took over in early ’05, Grey, who’d been handed a mandate by Viacom’s Sumner Redstone “to totally revamp moviemaking at Paramount,” got rid of just about every holdover project from the Sherry Lansing-Jonathan Dolgen (like that Secret Life of Walter Mitty film with Owen Wilson) along with the execs who had nurtured them. And yet Grey so vigorously swept the decks that Paramount, as of last summer, was looking at very little product for ’06 and ’07. So Grey bought DreamWorks in large part in order to make up for this vacancy, since DreamWorks has a good number of projects in various stages of development. There’s more to it, but Epstein’s story can be summed up in these two graphs: #1: “The true brilliance of Paramount’s high-profile acquisition of DreamWorks is that it will serve to divert from, if not totally hide, Paramount’s own failure to assemble a full slate of films for 2006-2007. Compared with the public-relations cost of revealing that managerial meltdown, the $1.6 billion price tag for DreamWorks must have seemed a bargain. And #2: “When [the acquisition] deal closes, Paramount will essentially become, at least for the next two years, DreamWorks. Of course, many, if not all, of the people who work at DreamWorks will lose their jobs, and the people at Paramount who created the near-meltdown will take credit for the films they’ve acquired. But, as they say, that’s show business.”

I haven’t heard anything about the Munich Academy screening at Wilshire and La Peer last night (sorry…I’m in New York now and running around) but I’m waiting with bated breath and will probably have something to report later on.

King Kong and Titanic both run over three hours and both have experienced an unspectacular first week at the box-office…fine. But take no notice of anyone trying to draw further further analogies.

Slate‘s Seth Stevenson has a riff about Spike Jonze’s “Pardon Our Dust” Gap ad. As noted in this column a while back, there are two versions of this ad — the much cooler Jonze-approved version that never played on TV or anywhere else, and the totally malignant, deballed-by-Gap-marketing-execs version (linked on the Stevenson column page), which uses a musical cut called “Don’t Stand Still” instead of Edvard Grieg’s “In the Hall of the Mountain King,” a Stanley Kubrick-like scoring that Jonze used. A Gap spokesperson told Stevenson that the company “tried several variations” of the ad, blah, blad. The truth is that The Gap didn’t use Jonze’s version because they thought it was too much on its own wavelength. Translation: it scared them. Truth be told, Jonze’s version doesn’t really deal with, much less convey excitement about, the idea of a forthcoming renovation of the Gap stores. What it does is comically express a fierce loathing of the Gap brand (or, if you go with my impression, of all corporate chain stores everywhere). Stevenson asks, “Did Gap not see the possibilities [in using the Jonze ad]? Were they too scared to go for broke?” The answer is that certain Gap execs saw exactly what Jonze’s spot was about and did what was necessary to eliminate the subversive element…simple.