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.”
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.
I for one believe that among the 30,000–plus Gazans who’ve been killed by Israeli troops since the invasion began, the vast majority have not been Hamas militants. Activist combatants are always a minority among any community engaged in (or adjacent to) armed conflict.
The basic view of the 1200 signers seems to be ”you may be right but when has war ever not been cruel and horrific?”
Friendo: “Andrew Sullivan said the other day that the pro-trans-kid mob includes all of liberal-progressive culture and the Democratic Party, not to mention 95 percent of HE’s readers, as well as other ‘enlightened’ forces that are doing their utmost to usher in Donald Trump’s 10-year reign of tyranny.
“What all these people are literally blind about is that they think the issue is ‘trans rights,’ or respecting the dignity and souls of people who are trans…etc.
“That’s not what the issue is about. At all.
“I utterly respect, and would fight for, the dignity, the rights and the souls of trans people. And why wouldn’t I? I’m not a bigot.
“The issue here is about whether parents, in a sane society, have the right to have autonomy over their children. The obvious answer is ‘yes, they do.’ And the reason they need that right is that children aren’t old enough to make crucial life decisions by themselves.
“Rejecting that obvious fact is the insanity of this movement.”
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