Monthly Archives: February 2012
June: Tell me about the movies you make.
Griffin Mill: Why?
June: Because I want to know what you do.
Griffin Mill: I listen to stories and decide if they’ll make good movies or not. I get 125 phone calls a day and if I let that slip to 100 I know I’m not doing my job. Everyone who calls, they want to know one thing. They want me to say yes to them and make their movie. If I say yes, they think that come New Year’s it will be just them and Jack Nicholson on the slopes of Aspen. That’s what they think. The problem is I can only say yes, my studio can only say yes 12 times a year. And collectively we hear about 50,000 stories a year. So it’s hard. And I guess sometimes I’m not nice and make enemies. That’s what I was to David. An enemy.
June: Was his story one of the 12?
Griffin Mill: No, it wasn’t.
Griffin Mill: It lacked certain elements that we need to market a film successfully.
June: What elements?
Griffin Mill: Suspense, laughter, violence. Hope, heart, nudity, sex. Happy endings. Mainly happy endings.
June: What about reality?
Woody Allen won for his original and Alexander Payne and Nat Faxon & Jim Rash won for their adapted screenplay. It looks like The Descendants is primed to win at next Sunday’s Oscars (Moneyball is the only real threat). I wouldn’t say Midnight In Paris is a lock because The Artist was not eligible for the Writer’s Guild Awards, and it has been winning things left and right. I really hope, though, that the Academy follows suit and Woody gets his third (yes, he’s only won twice for his writing, though his latest nomination was his 13th in the category) writing win.
Audrey ‘Lulu’ Hankel: Charlie, what do you do for fun besides steal candy bars?
Charlie Driggs: You were right.
Audrey ‘Lulu’ Hankel: I was?
Charlie Driggs: Yeah. I’m a rebel. I am! I just channelled my rebellion into the mainstream. That’s all. [beat] I’ll give you an example. In ’81, I went long-term munis. Everybody said “Driggs, you’re crazy, don’t do it.”
Audrey ‘Lulu’ Hankel: Munis?
Charlie Driggs: Municipal bonds. Tax-free. Hell, I was locking in close to 15%. I may look straight, but deep down, I got what it takes.
Coming from The Warner Archive on Tuesday is George Archainbaud’s deliciously pre-Code thriller Thirteen Women, adapted from the novel by Tiffany Thayer. This film is also notorious because it features the first and only film appearance of Peg Entwistle, whose body was found at the Hollywood sign, having committed suicide a few weeks before the film’s release.
Mozart: “Confutatis maledictis” – when the wicked are confounded. “Flammis Acribus Adictis.” How would you translate that?
Salieri: “Consigned to flames of woe.”
Mozart: Do you believe in it?
Mozart: A fire which never dies, burning you forever?
Salieri: Oh yes.
Marcie: What are you doing?
Courtney: God! Tuna munch?
Fern: But my mom always–
Courtney: We never eat at lunch. Do you understand me? If for some damn good reason we did, we would never, ever eat out of a brown paper bag. I don’t care if there’s a culinary masterpiece in it. Get rid of it.
Courtney: If I get a zit because of this–
Fern: I’m sorry.
Courtney: I’d better never have kids. I have zero patience. [beat] Don’t think we’re anorexic, we’re not. That’s for the Karen Carpenter table. We’re not stupid. We eat. And we eat well. We just don’t eat in public. We don’t want people judging us by what we eat. It gives them ammo. The only ones with ammo are us. Food’s cool. You need it to live. But the mere act of eating invokes thoughts of digestion, flatulation, defecation, even, shall we say, complexion defection. I’d never eat a greasy pizza. Not even in front of the ultra-special students – the deaf, dumb and the blind – because at some terrifying level they’re associating that greasy pizza with your shiny face. A zit, a blackhead, a cluster of pores. It’s just another vexing stress.
Marcie: Life is hard enough without added anxiety.