Monthly Archives: April 2012
Justine: You want us to gather on your terrace to sing a song, have a glass of wine? The three of us?
Claire: Yes. That would make me happy.
Justine: You know what I think of your plan?
Claire: No. I was hoping that you might like it.
Justine: I think that it’s a piece of shit.
Claire: Justine, please. I just want it to be nice.
Justine: Nice? Why don’t we meet on the fucking toilet?
Claire: Then let’s not.
Justine: You’re damn right let’s not.
The festival was two weeks ago and it was amazing. I did a lot of coverage/interviews this year over at YAM Magazine, and now that it has all posted I wanted to make sure you guys over here got to read it all.
- a roundup of the event
- my personal roundup, including some crazy shenanigans and photos of me with celebrities.
- red carpet interviews with Michael Murphy, Barbara Rush, Leonard Maltin, William Wellman Jr. and Bob Mackie
- excerpts from roundtable discussions with Ben Mankiewicz and Robert Osborne
- an exclusive interview with Thelma Schoonmaker about Martin Scorsese and her late husband Michael Powell
- an exclusive interview with Rick Baker about monster films
- an exclusive interview (while having tea!) with Tippi Hedren
Ginnie Moorehead: Dave, oh Dave, be in love with me. Oh, I love you so much. I never met anybody like you before in my whole life. I want to love you so awful, awful much.
Dave Hirsh: Don’t cry, Ginnie, don’t cry. I’m sorry if I hurt you. Forgive me, I didn’t mean it. I’m terribly sorry.
Ginnie Moorehead: You know, I’d do anything for you, Dave. I’d do anything, ask me!
Michael: I’m over-anxious because I like you a lot.
Sally: Oh, dear. Michael, what can I say? I haven’t made love in such a long time. My marriage, I told you, was dead. For years. I don’t know why. Yes, I do. It’s the Second Law of Thermodynamics: sooner or later everything turns to shit. That’s my phrasing, not the Encyclopedia Britannica.
Now available from the Warner Archive, William A. Wellman’s western drama Westward The Women is not only an impressive feat in cinematic storytelling, but also features one of the best ensembles of women in the classical Hollywood era. I’m really quite surprised this film isn’t more highly regarded than it is. It definitely packs the kind of shocking punch you come to expect from a Bill Wellman picture. In fact, it almost feels like some of his pre-code films and contains some elements that I found rather shocking in a film from 1951.