This documentary will not only cover Catherine E. Coulson’s time as the Log Lady on Twin Peaks, but it will also cover her work with the Oregon Shakespeare Festival, her work behind the scenes of films like Star Trek II: The Wrath of Khan and Eraserhead, her early life and start as an actress, and more.
There are some really fun perks for donating and some very rare footage, including an extended interview with David Lynch about his decades long friendship with Catherine, that will only see the light of day if the project gets funded.
Director Richard Green was a producer on the 2002 documentary David Lynch Presents: I Don’t Know Jack and can be seen in Mulholland Dr. (in Club Silencio).
Find out more about the production of I Know Catherine, The Log Lady and how you can donate here: http://kck.st/2KwsLQC
Paul Atreides: I must not fear. Fear is the mind-killer. Fear is the little-death that brings total obliteration. I will face my fear. I will permit it to pass over me and through me.
Mel Brooks is having quite a year. Last month his film The Twelve Chairs screened at the TCM Classic Film Festival, it was announced last week that Martin Scorsese will present him with the American Film Institute’s 41st Life Achievement Award in Hollywood on June 6 (the ceremony will air on TNT Saturday, June 15, at 9 p.m. and as part of an all-night tribute to Brooks on TCM Sunday, July 24, at 8 p.m) and last night a new documentary on the filmmaker entitled Mel Brooks: Make a Noise premiered on PBS as part of their American Masters series. I was fortunate enough to get a sneak peek at the DVD release of the documentary, which is available today form Shout! Factory.
Betty Elms: She’s letting me stay here while she’s working on a movie that’s being made in Canada. But I guess you already know that. Well, I couldn’t afford a place like this in a million years. . .unless, of course, I’m discovered and become a movie star. Of course, I’d rather be known as a great actress than a movie star. But, you know, sometimes people end up being both. So that is, I guess you’d say, sort of why I came here. [pause] I’m sorry. I’m just so excited to be here. I mean I just came here from Deep River, Ontario, and now I’m in this dream place. Well, you can imagine how I feel.
After Eraserhead, Lynch was eager to get started on a new project. After failing to get anything started on a personal project called Ronnie Rocket, he called Stuart Cornfeld – who had earlier called him to tell him how much he had enjoyed Eraserhead – and asked him if he had anything. Cornfeld said he had four projects. The first one he mentioned was called The Elephant Man; without knowing anything else Lynch said that was it. They pitched it around to several studios before Mel Brooks (for whom Cornfeld worked) decided (with some influence by his wife Anne Bancroft) it was right for his new BrooksFilms production company. He liked the screenwriters, but he didn’t know who Lynch was, so they screened Eraserhead for him. After it was over Brooks reportedly said to Lynch, “You’re a madman! I love you! You’re in!” The rest, as they say, is history. The film was nominated for eight Academy Awards, though it didn’t win any: Best Original Score, Best Art Direction, Best Film Editing, Best Costume Design, Best Adapted Screenplay, Best Actor John Hurt, Best Director and Best Picture. Lynch was saddened that the film didn’t receive sound or cinematography nominations. The year prior, sound designer Alan Splet received an honorary award for his sound work on The Black Stallion and a few years later he received a nomination for his work on 1983’s Never Cry Wolf. Cinematographer Freddie Francis won in 1960 for Sons and Lovers and in 1989 for Glory. The other films nominated for Best Picture that year were: Coal Miner’s Daughter, Raging Bull, Tess and winner Ordinary People. After the film’s loss at the Oscars, Brooks reportedly stated, “Ten years from now Ordinary People will be the answer to a trivia question. The Elephant Man will be a movie people are watching.” The film currently sits at #116 on IMDb’s user-generated Top 250.
Alvin Straight: You don’t think about getting old when you’re young. . .you shouldn’t.
Cyclist #1: Must be something good about gettin’ old?
Alvin Straight: Well I can’t imagine anything good about being blind and lame at the same time but, still at my age I’ve seen about all that life has to dish out. I know to separate the wheat from the chaff, and let the small stuff fall away.
Cyclist #2: That’s cool man. So, uh, what’s the worst part about being old, Alvin?
Alvin Straight: Well, the worst part of being old is rememberin’ when you was young.
I first saw Laura about two years ago during the inaugural Noirvember in 2010 (which later led to the creation of the filmnoirandfemmefatales as run by salesonfilm and myself). I loved it when I first saw it, but I watched so many films after it (2010 was the year I watched 517 new-to-me films, followed by 1117 in 2011) that it kind of got lost in the ether.