But what are a thousand words worth?

It turns out I’ve got about 1,000 words a day, maybe 2,000 if I’m just doing stream of consciousness.
Anyway, as you can guess from the last few days’ posts [sic], that wordstream has been gobbled up by another project. Now that’s it’s to bed, they’re backing up in my head while I’m at the Outer Banks. So you just wait until Saturday morning, when you’ll find me curled up on your doorstep, like an unwanted drunk.
In the mean time, please go register for a bunch of classes at The New School.

Wreading Writers’ Weblogs

Used to be when Roger Avary was the only screenwriter with a weblog. No more. Here are three other screenwriters’ blogs that are well worth reading:

  • JohnAugust.com: In addition to film credits such as Go, Big Fish, and the upcoming remake of Charlie & The Chocolate Factory, August answered script-related questions for years on imdb’s message forums. His weblog consolidates all these resources into one, happy spot.
  • The Artful Writer, by co-authors Craig Mazin and Ted Elliott, strikes a very serious-sounding note by focusing on “information, theory, and debate for the professional television and film writer.” One recent post, though, is an insightful and entertaining glossary of comedy writing terms [part I, part II], developed by the Zucker brothers and Jim Abraham to help “explain to each other why we’re wrong.”
  • Meanwhile, John Rogers (from Cosby to Catwoman has been assembling an excellent collection of comedy writing jargon, too, at his blog, Kung Fu Monkey.
  • Why is this Calatrava Moment different from all other Calatrava Moments?

    calatrava_south_st.jpgAccording to the Curbed Theory of NY Media Darling Architects, full-force Calatrava-hatin’ should’ve kicked in in January. But here it is April, and there’s a snuggly celebration in the Times by Robin Pogrebin, and it’s got subtexts packed so tight, I can’t figure out what the real story is:
    It’s what New York’s all about, baby: reinvention “he considered himself more an artist than an architect.” Really? Because he used to be “the bridge guy, the engineer who also did architecture.”*
    Can you believe it, he’s in a museum show! In NYC!: True, Sandy does have a show coming up at the Met six months from now. Odd that there’s no mention of his MoMA shows, either last year’s “Tall Buildings” or that little ol’ one-man show in 1993. Or the Municipal Art Society’s St John the Divine exhibit that debuted his first NYC project.
    $45 million condos at the Seaport don’t sell themselves, pal: I think we’re getting warmer. Says connoisseur/condo developer Frank Sciame, “Standing there in front of his sculpture, that’s how this started.” Or as he puts it in Absolute magazine, “In addition to being a work of art… it will also be a place to live.”
    He’s the only thing right about the WTC site: Ah-ha. “It helps us immensely to have someone give us a solution that is workable from an engineering point of view, as opposed to just an architecturally beautiful feature.” Translation: Thanks for playing, Danny. There are some lovely parting gifts for you on the way out.
    See, if only we’d let the Port Authority make every redevelopment decision for the WTC site unilaterally, we’d be much better off. Ahh, I’m inspired already.

    An Architect Embraces New York
    [nyt]
    Calatrava’s Tower: Even More Egregiously Expensive! [curbed]
    * like the suit who calls himself a filmmaker but ends up writing all the time has room to talk.

    ACFWLF

    nakadate_finch.jpg
    The soft, supple opening to Charlie Finch’s latest column on Artnet:

    We first met Laurel Nakadate in 2001, right after she received her MFA from Yale. While in New Haven, Laurel lived in a single-room occupancy apartment house full of lonely, homely, aging single men whom she proceeded to bait and cocktease mercilessly in her video work.

    By “we,” I think he means “me and my lonely, homely, single hand.”
    Critic, art world svengali, and breast man Charlie Finch sticks his own hand into “perky, dewy” video artist Laurel Nakadate’s career, apparently without realizing that he’s already soaking in it.
    If someday she comes out and says her work is about a young artist who graduates from Gregory Crewdson’s Yale and tries to get ahead in the art world, I will die laughing. And give her the Turner Prize.
    Nakadate’s show is up at the otherwise redoubtable Danziger Projects through May 14.
    Danger is Her Game [charlie finch on artnet]

    Daddy, Tell Me A Back Story

    The problem is that Penn can’t play just any agent trying to do his job. He has to have his own traumatic back story and overflowing well of grief over a dead wife, because what’s a Penn performance these days without the actor emoting in close-up for a camera frozen in awe? (You can practically hear the director say, “And now, ladies and gentleman, the stylings of the premier actor of his generation.”)

    After all, [Kidman] has a back story of her own…

    In the true spirit of diplomacy, Edelstein lets both the director and the writers have it in his Slate review of The Interpreter.
    Lost in Translation [slate]

    Ada Louise Huxtable: The WTC Horse Is Out Of The Barn

    No honest questioning of the Silverstein/Port Authority 10mm sf program. No more Libeskind master plan. No political backbone or redevelopment vision. No appreciation for the arts as anything but a criticism-placating bullet point on a mission statement. No program apparently required for this amorphous-at-best Freedom Center museum thing, which is going ahead full force anyway. And now no fundraising for no performing arts center, which was originally pitched as a central requirement for the site’s viable rebirth.
    Ada Louise Huxtable’s pissed, and–if she thought it’d help–she wouldn’t take it anymore.
    Death of a Dream: There won’t be a creative rebirth at Ground Zero after all. [wsj, via curbed]

    From The Two Ends Of The Online Viewing Spectrum

    86theonions_nec.jpgNever the innovator, apparently, NEC commissioned a series of sponsored short films which debuted last fall. The theme(s)? “Ubiquitous” and “U Can Change.” Let me just say, that slogan’s no “Art of Speed.” I guess they think it works alright in Japanese.
    Anyway, Venice, CA punk agency 86 the Onions produced a batch, which look to me like Western parodies of nonsensical Japanese commercials. “Cocoon” or “Karaoke” are probably the best, although the latter’s too long. My favorite is “Wedding”; it’s got a smart surprise ending. [Reading the making of story at adland, no one’ll be surprised to learn they came up with the ideas in 24 hours, and shot them in like a week. I hope they got paid a fortune.]
    Meanwhile, the trailer’s online for Lars von Trier’s Manderlay. Hmm? Something about slavery? Whatever, it’s a shoe-in for La Palme d’Feelgood at Cannes.

    adland: 86 the onions make ubiquitous campaign for NEC Japan
    [ad-rag.com]
    Shorts for NEC Ubiquitous, by 86 the Onions
    Lars von Trier’s Manderlay [play.dk, via robotwisdom]

    Stack Of Unposted Posts Celebrates 3-Day Anniversary

    I’ve been crunching on an offline deadline, and I’ve barely even read these, much less thought and posted about them:

  • How to Make a Movie About 9/11? Carefully: Unfortunately, careful isn’t usually the stuff of great Hollywood drama, but of compromised, templated biopics. As for “the most basic creative dilemma” being whether to show the planes hitting the towers, this footage, this imagery was arbitrarily sacralized so quickly, this taboo theology has accreted on it. The media equivalent of The Footprints, it’s an unsuitable vessel for the emotions and memories and eventual understanding of September 11th.
    On the other hand, The Great New Wonderful, directed by Danny Leiner, sounds promising. It’s set well after the Sept. 11th attacks, which is far more interesting, uncharted (in film) emotional territory. Plus, he did Harold and Kumar Go to White Castle.

  • Hollywood Welcomes New Crop of Moguls: Always on the lookout for a crop of new somethings, Sharon Waxman finds people who are trying to make small fortunes in the film business using their big fortunes from elsewhere. A business model after my own heart. Now, if I only owned the Mavericks…
  • question: is the URL in the first story intentionally 20atta.html? Because the URL in the second is 19rich.html. Just asking….
  • Walker Art Center Production Blog

    wac_hdem_sidewalk.jpg, totally cribbed from walkerart.orgSo the Walker Art Center reopened last week in Minneapolis, and the reviews I’ve seen are great.
    Did you know they had what amounts to a production blog for the completion of the new Herzog & deMeuron addition? Titled “New Media Initiatives,” there are entries about architectural minutiae like sandblasting H&deM patterns on the new sidewalk, testing semi-reflective films for the projected signage, and kiosks. Lots of kiosks. Solid, geeky museum stuff. There’s also an education-related blog.
    New media initiatives [blogs.walkerart.org, via man]

    Memo To Chavez: Don’t Let Terry Gilliam Direct

    Venezuelan president (who’s working on the “for-life” part)Hugo Chavez is distributing 1 million free copies of Don Quixote to his countrymen as part of a nationwide literacy campaign based on a Cuban model.
    According to the BBC, Chavez called for his pueblos to, “feed ourselves once again with that spirit of a fighter who went out to undo injustices and fix the world.” And who was bat-guano crazy. Good luck with that.

    Venezuela celebrates Quixote book
    [BBC via robotwisdom]

    By Their Fruits Ye Shall Now Them

    While the Republican Sanhedrin was proclaiming their own–and Tom DeLay’s–righteousness on the Sunday morning political talk shows, I spotted Harry Reid, Senate leader of what Bill Frist calls the “anti-faith” movement–at church.
    They probably have to look up the address: Get Tom DeLay To The Church [frank rich, nyt]

    Smells Like Cine Spirit

    Gus Van Sant’s new film, Last Days, is a fictional recreation of the impending death of Kurt Cobain, shot in the director’s now-mature semi-documentary style.
    The trailer’s up; Last Days opens May 16 in France, timed, presumably, with its debut at Cannes. Don’t feel bad that France gets to see it long before the US, though. After all, Gerry didn’t come out in France until after Elephant.
    Last Days trailer [allocine.fr, via mefi]
    a fluffy Cobainiac take on the movie [mtv.com]

    Les Parapluies de Staten Island

    Since all the pros are weighing in on it, let me say that Laura Shin’s umbrella review in Slate is wack. What purports to be a The New York Review of Umbrellas’s ignores some key aspects of New York City’s indigenous umbrella culture, and in ways that make me think it’s unconsciously geared to visitors, not residents, of the city.
    This daytripper’s bias manifests itself in the criteria: saying smaller=better makes no more sense for umbrellas than bigger=better does for SUV’s. Unless you’re planning on carrying it folded up much of the time because, like the folks you see uptown with Century 21 bags, you don’t have an apartment or an office to stash stuff in.
    Also, even in these Friends-friendly days, “plays well with others” is not a trait held in high esteem on New York City streets, especially not for umbrellas. For a lot of highly self-interested New Yorkers, bigger is better, even if it’s not, and getting your eye poked out is your problem, mac. [Note to Malcolm Gladwell: got another SUV story for you.]
    Sure, there’s the Chinatown umbrella, but Manhattan’s other indigenous species–the Doorman Umbrella–is completely ignored. Maybe the writer lives in a walkup. These black giants are the Lincoln Town Car of umbrellas, more than you really need to do the job, and better if you have someone else doing it for you.
    Lately there’s been a proliferation of Patented Umbrellas, which have those collapsible drinking cup-like sheaths on the tip. This is wrong. Convenient, surely, but wrong.
    The Hotel Umbrella is an increasingly rare breed. These usually logo’ed Doormen Umbrellas are briefly loaned to guests at better hotels. [They’re getting rarer because some new better hotels now prefer to sell their guests an umbrella.] Someone once took my large black umbrella from the bucket at a shop, and left me with a nearly identical model courtesy of The Carlyle Hotel. Thanks.
    The Firm Umbrella, the Golf Umbrella, and the Firm Golf Umbrella are usually seen in midtown, and truth be told, they’re probably being carried by some banker who moved to Rye when his second kid was born. In addition to being selfishly large for the street, these usually have the added benefit of being free (or at least it felt that way when you signed for it at the pro shop).
    I recently lost my favorite umbrella, which had served me well for over six years. At the height of Niketown-hatin’ 1998, and figuring that they’d probably invest a lot in the R&D, I bought a big black Nike Golf umbrella. Yes, it had swooshes on it, but it was a small price to pay; the thing was light, strong, huge, and it never once blew out on me.
    When someone stole it from a pizza restaurant a few months ago, I tried to replace it, but they sure don’t make’em like they used to. I ventured back into Niketown (what a dump), nothin’. The $15 model at the outlet you pass on 95 in Maryland was engineered to protect Nike’s margins, not my (or anyone else’s) head.
    I know return you to your regularly scheduled programming.
    Un-brellas [slate, via kottke and TMN]