Neil Labute, Amanda Filipacchi, and me

Hide your peasant bread, people. the half-assedly Atkinsing Neil Labute just landed in New York, and he’s loaded for bear claws. Yesterday in his Slate diary, Labute wrote about an eating a meeting for his next project, a screen adaptation of Vapor, the second novel from Amanda Filipacchi.
Amanda Filipacchi picked me up at the 10th Street Lounge many years ago, and we went on a date. We saw an HBO-sponsored movie at Bryant Park. It was pleasant, but there was no real connection. We parted in the park, and I went alone to meet friends for drinks at the Royalton. Some time later, she re-entered my life as the rather serious girlfriend of my now-wife’s physics post-doc colleague at Columbia.
Without going into details, I have a feeling she found the right writer to adapt her book. [3/23/05 update: Of course, I could be totally wrong. Amanda emailed recently and alluded to the collaboration in the past, not-happening tense.]

Spaces Made Sacred, my proposal for the WTC Memorial

Paths of people at the WTC, Plaza Level, concept drawing. image: greg.org

Tens of thousands of people pursuing lives, professions, dreams, duties, of their own choosing–following their own paths. Ordinary people in the course of a typical morning, going about their daily lives. Individual paths running parallel, for a time–familiar strangers with the same commute, travelers on an airplane, a close-knit rescue company. Paths converging on a common destination. 3,016 individuals whose paths were senselessly cut short by terrorist attacks. The space made sacred through tragic loss, space where they passed their last ordinary moments.
We who are left can retrace their paths–walk where they walked, go where they went, be where they were–and remember them.
Where did they come from? Where were they going? How did they get there? What was their purpose for coming? The paths people took reveal something of who they are.
They tell of exceptional circumstances, emergency response, unintended detours and daily routines. They point to lives and jobs and homes and families and friends.
Following these paths turns us all into pilgrims. The paths of those who died run right alongside the paths of those who survived; people who were there that morning will recognize their own experience in the paths of others. And people from everywhere will discover common bonds along these paths and come to recognize the ones who made them, keeping their memories alive.
Where paths intersect, intermingle, and converge, they reveal affiliations, associations, communities, commonalities. Where paths accumulate, they reveal the activity and flow of the city and the country. They reflect the experience of individuals in a city, in architecture, in places that no longer exist.
As the city regenerates, new places and new destinations will be created, new pathways will emerge. But the paths of those who died–the space made sacred–will continue forever.
Continue to: Memorial Elements–Paths, Portraits, Destinations

Memorial Elements: Paths, Portraits, Destinations

Plaza Paths, image: greg.org
Plaza Paths, image: greg.org

The Memorial will reconstitute the space made sacred, the actual and accurate paths taken by the 3,016 individuals killed on September 11, 2001 and February 26,1993. In Concept, it comprises three major elements: Paths, Portraits, and Destinations.
The Memorial’s Form will be determined by mapping each individual’s information–compiled from authoritative data sources, gleaned from family and survivor recollection–onto the plan and elevation schema of the original World Trade Center site. This Form will be transposed and integrated into all current and future uses of the site.
Portraits of the individuals killed at the Pentagon and in Pennsylvania will be integrated into the Memorial.

Continue reading “Memorial Elements: Paths, Portraits, Destinations”

Is that a Smart Mob in your Sforzian Background, or are you just pissed to see me?

It’s a question Bush might ask, were he the inquisitive type.
According to the BBC Online (which often reads to me like USA UK Today) British protestors (redundant, I know) are putting down their papier mache puppets and picking up their moblogging tools, using SMS to chase Bush along his itinerary and disrupt the carefully crafted backgrounds of Bush’s stage-managed photos.
“”We have been described as a second generation smart mob,” says co-organiser [sic] Richard Wilder. But he doesn’t let that get him down. “We are trying to spoil the PR, so we are not doing anything directly, but encouraging people to turn their backs in press photos so they can’t be used.”
Wilder sweetly believes that the extras in the White House’s Sforzian Backgrounds were not handpicked and hand-placed. What island has he been living on for the last three years? The URL for these protestors, who have bush-league written all over them: Interwebnet.org. [thanks, BoingBoing]
[Update: At the gym this afternoon, I caught a few minutes of FoxNews, and they were eviscerating some crumpet-nibbling, protesting Brit (not Hume). My prediction: UK protests may be entertaining, but hopelessly outmatched into irrelevance. Yet again, the rest of the world relies on the resolve of the American people to save its ass from the imperialist hegemonic threat.]

Oooooo-kla-ho, man! Is that Hugh Jackman??

Salon ad for PBS's Oklahoma! starring Hugh Jackman

I may have a new tagline for my As-Yet-Unannounced Animated Musical: it’s not Terminator meets West Side Story; it’s Swordfish meets Oklahoma!
But I’m already too late. Starting Saturday, PBS will broadcast the Royal National Theater’s 2002 revival of Oklahoma! starring hacker, mutant, and musical theater whore, Hugh Jackman.
Related Links:
Salon. For once, I didn’t make it past the ad
Oklahoma! on PBS, starring Hugh Jackman
Hugh Jackman starring as Peter Allen, Liza Minnelli’s gay husband (is there any other kind?) in The Boy from Oz (I’m leaving a whole HBO joke on the table there, you know.)
It turns out the National Theater revival was already the occasion for a post, but from an anthro/cult stud perspective.

A Variety of Weblogs, or Nick Denton rubs up against Hugh Hefner

It looks like Nick’s not the only one building a portfolio of weblogs.
Variety has launched bowed three entertainment-related weblogs so far, and is looking to launch more. [I swear, writing my videocam felony post in feeble Variety style was not intended as an audition. Golly, Mr. Bart, just give me another chance; I know I can sing.]
The roster so far [Fimoculous featured the first one]:

  • Outside the Box by Jim Hames is the Gizmodo of movie swag, rating the promotional flotsam that washes up on Variety’s shores.
  • Bags and Boards, written by Tom McLean and Jevon Phillips, follows the comic book business.
  • Wicked Little Town by Rob Kendt, in an ice-to-eskimos move, posts news of acting in Los Angeles.
    Where Nick’s weblogs aim for the g-spots of online subject matter, Variety’s weblogs are like some new playmates in the mansion. Either way, it makes for a great party. Meanwhile, my own little knot of weblogs are more a way to clean up my desk. Maybe I should steal some of the ideas Choire came up with as he was emptying his master’s litter box.

    • M Street, or DC Eye for the NY Guy

    EXT. SATURDAY NIGHT – WASHINGTON, DC

    A WEEKENDING NEW YORKER approaches the entrance to Agua Ardiente, an “upscale,” “hip tapas restaurant” on the “DC Latin circuit.” He is wearing a vintage suede jacket, black cashmere turtleneck, black Prada Sport loafers with that silly little red stripe that he neverthless insists be cleaned with glycerine every time he gets them shined, and, embarassingly, the slightly weathered pair of Banana Republic khakis with the little black label carefully picked off the back that he’d been househunting in all day.
    Two skinny DOORMEN, dressed all in black, brace themselves in advance of a confrontation.

    DOORMAN 1
    Good Evening.
    NEW YORKER
    Hi.
    DOORMAN 2
    Sir, I’m afraid we can’t let you in with sneakers.
    NEW YORKER
    No, it’s OK. These are loafers.
    DOORMAN 2
    I’m sorry, sir, the policy is no sneakers.
    NEW YORKER
    But they’re not– they’re loafers. Prada Loafers.
    I got them at Harvey Nichols.

    (An empty lie. But he’d rather get turned away for lying about Harvey Nick’s carrying Prada than for not abiding with some obtuse provincial dress code. Besides, the man figures, it already can’t get any worse than announcing your brands at the door.)


    DOORMAN 2
    I’m sorry, sir.
    DOORMAN 1
    You’re welcome to come back without rubber-soled shoes.
    NEW YORKER
    So the definition of “sneakers” is rubber-soled shoes?
    DOORMAN 1
    Yes, sir.
    NEW YORKER
    What about the khakis? Should I change those, too?
    DOORMAN 2
    The khakis are fine, sir.

    The man walks back to his car, contemplates the parties he’s missing in New York, and heads home to rewatch Gerry, now available for rent or purchase on DVD.

    On Singing for My Supper

    First, singing for my lunch: I had a great time with Paul Myoda’s media/technology/art seminar Wednesday at City College. A bunch of very cool folks. Paul, of course, is one of the designers of the Tribute in Light, and quite a bit more, as you can see at his NY gallery, Friedrich Petzel.)
    Then, singing for my supper: I was just checking my Amazon Associates reports, and I found some eye-popping results:

  • The Lost in Translation soundtracks are practically flying off the page. It’s nice that people are digging it, but I didn’t expect my Sofia Coppola material would be such a shopping catalyst.
    I can see how mentioning something more obscure, like A Notebook on Cities and Clothes (Wim Wenders’ Yohji Yamamoto documentary), might tempt people to shop (or at least window shop). But the soundtrack seems like an intentional purchase; you’d just go to Amazon directly. No complaints, just many thanks.
    The real surprise, though, was seeing the impact of variations in commissions for a soundtrack or DVD (usually 2.5-3.0% now) vs a classic book (up to 15%). You’re buying 20 soundtracks for every catalog of Matthew Barney’s The Cremaster Cycle or every book/DVD of David Byrne: E.E.E.I. (Envisioning Emotional Epistemological Information) about PowerPoint art, but those books easily rack up 10 times the commission.
    It almost makes me want to become the Gizmodo of art tomes.

    • The World’s 40 Best Directors

    The Guardian tallies up the 40 best directors in the world today, complete with ratings in Zagat-style (or beauty pageant-style) categories: Substance/Look/Craft/Originality/Intelligence.
    Setting aside the unavoidable grade inflation–seven critics rated them from 1-20 for each category, but the totals fall in a narrow range, from 89 (David Lynch at #1) to 73 (the Gus Van Sant “who didn’t make Good Will Hunting” at #40)– it’s a pretty safe, festival-y list. But it does have it’s share of Eurotrashing quirks (David Lynch is #1??? Michael Moore is on it at all????? ditto Samira Makhmalbaf, one of only two women).
    All in all, though, I’m glad to see so many of my boys made the list Missing, though: Agnes Varda, Hirokazu Kore-eda (a stretch, maybe, but more deserving than Makhmalbaf), the Amy Heckerling who did Fast Times and Clueless, Marc Forster, oh, I don’t know.

    Don’t Shoot!

    Jon Routson, from Bootlegs, his April 2003 show at Team Gallery, image: teamgallery.com
    From Bootlegs by Jon Routson, image: teamgallery.com

    If camcorders are illegal, only criminals will have camcorders.
    Yesterday, Sen. Diane Feinstein (D for Disney) and John Cornyn (R-Tex, an anagram for T-Rex) held a press screening for their newest starrer, which they said is set for an early 2004 release. It’s a pirate fiction fantasy directed by MPAA prexy Jack Valenti. Here’s the one-line synopsis:
    They are sponsoring legislation that will make it a felony “to use or attempt to use” a video recording device to copy a film in a movie theater.
    The first offense would carry up to a five-year jail sentence, with up to ten years imprisonment for the sequel. If your state has a three strikes law–like California–recording a trilogy could get you life.
    As if you needed another reason to avoid Matrix Revolutions…
    Related:
    Baltimore-based artist Jon Routson, who uses camcordered copies of movies as his artistic medium
    my Times article about video art bootlegging