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

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
Some WTC Finalists Google Stunt That Took Way Too Much Time
Knowing what’s going to happen to these peoples’ Google search results tomorrow, I thought I’d take a little search engine snapshot, from before they were Finalists.
Memorial Elements: Paths, Portraits, Destinations


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”
Oooooo-kla-ho, man! Is that 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.
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.
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 Exhibiting the WTC Memorial Competition Entries
I posted about this on my WTC Discussion sublog. An NYT article mentions the daunting challenge of exhibiting 5,201 poster-sized entries in one place. It’s not about space constraints, it’s about information architecture and the user experience. [Thanks, Gothamist!]
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.
Sandra Bernhard’s Best Movie is
still her first one-woman show, Without You I’m Nothing. It’s on Trio right now. Looks like I’ll be up for another hour to see the grand finale, her cabaret rendition of “Little Red Corvette.” (Complete with backup, it turns out, by Tori Amos)
For years it was extremely and annoyingly hard to find; it’s still not on DVD, but at least now you can buy it on VHS.
outline for Wed. Seminar
Ignore me. I’m making notes for a seminar at CCNY that Paul Myoda invited me to speak at and screen some of the films. I should probably make a Venn Diagram for this…
Production diary of my own films
Ideas behind my own films (including development of some scripts, why the hell I’m doing a musical)
Influences and inspiration, whether filmmakers, artists, writers
Subject matter, themes, background and continuing dialogue/unfolding events (death, grief, 9/11, memorials, architecture)
Art & architecture I like, because it impacts me and my worldview
Other peoples’ filmmaking news, experiences
Filmmaking trends I find relevant (DV, Machinima, Animation, DVD, documentary-style, video game-film dialogue)
Topics that develop a life of their own (shipping container architecture, powerpoint, Liza Minnelli for a frightening minute there-blame Gawker– Sforzian backgrounds and the entertainment techniques of politics, putting this war in context, religiosity, WTC Memorial Competition)
Insights and interviews with filmmakers I think are worth paying attention to/learning something from
Self-admittedly brilliant ideas I’m confident everyone in the world will benefit from reading (note: heavy overlap with other categories)
Memorial to the Missing War

Nice plan, except that there is no national WWI Memorial. On 11 November 1921, the Tomb of the Unknown Soldier was dedicated in a ceremony which was relayed by telephone to New York and San Francisco.
[“In the open air the President’s voice swept over the crowd in Madison Square,” enthused The Times‘ man on the scene. “The Voice seemed to come from the chest of a giant…Carried by wire from Washington, [it] was heard more clearly that that of Colonel Theodore Roosevelt and Martin Littleton, whose voices were amplified as they spoke from the platform in the Garden.” God Bless America(n Telephone & Telegraph).]
Presidents laying a wreath at the Tomb of the Unknowns became an Armistice Day tradition. But eventually, the soldier disinterred from Belleau Wood was joined by representatives from later wars, expanding he Tomb’s purview. As a result, specific remembrance of the horrors and sacrifices of WWI were conflated into the larger struggles of the century.
The traffic at Arlington was a mess; after sitting in misdirected lines for nearly an hour, I left without even a glimpse of the parking lot, much less the Tomb. Many in the crowd were veterans, though, families in tow. I went on to my second destination, across the Memorial Bridge, to the south edge of the Mall.

I was the only visitor during the half hour I was there. Three Park Service rangers–two in WWI-era uniforms–were breaking WWI-era camp in the little temple. For three years now, they have taken it upon themselves to create a little interpretive history opportunity for any visitors. Last year, when detours for the WWII Memorial construction closed off many other pathways, the rangers had quite a turnout. This year was much quieter. The two rangers in period uniform participate in WWI re-enactments with the Great War Association. Unlike Civil War re-enactments, however, there is no audience; there are practically no spectators, only participants.

Britain created the Cenotaph as a Memorial to the Great War, and it has woven taught WWI into the national identity. They built The Memorial to the Missing–the subject of my first film, and an inspiration for Maya Lin’s Vietnam Memorial design just across the Reflecting Pond from the DC War Memorial–in France, an outpost for British memory. The names of just The Missing from just The Somme exceeded 75,000.
DNA testing helped identify the Unknown Soldier from Vietnam, and his remains were reburied in 1998. Until September 11th, it was assumed there would be no more Unknowns or Missing, but that turns out not to be the case. The World Trade Center Memorial will hold the presently unidentifiable remains of those killed, in hopes that technology will someday match them up to the 1,271 individual names. The New Missing, on the other hand, are frequently those who have been wounded or killed in Iraq. Witness to the fresh horrors of war, it seems, must come from the unlikeliest of sources: Cher calling into C-SPAN with stories of brave 19 year-olds who’ve lost arms and legs, just a few of the 2,100+ GWII casualties who are shunned and obscured by the Administration.
In Sunday’s Washington Post, the playwright Norman Allen–an old man, I take it–lamented the fading of Armistice Day:
I first heard tales of the war’s devastation from my grandfather, who was 19 when he was wounded not far from Chateau Thierry, an hour’s drive from Paris. In middle age, he spoke in generic terms of his heroic comrades, Iowa boys like himself. In early senility, he spoke in detail of struggling across a field under heavy fire. Glancing to the left, he saw a friend’s head blown away. He told me, “Never go to war. No matter what.” My generation is the last to hear these things firsthand.
Well, his generation–and Cher.
The WTC Memorial Finalist That Wasn’t

[via Archinect] Fred Bernstein’s proposal for a World Trade Center Memorial has been online for a while. (I first saw–and posted about— it when Timothy Noah featured it on Slate way back in Feb. 2002.) . Back then, it was an unexpectedly restrained, welcome alternative to the maudlin or ludicrous ideas that were being floated at the time. (Remember that Max Protetch show in January? I’m sure most of the participants now hope you don’t.)
Now it turns out Bernstein’s Twin Piers was the ninth finalist in the official WTC memorial competition. It was disqualified because, although it was submitted under a friend’s name, it was readily identified as his idea, and he’d already submitted another entry. Interestingly, according to the NYPost, it was the “no two entries” rule, not the “publicly identified” rule that led to its exclusion.
For a poignant flashback and a realization of all the possibilities that have since been foreclosed for the WTC site, the city, the country and the world, read Bernstein’s November 2001 NY Newsday article, “United Nations should move to World Trade Center Site.” Those were the days.
On Scripts
Salon is not only still publishing, they’re publishing the shooting script of the Ronald Reagan TV movie that the conservative closet cases wanted to see on Showtime (the Queer as Folk Network). It’s an 8Mb pdf. Of a TV Movie. Starring James Brolin. About Ronald Reagan. You’ve been warned.
[For an invigorating Reagan text, try Joan Didion’s prescient 1997 review of DiNesh D’Souza’s Ronald Reagan: How an Ordinary Man Became an Extraordinary Leader. It costs money, but it’s worth it.
For the definitive Reagan movie, buy or rent David O. Russell’s Flirting With Disaster, in which Reagan has two cameos: on the wall of Mel Coplin’s first adoptive “mom,” and on the tabs of acid of his real parents.]
In today’s Movie Issue of the NYT Mag, Lynn Hirschberg convenes a “roundtable” with two screenwriters, Brian Helgeland and Quentin Tarantino (Pulp Fiction, Jackie Brown, the Silver Surfer convo airdropped into the middle of Crimson Tide) “share some wisdom about the screenwriting life.”
1) We always knew Tarantino’s too much of a loudmoth to pull off the Terence Malick thing. 2) How many participants actually constitute a roundtable? I want to know who couldn’t manage to stumble over to the Regent and run up the Times‘s bar tab. 3) Reason enough to read it in print: the Favorite Screenplays Speed Round, which runs along the bottom of the piece. I may have my data entry lackeys in Madagascar transcribe it for your illicit online pleasure.
Tarantino scripts online:
Kill Bill
Jackie Brown (pdf)
Pulp Fiction
Natural Born Killers early draft
Brian Helgeland scripts online:
Blood Work draft (pdf)
LA Confidential draft
The Postman early production draft (pdf) [heads up: think Kevin Costner, not Pablo Neruda]
Assassins draft, with the Wachowskis
The script’s not online, but a A Knight’s Tale is out on DVD. [Have a hard time keeping the similarly comical anachronism of A Knight’s Tale (“An InStyle Editor in King Arthur’s Court” starring Heath Ledger) and First Knight (“Ralph Lauren Camelot Collection” starring Richard Gere) straight? No problem. Amazon’s selling them together. Supplies are supposedly limited.
Think you can do better? Well, get Final Draft and start writing, script monkey.
[links via Daily Script and Screenplays For You]
Olafur Eliasson’s The Weather Project
As you’ll never see it again… As B.Logman’s photos and news reports indicate, The Tate Modern has a massive-crowd-pleasing phenomenon on their hands. Now suddenly this photo I took at the preview seems worth posting, if only because who knows if it’ll ever happen again.

On Making Deals to Make Movies
Finally, POV is back, and in a relevant way. By relevant, I don’t just mean talking money. But that’s what she’s doing, with a post about fundraising for independent films. Liz reviews the Money Matters issue of The Independent, which is published by the Association of Independent Video and Filmmakers.