So, here’s the order of events —
We find out we’re screening at Telluride, but we’re sworn to secrecy. The peculiarity of this festival is that nobody knows what’s on until they get here.
Then I realise that the reason the place-name is familiar to me is from Richard Lester’s BUTCH AND SUNDANCE: THE EARLY DAYS, where the town is regarded as a kind of outlaw paradise.
Then, through circumstances that may be narrated one day, I get to meet Mr. Lester. Despite being sworn to secrecy, I mention Telluride to him, because, well, I figure Who’s he gonna tell? No, not that, I figure he’s trustworthy. And he tells me about filming there, and how it was one of the first towns with electric street lighting anywhere, because of the generator needed for the mine, and how they featured those streetlights in his film.
Then, looking up Telluride under “locations” on the IMDb, I realise that actual incident, the electrification of Telluride, is recreated in Christopher Nolan’s THE PRESTIGE, a film I actually like better than most Nolan movies (but what it really needs is a big wide CITIZEN KANE shot at the end to actually clarify what has been happening — thinking about it, a big wide shot in that warehouse with a few identifiable corpses floating in tanks — clear everything up beautifully).
And now I’m here. Partying in the Rockies with Francis Ford Coppola, the Coens, Philip Kaufman, Allan Arkush, Robert Redford, Salman Rushdie, Werner Herzog, Errol Morris, Bruce Dern and David Thomson (who has written our programme notes in typically unconventional and imaginative style) while thunder rumbles in the not-so-distance, The drive up was total SHINING credits sequence material, but my hotel is less like the Overlook and more like the Great Northern in Twin Peaks. As for altitude sickness, I’m not sleeping, I’m breathless, my head aches and I feel weak as a kitten — which is all perfectly normal for me.
The bus driver tried to give me Bruce Dern’s luggage by mistake. Maybe I should have accepted it?