Archive for Getting Away with It

The Film

Posted in FILM, literature with tags , , , , , , , , on February 20, 2016 by dcairns

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I got interested in Donald Barthelme after reading of him in Steven Soderbergh’s interview book with Richard Lester, Getting Away With It. Lester, encouraged by regular screenwriter Charles Wood, had contemplated a film of Barthelme’s The King (the legend of Arthur updated to WWII and expressed almost entirely in dialogue — not an obvious movie subject) and I was quietly gratified to notice a copy of the novel still adorning Lester’s bookshelf (I am an incurable bookshelf snoop) when I visited to conduct my own modest interview.

Lester had guessed that Barthelme might be up Soderbergh’s street, a shrewd supposition given that SCHIZOPOLIS, the most ludically Barthelmian of Soderbergh films, was still in post-production at the time. 40 Stories has an introduction by Dave Eggers, another artist up whose street Barthelme might be assumed to lie. In fact, one might uncharitably suggest that Barthelme is the writer Eggers would like to be — both share a taste for a certain kind of airy whimsy. But Barthelme is much more mysterious in his effects — one doesn’t know precisely what he is up to, and we will never explain or offer a hint — and he also has a gift for pastiche that allows him to layer his whimsy deeper below the surface. I was very taken with his piece The Film, which apart from being Grade-A nonsense, also captures precisely the mixture of pensive doubt and self-importance which always seem to be present in diary entries published by film directors at work on another masterpiece.

I think he may have been looking at Truffaut’s diary of FAHRENHEIT 451, which would account for the name Julie. But I think Godard’s diaries, published in Cahiers, are MUCH more pompous — only Woody Allen could do them justice in parody.

bone spinning

An extract —

Thinking of sequences for the film.

A frenzy of desire?

Sensible lovers taking precautions?

Swimming with horses?

Today we filmed fear, a distressing emotion aroused by danger, real or imagined. In fear you know what you’re afraid of, whereas in anxiety you do not. Correlation of children’s fears with those of their parents is .667 according to Hagman. We filmed the startle pattern–shrinking, blinking, all that. Ezra refused to do “inhibition of the higher nervous centers.” I don’t blame him. \\then we shot some stuff in which a primitive person (my bare arm standing in for the primitive person) kills an enemy by pointing a magic bone at him. “O.K., who’s got the magic bone?” The magic bone was brought. I pointed the magic bone and the actor playing the enemy fell to the ground. I had carefully explained to the actor that the magic bone would not really kill him, probably.

Next, the thrill of fear along the buttocks. We used Julie’s buttocks for this sequence. “Hope is the very sign of lack-of-happiness,” said Julie, face down on the divan. “Fame is a palliative for doubt,” I said. “Wealth-formation is a source of fear for both winners and losers,” Ezra said. “Civilization aims at making all good things accessible even to cowards,” said the actor who had played the enemy, quoting Nietzsche. Julie’s buttocks thrilled.

We wrapped, then. I took the magic bone home with me. I don’t believe in it, exactly, but you never know.

Had Sang a Dry Hit

Posted in FILM with tags , , , , , on July 17, 2014 by dcairns

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This is what the Shadowplayhouse looks like today. obviously, your own home should look identical — to achieve the desired effect, follow the link below and order AT LEAST FOUR copies of the Criterion Collection’s dual-format edition of A HARD DAY’S NIGHT.

It’s been an epic journey to get to this point, beginning with the end of production on NATAN and me asking myself the question “Now that I am a documentarist, what would I like to do next?” and answering the question with “Something to do with Richard Lester.” And then contacting the Great Man via a series of intermediaries. And finding he wasn’t at all sure he wanted to talk to anyone about his work, and that he doubted there would be anyone interested in hearing it.

“I have a share of the book I did with Soderbergh. And at the same time a truck is pulling up outside Paul McCartney’s house with his royalties, I get my share from the book. And it has never been more than five pounds.”

And emailing Criterion to ask if they might be interested in something on Lester, and meeting producer Kim Hendrickson in Telluride where she said that Yes, as a matter of fact, something was in the offing. My mind doesn’t think in terms of anniversaries so I hadn’t noticed there was a fifty-year one coming up.

Lester, when I told him I now had a producer and a budget and an outlet: “Congratulations, you’ve picked someone’s pocket.”

Once again, here’s the sequel to the piece I made for the disc.

And here’s where you go to buy the thing itself: A Hard Day’s Night (Criterion Collection) (Blu-ray + DVD)

I admit it: Soderbergh’s Lester interview is better than mine: Getting Away With It: Or – Further Adventures of the Luckiest Bastard You Ever Saw