I’m currently watching Sleepy Hollow! I don’t think I’ve ever seen it, well I have when I was in High School but I can’t remember so it doesn’t count.
It’s currently hot as hell here in Portland and I’m over it. I want cooler weather now! so I’m going to light a Fall candle, turn on my Halloween lights, and watch scary movies all night. What rituals do you guys do to evoke the Autumn season in a little faster?!
I also did a some Halloween shopping today! I’m thinking of doing a little Halloween Haul soon, let me know if you guys would be interested in seeing that?!
‘’I’M OBSESSED WIT MY OWN PRIVATE IDAHO’’ by James Franco.
It was a very unusual project. I’d loved “My Own Private Idaho” when I was growing up. Before I even started acting, I used to watch it repeatedly: there was something about the emotion of it, its aesthetic, and the makeshift family that the characters create which spoke to my teenage self.
Gus hadn’t watched it since he had made the movie, and his style of making movies had changed in the intervening two decades. He had made a huge change in his aesthetic mid-career, having been influenced by minimalistic films, and his later films were characterized by minimal dialogue, fewer cuts, and very long takes. So, when we were watching those Idaho rushes again after those two decades, the question became, “What if you had cut this movie now?” For instance, there is a scene early on where it is just Keanu Reeves and River Phoenix walking down the street, and we found ourselves wondering, “What if you just held on that shot, and you stay on River’s head, and then you continue with him for much longer? What would that give to our sense of his character?”
When Gus wrote this script it was a compilation of three previous scripts. One was a movie that was about street kids in Portland; one was a movie about two Hispanic kids looking for their parents who eventually go to Europe; and then one was mostly Shakespearean dialogue in a contemporary setting. This last was based on Orson Welles’s Chimes at Midnight, which was a compilation of all the Falstaff sections of the Henry IV plays.
The other thing that Gus did, and which I pushed to the extreme, is that he focused on the Poins character, in this case Mike Waters, played by River Phoenix. Ned Poins is one of Prince Hal’s sidekicks: he masterminds the double robbery of Falstaff in the comic Gad’s Hill scene, but other than that plot function his purpose in the play is to bring the detail of character into that seedy but exuberant underworld. Shakespeare created 1,222 characters, and none of them are incidental: all are fully individuated. It is very moving to think about a side character, one out of all of these Shakespearean characters, then being given the spotlight. This attention is made even more poignant by Phoenix’s incandescent performance. Whether he was revealing himself through the role or not is made moot by the fact that it is arguably his best performance and that he was dead two years later. The performance caught on film is now infinitely more valuable because it captured the best actor of his generation at the peak of his powers. By cutting together outtakes of the unused material of the film, I was able to give more emphasis to the essential beauty of Phoenix and his work. Phoenix in my remix film, “My Own Private River,” is singled out from all other actors and film performances for that matter—because it is presented in such an unflinching way—just as Van Sant singled out Poins in his original film.
Now the significance of “Idaho” has changed because River is gone, but you want him to just be there, you want him to keep going, you want to see what he can do, and you want to find all that is still alive and is still around that exists of him. Consequently, those moments that would immediately pull you out of a normal film, pull you into this film—at least they pulled me in—because River is walking around, he is alive again. What I mean is that you just want anything you can have of him. That sense of wanting time to stop goes back to the original, too: Henry IV is, among other things, a coming-of-age story. Prince Hal’s growing up is at once necessary and deeply poignant, and in many ways we want him to be able to remain a fun-loving, irresponsible kid with Falstaff forever. In a way, the length of the footage of the film I was able to cut, especially the longer version, serves to extend that moment indefinitely — since in an awful way River did grow up, and in another way he’s still in that happy hour before the end. Since I didn’t have all the economic burdens of the initial film, I was able to make a film with a much looser narrative. So whereas the original was driven by the need to tell a certain story, the film I made was driven just by River’s presence.
Scott: I only have sex with a guy for money. Mike: Yeah, I know. Scott: And two guys can’t love each other. Mike: Yeah. Well, I – I don’t know. I mean – I mean for me…I could love someone even if I…you know, wasn’t paid for it. I love you and you don’t pay me.
Pop-Up Drive-In - For one weekend a year, Zidell Marine turns this empty plot of land into a drive in theater. With the Ross Island Bridge overhead, you can watch movies outside complete with popcorn. On this particular night it was a double feature of Purple Rain and Mean Streets.