Re-entry
As it happened I flew back home with Le Star and La #2 Startlet, which made the return something of a party and softened the post partum blues. What was even better was that Gary Busey, an actor I've been a fan of since The Buddy Holly Story, was in the row in front of us and instantly took over the business class cabin (oh the perks of a union contract), delivering what was basically a ninety minute revival meeting on spiritualism, AA and what he learned about life from crossing over to the Other Side after a this-close-to-fatal motorcycle accident (without a helmet) in 1988. He started rattling off 12 Step acronyms, including FEAR=False Evidence Appearing Real, and a flood of others that went by too quickly for me to remember but which were just want I needed to hear as I sail on into the cutting room. Thank you Gary Busey for the sermon against the power of fear.
And I'm needing a lot of help today with one little detail. One of the executive producers of the project, a man known for nearly sinking a major studio and walking away with a fifty million dollar severance fee for his troubles in the late 80's, decided who my composer was going to be and made a deal with him and that's that. No director I know has ever ever been handed a composer without input. It doesn't happen. It's completely outrageous. And the composer he chose is best known as the writer of brain-eatingly sappy 80's pop/rock songs. He's also an extreeeeeemly rich guy and that always scares me: how much is he going to be willing to role up his sleeves? How collaborative? How open to my extremely specific musical ideas? Well, at the moment all of my projections are just False Evidence Appearing Real. And he has among his credits scores for film directors I admire, so--I could be all right.
The fact is, on this first morning back home with my wife and kids--who polished the house top to bottom and filled it with flowers and wine and hugs for my homecoming--if I didn't have the composer issue to gnaw on I'm sure I'd be digging up something else.
Oh, by the way. I watched a cut of 85% of the movie last night. Billy Wilder, the greatest American filmmaker (Double Indemnity, Some Like It Hot, Sunset Boulevard, Stalag 17) once said that a director should never bring arsenic or razor blades to a rough cut screening. But you know what?
If the arsenic had been there I don't even know that I would have reached for it.
And I'm needing a lot of help today with one little detail. One of the executive producers of the project, a man known for nearly sinking a major studio and walking away with a fifty million dollar severance fee for his troubles in the late 80's, decided who my composer was going to be and made a deal with him and that's that. No director I know has ever ever been handed a composer without input. It doesn't happen. It's completely outrageous. And the composer he chose is best known as the writer of brain-eatingly sappy 80's pop/rock songs. He's also an extreeeeeemly rich guy and that always scares me: how much is he going to be willing to role up his sleeves? How collaborative? How open to my extremely specific musical ideas? Well, at the moment all of my projections are just False Evidence Appearing Real. And he has among his credits scores for film directors I admire, so--I could be all right.
The fact is, on this first morning back home with my wife and kids--who polished the house top to bottom and filled it with flowers and wine and hugs for my homecoming--if I didn't have the composer issue to gnaw on I'm sure I'd be digging up something else.
Oh, by the way. I watched a cut of 85% of the movie last night. Billy Wilder, the greatest American filmmaker (Double Indemnity, Some Like It Hot, Sunset Boulevard, Stalag 17) once said that a director should never bring arsenic or razor blades to a rough cut screening. But you know what?
If the arsenic had been there I don't even know that I would have reached for it.
posted by Tom at 10:51 AM
6 Comments:
*huge smile* I am assuming that you think it's going to be a pretty good flick...YIPPEEEE!!
V--thanks for all the support. Can't tell you how much it means to me.
Cal--As an EP in series television I'd no sooner consult my cat on a composer than I would a director of an episode, but long form is a different game. Or so I thought! The question that arises from all of this, given how well you know my end of the business, is: who are you? Do we live on the same street?
Cal-- or anybody else--
It's tomjay5@hotmail.com
This blogger beta has it where I can't comment, so this is my third try. Forgive me if you get inundated with the same comment from me.
For a second I had Gary Busey in mind as the hairy, disheveled mug shot in my mind, but then remembered it was Nick Nolte.
Glad your home with the family. Any good wine left? I am sorry the movie ended too though, loved your stories.
Be sure to tell us when and where we can see it!!
Anna,
The story of making the movie is far from over. Still ahead are are cutting, scoring, sound effects, getting producer notes, getting studio notes, getting network notes, finishing, promotion, reviews, ratings... In fact, we are barely half way there.
And there's lots of good wine left, so drop on by anytime.
I don't think you're wife would want me droppin' in!!!
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