POP ART: Episode 31-Mad Max: Fury Road/A Boy and His Dog


NEW EPISODE: “I live, I die. I LIVE AGAIN!” Do you sometimes think we’re on the edge of an apocalypse? That tomorrow you might wake up to a barren and dog eat dog wasteland of mass destruction? And I’m not talking America after the election. Sounds like it’s time for Episode 31 of Pop Art, the podcast where my guest chooses a movie from popular culture and I’ll select a film from the more art/classic side of cinema with a connection to it. For this episode, I am happy to welcome back a previous guest, the host of the Cathode Ray Mission, Adam Ferenz, who has chosen George Miller’s blockbuster reimagining of the George Miller cult classic franchise Mad Max, Mad Max: Fury Road, and I have chosen L.Q. Jones cult classic adaptation of enfant terribles sci-fi author Harlan Ellison’s cult classic A Boy and His Dog, two apocalyptic films about some very strange strangers in some very strange lands. And in this episode, we answer such questions as: How does the Brady Bunch and Green Acres fit in? What did Miller steal from Ellison that led to Mad Max: Fury Road? How did Tom Hardy break his nose? How many hours of footage was there for Mad Max and how long did it take to view it? What was the controversy over the last line in A Boy and His Dog?

And check out Adam Ferenz’s Cathode Ray Mission podcast at https://www.blogtalkradio.com/deviantlegion/2019/09/14/adam-ferenzs-cathode-ray-mission Continue reading

HOT AND COLD: Words and Pictures, Cold in July and Chinese Puzzle


Ever wonder what a reader for a contest or agency thinks of your screenplay? Check out my new e-book published on Amazon: Rantings and Ravings of a Screenplay Reader, including my series of essays, What I Learned Reading for Contests This Year, and my film reviews of 2013. Only $2.99. http://ow.ly/xN31r
words and picturesOfttimes of late, and not so late, I get into a discussion/ argument/ knock down drag out fight as to whether the director or the screenwriter is more important to the success of a movie, or even to the existence of a movie. The conflict usually boils down to which is more important, the visual or written aspects.
It’s a silly argument, at least it should be, because the answer is that both are important and neither should be denigrated (and are often so intermingled that you can’t even tell what part of the film resulted from one over the other). It’s a pretty obvious conclusion, though you’d be surprised as to how many people don’t go for the obvious. Continue reading