POP ART: Episode 42, L.A. Confidential/Double Indemnity


NEW EPISODE: FATALE ATTRACTION “Wrapped up in tissue paper with pink ribbons on it”. Valentine’s Day is here. What better way to celebrate the holiday that with films that explore everything that makes Valentine’s great…murder, greed, corruption, adultery, and, yes, most important of all, femme fatales. Sounds like it’s time for Episode 42 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 my listeners, please like, follow or comment. This time, I am happy to welcome two fellow podcasters, Richard and Amanda Kirkham, a father/daughter team, who have chosen the Curtis Hanson neo-noir about 1950s Los Angeles, LA Confidential and I have chosen the Billy Wilder/Raymond Chandler film noir classic about 1940s Los Angeles, Double Indemnity, films that tell us that, yes, Valentine’s Day can be the most fatale day of the year. And in this episode, we answer such questions as: What building code makes a scene in Double Indemnity unrealistic? How did James Elroy describe Curtis Hanson? Why did Stanwyk, Robinson and MacMurray not want to do Double Indemnity? What does Los Angeles Plays Itself have to say about these films? Where are the Spanish style homes located that are used in both films? Why is the character in Double Indemnity called Walter Neff instead of Walter Ness?

Check out Richard’s blog and podcast The Lamb at http://www.largeassmovieblogs.com/

And Amanda’s blog at https://hollywoodconsumer.wordpress.com/ Continue reading

MIXED DOUBLES: The Trust and The Nice Guys


First, a word from our sponsors: I have just launched the indiegogo campaign for my short film 14 Conversations in 10 Minutes. Check it out http://ow.ly/SblO3005HHu.  Below is a video sample of the short. Think about contributing (the lowest contribution is only $5.00). Please view and share anywhere and everywhere.

I am now offering a new consultation service: so much emphasis has been given lately to the importance of the opening of your screenplay, I now offer coverage for the first twenty pages at the cost of $20.00.  For those who don’t want to have full coverage on their screenplay at this time, but want to know how well their script is working with the opening pages, this is perfect for you.  I’ll help you not lose the reader on page one. 
 
Ever wonder what a reader for a contest or agency thinks when he reads 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
 
and check out my Script Consultation Services: http://ow.ly/HPxKE
Warning: SPOILERS
rev 3The Trust, the new semi-caper film from writers Benjamin Brewer and Adam Hirsch and directed by Alex and Benjamin Brewer, starts out somewhat as a shaggy dog story. Which works rather well since the two central characters, both Las Vegas PD police officers (Nicholas Cage and Elijah Wood), look and act like mutts one might find at an animal shelter, desperate to be adopted before they end up in the incinerator.
The two decide to rob a convenience store after they notice that said store receives regular deliveries, large bags, which disappear inside the premises. In return, nothing comes out; nada; zip; not a thing. So what exactly are the owners hiding inside in that new, state of the art, almost impossible to get into, concrete and steel freezer that is just simply too high end for a mom and pop operation such as it is?
The two decide to go after a pig in a poke and break in and take whatever they can find. And though each have their own personal motivations (Wood’s character Waters is bored and burnt out, and Cage’s character Stone has ideas for the force that go underappreciated), in many ways they really do it for the best of all reasons—they can. Continue reading