Natural Born Killers Still A Favorite

I can never seem to get enough of Oliver Stone’s 1994 movie, Natural Born Killers. I re-watched the Director’s Cut several nights ago, along with the special features which include director’s commentary, deleted scenes and Chaos Rising; the behind-the-scenes, making-of piece, which has interviews with the actors, producers and crew, and which chronicles the filming and the controversy centered around the violent nature of the movie.

The original screenplay was penned by Quentin Tarantino, before he became “the” Quentin Tarantino. There was a big brouhaha in the press around the time of release about then neophyte producers Jane Hamsher and Don Murphy, JD Productions, optioning the screenplay from Tarantino, who in the meantime became quite famous from the success of Reservoir Dogs. Purportedly Tarantino hoped to get the script back after the year-option expired, so he could make the movie himself, and a big feud erupted between Tarantino and JD Productions, culminating in Don Murphy supposedly saying he would openly celebrate Tarantino’s death, and Tarantino slapping Murphy in the face at a famous LA restaurant.

After the movie was released, Jane Hamsher’s book, Killer Instincts: How Two Young Producers Took on Hollywood and Made the Most Controversial Film of the Decade was published. Killer Instincts is a great, gossipy read about the underbelly of making movies in Hollywood, and the excitement and unique craziness of making a movie with the legendary Oliver Stone.

As the story goes, just when JD Productions was about to lose the option, purportedly due to underhanded, behind the scene maneuvers of Tarantino, Oliver Stone stepped in as director to help Hamsher and Murphy make the movie. He also re-wrote the script, much to the chagrin of Tarantino, with the help of David Veloz and Richard Rutowski.

The whole sordid affair was fodder for the tabloids and gossip mills, and I ate up everything I could find on the movie, since I am one of the biggest Oliver Stone fans on the planet. And I must confess a big fan of Tarantino’s earlier work, as Tarantino was also a big influence on my own wannabe, screenwriting attempts. I snatched up and eagerly devoured every book, magazine and shred of press material I could find on both filmmakers at the time. I’m still a big fan of both auteurs, but Stone is by far the better and more serious filmmaker, and in that famous feud, I would still fall into Stone’s camp.

When I first saw Natural Born Killers on the big screen, I really didn’t like it. I much preferred the serious Stone films, and upon first viewing, I was disappointed. I thought Natural Born Killers was kind of silly and awkward, and even incongruously silly and horrific. It was shocking in places. It was creepy in places. I usually don’t like movies that mix violence and comedy, and I’m not much into satire. As a matter of fact, I didn’t like Natural Born Killers so much, that I ended up watching it ten times on the big screen! And yes, I still have all my chromosomes. By the second and third viewings, I liked it a lot and recognized it as a work of genius: a psychedelic, satirical, no-holds-barred, violent love story. And I must confess, I do love violent love stories. (The Tarantino penned, True Romance, for instance, is a great, violent love story.) By the fourth through the tenth big screen viewings, I took along as many friends as I could and watched it to study camera angles, sets, props, acting skills, etc. I studied that movie intensely, as a devoted, armchair student of film and all things Oliver Stone.

Of course, more controversy eventually erupted over the movie as copycat killings and violent crimes began to occur and be attributed to the movie. Mystery writer and attorney John Grisham even went so far as to help bring a lawsuit against Oliver Stone and Time Warner on behalf of one of the victims. (I have since boycotted all things John Grisham.) According to newspaper accounts at the time, one of the copycat killings even happened on the roof of a convenient store on the NW corner of Midway and Rosemeade, about a stone’s throw from the apartment where I lived in Dallas for many years and made my own movie. The Grisham lawsuit was unsuccessful, thankfully, and no precedent was set which would make filmmaker’s and artists responsible for the actions of a few lunatics and lost souls who might act upon movies, plays, books, poems or other art forms or media created by artists whose soul intent is to move, enlighten or entertain an audience. Tragic indeed when life imitates art in such a way as to cause a murder, and my heart does go out to the victims and their families. But one cannot prosecute Martin Scorcese or Paul Schrader because John Hinckley shot President Reagan purportedly due to an infatuation with the Jodie Foster teen prostitute character, Iris, in the movie Taxi Driver.

It was Aristotle who said, “Art imitates life,” and Oscar Wilde who countered centuries later, “Life imitates art.” I remember reading John Lennon’s Playboy magazine interview in 1980 in which he mentioned he was subsisting on Hershey’s with Almonds candy bars and Gauloise cigarettes. I rushed out and purchased and consumed both of those items simply to experience what John Lennon experienced. Life imitating art, one might say. I couldn’t very well sue John Lennon or Playboy magazine if I developed lung cancer or a tooth cavity, though eating Hershey’s with Almonds and smoking French cigarettes was my way of imitating the artist, John Lennon; silly though it may have been.

Nowadays in film, product placement has become the evil twin of life imitating art. Movie production companies now include brand name, consumer products in their movies in order to raise production funds from corporations that market the products. It’s an art-compromising way to subliminally include commercials into movies to make a buck. When famed filmmaker, David Lynch was asked what he thought about product placement in movies, he replied emphatically, “Bullshit, total fucking bullshit.”

One of the things that struck me as I watched the opening scene of Natural Born Killers is the inclusion by Oliver Stone of various “natural born killers” and inhabitants of the desert: such as the coyote, the rattlesnake, the hawk, the scorpion and the rednecks with the dead deer on the roof of the truck; all killers in their own right, yet all a part of the natural order of the planet. As Mickey Knox says in the nationally televised, prison interview on Super Bowl Sunday that comes later in the movie, “It’s just murder… all God’s creatures do it… the wolf doesn’t know why he’s a wolf - the deer doesn’t know why he’s a deer. God just made it that way.” He goes on to say: “The media is like the weather, except it’s manmade.” Those may be wise observations from a demented mind about the cruelty of nature, but still rather chilling statements to a viewer in a civilized society.

The movie is chocked full of oblique angles, jump cuts, black and white footage and every conceivable angle and film format known to mankind. It is a visual onslaught that never lets up throughout the whole movie: a psychedelic, kaleidoscopic, drug-induced romp through every conceivable manipulation ever dedicated to film. According to Hamsher’s book and interviews included in the Director’s Cut, she and Oliver Stone and others ate hallucinogenic mushrooms while scouting film locations in the desert. The movie itself tries to imitate a psychedelic trip, and successfully does so in my humble opinion.

One of the film’s most disturbing scenes to me is the backstory of Juliette Lewis’s character, Mallory, and her life at home with her abusive father, Jack, eerily played by Rodney Dangerfield. As the scene unfolds and it is made apparent that Jack has physically and sexually abused his daughter, the scene is nonetheless shot as a sitcom, complete with a laugh track included at the most sinister moments. The incongruity of that juxtaposition of a very creepy scene with a laugh track layered in was quite troubling to me, and difficult to watch. It is also at that juncture where Tarantino, during his first viewing of Natural Born Killers, supposedly walked out of the movie theater and said he would, “Watch it on cable someday.” Evidently he did not approve of the rewrites or Stone’s interpretation of his original script. Tarantino had even insisted that he be given screen credit for the “story’’ only, when he was made aware of the numerous changes to his original script.

The cast of Natural Born Killers did a great job. Stone said one reason he cast Woody Harrelson was because Woody’s father, hit man Charles Harrelson, infamously assassinated a federal judge in Texas in 1979, and Stone thought there was something in Woody’s genetic makeup that would bring out something extra in the Mickey Knox character. Juliette Lewis was dedicated to the role of Mallory Knox, and it shows in her flawless performance. Robert Downey, Jr. almost steals the show as the TV journalist, Wayne Gale. Tommy Lee Jones gives a rare performance as the cruel, nose-picking prison warden with his crude, instruments of torture. Tom Sizemore rounded out the cast very well playing the famous, memoir-writing lawman that is hired to track down the psychotic, murderous lovers. As we find out, he too is a killer who strangles a prostitute in a motel as he searches for Mickey and Mallory.

There are no heroes it seems in Natural Born Killers. According to Oliver Stone, “Once [Mickey and Mallory] kill, they’ve entered into this world of breaking all the rules. It’s fitting that the filmmaker is also breaking the rules, with them.”

Maybe to some, Natural Born Killers is a sick, controversial movie, unrealistically portraying a sick world. But, as Tommy Lee Jones says in the interview in Chaos Rising, “You don’t have to be a very sophisticated person to know that this is not an exploitation film. This is an art film.”

Movie Jonesing and DVD Buying Escapades

I've been busier than a one-armed paper hanger (no offense to one-armed paper hangers) and haven't had time to do this blog up proper, as they might say. I haven't had time to work on my screenplay in progress, Jacksboro Highway. I haven't had time to write some freelance stuff I've had notes on for some time (one about Depression era babies, the other about international arms trafficking regulations), and I haven't had much time for anything except working for The Man.

But I have squeezed in some movie watching time, and this is purportedly a movie blog, or so I've been lead to believe. What's the use of having a blog if one doesn't record inane ruminations in it, right? So this will be a recent update in which I write about the DVDs I've been lucky enough to purchase and find the time to watch. Bored already, right?

I watched the special edition DVD of Alan Parker's, Angel Heart. It had some great extras, including interviews with Mickey Rourke. The movie is one of the greatest gumshoe whodunits ever put to cellulose, and a terrific period piece. I love the scenes in New Orleans. It is easily Mickey Rourke's finest performance, playing alongside a champ like De Niro. Good stuff! I thought Lisa Bonet did a great job, too.

On to Raging Bull, the 2-Disc DVD Collector's Set. True cinema at its finest. Another period piece that will knock your block off. The boxing movie that changed my mind about boxing movies. And who knew? Cathy Moriarty was only sixteen when she was cast alongside Robert De Niro and Joe Pesci. This Collector's Set is so great. Three audio commentaries with Scorcese, Schoonmaker, Irwin Winkler and Jake La Motta. Lots of featurettes about the making-of. For just pure filmmaking savvy, this is Scorcese's best movie ever, hands down, and Robert De Niro's finest performance ever. Absolutely brilliant, all of it!

Scarface... the 2-Disc Platinum Edition... oodles and oodles of extras, but unfortunately no director's or other commentary. Just featurettes, interviews, making-of extras and delected scenes.

The script for the 80's Scarface remake was written by Oliver Stone in France, while he kicked a coke habit. In Miami and Latin America, he hung out with drug lords and law enforcement personnel as he researched the illicit drug trade. It's a great, violent movie, with lots of bullets and lots of babes, and a true, gangster classic. The Platinum Edition has great interviews with Oliver Stone, director, Brian De Palma, and producer, Martin Bregman. Scarface is a masterpiece and cult classic in every sense of the word. The movie was dedicated to Howard Hawks and Ben Hecht who directed and wrote the original 1932 Scarface.

I watched to 2008 released 30th Anniversity Edition of Midnight Express, the movie for which Oliver Stone won his first academy award for best adapted screenplay, and also another Alan Parker movie. (One of my all time favorite movies by Alan Parker is Pink Floyd, The Wall.) This edition has lots of extras, including a great commentary by Alan Parker and interviews with Oliver Stone. Midnight Express is a great prison movie, though painful to watch at times. Actor Brad Davis is amazingly believable as the young American with a hankering for some hashish.

So, that's been some of my DVD buying escapades and movie watching pleasure. I love the director's commentaries and featurettes on anniversary and special edition DVDs. Making movies can be such a weird adventure! Hearing the anecdotal stories behind the scenes is lots of fun for aspiring filmmakers and civilians alike.

My Gonzo Take on the Golden Globes

Okay, I watched the 2010 Golden Globes. I really enjoyed the show. I thought the host, Ricky Gervais, did a great job while drinking his beer at the podium, getting an obvious buzz in a much more informal environment than the Oscars. As usual, I was jealous of all the beautiful people enjoying the limelight at the Beverly Hilton while I sat in my trailer park, glued to the screen, green with envy, and guzzling Budweiser.

It was fun to see Mickey Rourke kiss Mike Tyson… nice to see such macho guys show a little love. Seeing Colin Farrell as a presenter reinforced once again how much I wish I could cast him in my mobster script, Joey & Jeffie, as Joey (Crazy Joe) Gallo beside Michelle Rodriguez as Las Vegas showgirl, Jeffie Lee… maybe someday if I don’t get whacked first or if Harvey Weinstein doesn’t beat me to the punch.

I thought it was only fitting that James Cameron won Best Director and Avatar won Best Motion Picture. I mean, really folks, who can beat the four and a half year project, Avatar? I know all you film purists hate it, but you have to give the devil his due: Avatar is what movies are all about, i.e., it is entertaining. So suck it up - better luck next time.

And how about Quentin Tarantino? Suave… goddamn, he’s suave! I mean, I thought his movie Inglourious Basterds was an overrated version of a Hogan’s Heroes episode from a script with way too much white space, but what do I know? I still love the guy. I miss the days of True Romance and Reservoir Dogs. I’d give my left nut to be able to write scripts like that. And I just know that the misspelling of bastards must have been unintentional, but when called on it he must have said, “Fuck it” and left it at that. I mean, didn’t the guy drop out of school in the Eighth grade? And let’s not forget, this is a guy who said Oliver Stone is “an overrated Stanley Kramer.” He had the balls to say that about Oliver fucking Stone, man!

The fact is, none of Tarantino’s movies come even close to Platoon or Born on the 4th of July. Inglourious Basterds nominated for Best Motion Picture? Knee grow, please. As one astute observer at the Cannes put it, Inglorious Basterds is “…an action movie with no action.” But Tarantino was a huge influence on me, and is one of the reasons I decided to write scripts. I fell for the whole million dollar ad campaign paid for by the Weinstein’s of the video store clerk turned movie auteur. And I always go see everyone one of his flicks when they come out. I’m just jealous! Okay?

And the rest of the show? I didn’t see most of the shows that were nominated or that won. My cable TV got cut off almost three years ago when I sold my soul and spent every extra penny I had to make my own shitty little movie. But I’m happy for everyone, okay?

I’m happy for Jeff Bridges. I always liked his dad, Lloyd Bridges, in the television show, Sea Hunt, which aired back when Methuselah was a baby. I will eventually see Crazy Heart.

Meryl Streep? You can’t go wrong with the greatest living female actress on the planet. Unless maybe with Jessica Lange as a serious contender for that slot?

Robert Downey, Jr.? He’s like the new Brando, right? Or he’s at least in contention with Christian Bale for that title, right?

I would love to see Precious, but jeez, what a downer of a movie it must be… after watching the trailer I was reaching for my hanky and felt like I’d been punched in the gut. I will say, however, that the best golden globes at the 2010 Golden Globes were on Mariah Carey. I will see Precious someday, too.

Maybe this year I’ll get my cable hooked back up and have some extra bread to see some cable TV and some flicks, man. Hell, I might even get to make another flick myself… who knows what the future holds?

Poets and Madmen: Filmmaker Quotes I Can Relate To

Making a movie can be a daunting task, even if you have a lot of money; something I've always had very little of when making my movies. I've been lucky to even have a few grips to help me tote the equipment from the grip truck, or more often the trunk of my car. I couldn't imagine making a movie and actually having the luxury of even a crew! For me, it's always been lean and mean, on the cheap, with plenty of people sniggering from the sidelines. Each time I tell myself the next one will be better and easier. Better? Maybe... easier... I doubt it.

Which brings me to the quotes by filmmakers I have gleaned from various publications. I've ran across some clever statements by movie makers. Some are quite amusing, others are very inspiring. The following are some I just put together on the spur of the moment. I hope you enjoy them as much as I have.

"I've always used a sporting analogy to describe [making movies]. You're a runner and you're just about to run the big race, and they come in and beat the fucking shit out of you and then they say, 'Okay, go win the race.' You get the shit beat out of you right before you're supposed to go perform your best. And it happens most of the time. 'We have our bets on you, never mind we just broke your fucking legs.' But it wouldn't be making a movie if it were easy. It should be a struggle. Otherwise, you're coasting."
Tim Burton, Director
Esquire Magazine, January 2008

“Tell your friend he’s getting fucked in the ass, and if he would stop squirming it wouldn’t hurt so much.”
James Cameron
(A message he once told a Fox producer to deliver to an executive at the studio)
New Yorker Magazine
October 2009

“I want you to know one thing—once we embark on this adventure and I start to make this movie, the only way you’ll be able to stop me is to kill me.”
James Cameron
(to Leonard Goldberg, then the president of Fox, on the movie, The Abyss)
New Yorker Magazine
October 2009

The worst thing that can happen to a filmmaker is to have doubt. Filmmakers need to feel the wind behind them. You have to be a pirate ship captain. Filmmaking is like hitting different ports. We don’t belong to any flag. And you need confidence to do that.
Oliver Stone
Movieline Magazine
Interview by Lawrence Grobel
November 1997

"Elvi, I Was Only Kidding! Fly, Pelican!"

Scarface... helluva movie. "First you get the power, then you get the chicks." The immortal words of Tony Montana, as penned by the Dilligaf revered screenwriter and filmmaker, Oliver Stone. He wrote the screenplay in Paris while kicking a cocaine addiction. Oliver Stone is one cool dude... my favorite filmmaker of all time. [David Lynch is a close second. "We hunt buffalo now, Reggie! Remember the number 10!"]

Trying to raise money to shoot a remake of Man From Deep River, a German-made indie from the Seventies. That might be more practical than the biker flick, Dead or in Huntsville, since I'm living in the boonies now instead of the big city of Dallas. I have access to a lot of acres for exterior shots. Dead or in Huntsville seems to be jinxed, anyway. It's a long story.

Going to try to make it happen on the cheap again. Going to have to pool resources and combine talents with some heavy hitters to pull this rabbit out of a hat. Gonna write a killer script, though. Could be a lot of fun. Writing the script is the fun part. May have to come up with a proposal or private placement memorandum (PPM) to raise the money. Or save some money from my "job" in the "real world." Oh, I forgot, I'm unemployed again. I swore I'd never make another movie without the money first. In the words of Blaine Carson, "Dad gummit!"

I could even get rubbed out by the Mob. I own the screen rights to the definitive biography of Crazy Joe. I adapted a screenplay from the biography, Joey, by Donald Goddard, when I conceived and produced 3 Violent Plays with Thin Dime Theater Company in 1996. What if the Mob doesn't like it? What if I got it wrong? What if Joey Gallo's side lost the gang war and the winners of that gang war don't appreciate my version of the Crazy Joe story? Maybe I shouldn't even call him Crazy Joe... he hated that name. Nobody ever called him that to his face. (He was also known as Joey the Blond. He was shot down in Umberto's Clam House in NYC in 1971 on his 43rd birthday.)

My asking price for my script Joey & Jeffie is one million dollars... what if the Mob wants a cut? What if they send some Pauly Walnuts kinda guy to jack me up? Maybe he'll just stab me in the leg with an ice pick if I'm lucky? Holy shit, what have I done? What wicked webs we weave. Maybe I should give up this movie business and become a florist. Nah.