Hilarious. Unsurprisingly, no trace of this guy on the IMDB. (via MeFi)
Category / Film
BSS #73: Joe Eszterhas
Author: Joe Eszterhas
Condition of Mr. Segundo: Groping for borrowed salacious content.
Subjects Discussed: Ambrose Bierce, the screenwriter as god, exclamation points, Robert McKee, the “twisted little man” inside Eszterhas, cynics in Hollywood, William Goldman, the reasons for writing Basic Instinct, Jagged Edge, on pinpointing commercial hits, bringing wives to studio meetings, greed, stealing props from films, the ethics of Hollywood business, fighting studio executives, crotch shots, Paul Verhoeven, blaming Bush for everything, responding to Joe Queenan’s review, bedding stars, Charlie Simpson’s Apocaylpse, Bill Clinton, studio movies vs. independent movies, Children of Glory, and writing novels.
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Bringing New Meaning to Autofellatio
On Kurosawa’s Composer
Slate’s Jan Swafford has decided that Toru Takemitsu is the greatest film composer of all time.
Musical Moments in Cinema
The top 40 musical moments in film history. (via Black Market Kidneys)
Discounting musicals, I would add The Who’s “A Quick One” during the vengeance montage in Rushmore, Schubert’s Piano Trio in E-Flat Major in that absolutely beautiful long shot of Lady Lyndon falling in love with Barry in Barry Lyndon, Khachaturian’s Sabre Dance during the hula hoop montage in The Hudsucker Proxy, that horrible version of the Eagles’ “Hotel California” during the Jesus montage in The Big Lebowski, the ironic use of Rossini in A Clockwork Orange, Night Ranger’s “Sister Christian” in Boogie Nights, Slaughterhouse’s “Power Mad” in Wild at Heart (beautifully twisted), Alan Price’s songs in O Lucky Man!, the use of Wagner in L’Age d’Or, and “Drum Boogie” in Ball of Fire (if you’re talking film history, which would include movies made before 1980, how the hell could you leave that out?).
(In fact, while I’m on the subject, I think it’s safe to say that the opening to Sexy Beast could not have worked without The Stranglers’ “Peaches” playing in the background. And the only reason why Sofia Coppola’s soulless films dupe their audiences is because of the music. I’d ramble further about how certain movies are absolutely hollow without their music (the mute button really reveals wonders), but there’s only so much time in the day.)