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irritatedFunny, volunteering for the "Milk" film dragged up a lot of gay history from the 70s, and just the other day Sean Penn, performing as Harvey Milk in 1978, mentioned the Anita Bryants of the world and how they wanted to deny gay people their rights.
Well, today there's another woman spewing the same kind of ignorant, fear mongering vile as Anita 30 years ago: Oklahoma State Representative Sally Kern. Recently, her remarks to a small GOP group were recorded and released on the internet. Her speach was loaded with Archie Bunker ignorance, including propegating the long disproven "gays want to recruit your children" bullshit.
She even went so far as to claim that homosexuality is this country's greatest threat, "even more so than terrorists or Islam.” She said it's "just a fact” that "the homosexuality agenda is destroying this nation.”
Conicidentally, I'd recently reproduced an old anti-Anita poster as a possible T-short for extra-ing. I updated it for the modern age.
How far we've come...how far we still have to go.
1. Today I read Will Eisner's "A Contract With God", an early graphic novel about life in a New York tenement. While I liked it, I was a little put off by the art, which felt too heavy handed for the material, and the unnecessary sex and violence which distracted from the drama. A good idea, especially in the final tale "Cookalein", but one that needed some editing and polishing.
2. Becky called to tell me that All Things Considered had a segment about the "Milk" shoot. Click here to listen to it (if you have Flash blocking enabled it won't work). You can hear Sean Penn doing some of the lines we heard yesterday. If you know what Harvey Milk sounded like, it's eerie how close he gets it.
3. While poking around archive.org today I found a video from almost 19 years ago: The Computer Chronicles, Atari ST Update. Program # 619U 8/02/89 At 8:55 in, Jim Kent loads an animation element I created and mentions me by name.
Yay! It’s Daylight Savings Time today! But, booooo, we lose an hour of sleep.
Dana and I are extra-ing for “Milk” one last time today. This time it’s a recreation of part of Gay Freedom Day 1978. It’s on with the 70s clothes again.
Today we’re mostly just acting as a crowd, reacting to what’s happening on a stage set up in front of city hall. It’s supposed to be June, so we’re encouraged to go shirtless. Fortunately, it’s really nice and sunny out, so one can do so without frying. I do it, partly because the synthetic nightmare material of my 70s shirt is hot. Dana remains more demure because he has a few tattoos that don’t look authentic to the period. Not that a lot of our fellow volunteer extras seem to heed any of the instructions...I mean, a white guy with deadlocks in 1978? Gimme a break!
What’s different about today over our previous extra-ing and watching then film is that this time we actually get to see Sean Penn act. He’s giving a speech about how gay people need to come out to their families and friends and neighbors and co-workers, and repudiating the Anita Bryants of the world and those who would take right away. We cheer his words and his and boo the villains and generally make a lot of noise.
Again, I’m struck at how badly this production handles the crowd scenes. As before, their loudspeaker system is weak and a lot of people can’t hear the instructions. They don’t do proper cueing so everyone clearly know when to do what, etc.
I make a mental note as to where we are in relation to what in shots where I could be in short, so I can see if I can spot Dana and I if any of those shots make it into the film. We’re kinda in the back of the crowd, but we’re up on higher than the street. I can see the camera lens over Sean Penn’s shoulder, so I’m sure it can see me. But what’s in focus? The crowd, or Sean’s ear?
The capper of the speech Sean gives as Harvey Milk is the unveiling of the original Gay Pride flag, which is unfurled as a backdrop.
Note the people at the top...that's a big flag!
After a numbverof takes of this with several camera setups, Sean Penn stands at the microphone and doesn't delivery his scripted dialog. Oh no, he starts talking current politics, takes jabs at Fox News and the right, and get the crowd really hooting and hollering as they drop the flag one more time. Clever. He gets to make a poltical statement and get a great shot of the crowd cheering the flag dropping at the same time.
During a break between shots, I notice a woman taking a picture of Dana and me and we're being smoochy, and she comes over and says she's with the Chronicle and asks if she can have our names in case the paper uses a pix of us. We tell her, and she takes more pictures of us smooching. Guess I better read the Chronicle tomorrow...
With those scenes completed, they rearrange the extras to line both sides of the streets to get some quick shots of Milk’s arrival to City Hall in a previous scene. Sean rides sitting in the sunroof of a vintage Volvo, the car followed by supporters and a marching band. A few takes of this are done, and each time, a nun of roller-skates glides up and gives “Harvey” some flowers.
After these takes, we’re asked to move aside and be quiet as they marching band alone is brought up the street, so they can record the music clean without background noise.
Today's San Francisco Lesbian and Gay Freedom Band portraying the 1978 San Francisco Gay Freedom Day Marching Band and Twirling Corps (whew). Note the mic boom.
Finally, we’re asked to loosely gather on the sidewalk on one side of the street and do three takes of the throng walking as if we’re heading to or from the parade.
At this point, we’ve been out in the sun for 4 hours and we’ve had enough, so we call it day.
Video of this on the SF Chronicle's website here.
During this, Scott Cummins called to tell me that while it didn’t make it into the competion part of the PINK APPLE FILM FESTIVAL in Zurich and Frauenfeld, Switzerland between 30th April to 12th May, the film was selected to be screened. I guess that means good enough to be shown but not good enough to win prizes. Whatever...not bad for a 48HFP short!
After a late late lunch and a dog walk, we drop in bed and nap for a few hours. When I awake and stumble into the bathroom I see how red my face is. Oops! I forgot sun block.
I’ve gone from mere extra to extra crispy.
Today I’d thought to take Dana to Point Reyes to watch whales migrating, but I decided to put that off two weeks when I saw a chart that indicated the migratory peak would be then.
With that postponed, Dana suggested that we go see the 1972 film “What’s Up, Doc?” as part of the Peter Bogdanovich retrospective going on at the Castro Theater. Friday night Dana saw “The Last Picture Show” and both Bogdanovich and Cybil Shepherd appeared on stage to talk about it.
So, we go to the theater, and take what are becoming our regular seats in the second to the last row—because those seats are on a riser and no matter who sits in front of you, you can always see the screen. Before the movie, Bogdanovich appears on stage and tells some stories about making it. Afterwards, the lights go down and they start running trailers of other Bogdanovich films.
And then, Mr., Director takes his seat—in the back row—directly behind us! Literally, he was in the seat right behind Dana. It’s funny to watch a movie and know the director is breathing down your neck. Fortunately, it’s a great, funny, charming movie, so there was plenty to laugh at. And, heck, it was funny to hear which parts the director himself laughed at.
If you’ve never seen the film, rent it. It’s a terrific homage to screwball comedies of the 30s, with sharp writing, spot-on acting (including the Hollywood debut of Madeline Kahn, who steals the show out from under Barbra Streisand’s...nose), and an amazing and hilarious chase scene that’s an homage old silent film comedies. Imagine big Harold Lloyd stunts done amongst San Francisco’s hills....you get the idea.
Oh, and it ends with Bugs Bunny. How can you go wrong?
I don't get it.
A friend of mine just sent an email telling me that Dungeons and Dragon creator Gary Gygax has died. He wrote:
"Guess he didn't make that savings<sic> roll. Bummer."
I clicked on a link about him, and saw all these people saying how they were all choked up and how words failed them...
...all about a man who most of them never met.
It's like the whole Heath Ledger thing. I don't get that either.
What affects me? The loss of people I know...whom I've spent time with, whom are real people, not just a name in the paper, or roles played on screen.
It's sad for the people who knew them loved them. It's perhaps sad that we won't see more of their work. But why do I suspect that 99% of these people who profess being upset by such news will pass on the news to others via email and then go back to whatever they were doing, unaffected?
Maybe I'm just bugged that people make a big deal out of the suffering and passing of celebrities and not give a thought to other suffering all around them... Sad.
When I helped make Secret Identity Crisis in Portland, OR last summer, I didn't have a chance to stay and see any of the screenings of our of the other films in the 48 Hour Film Project, especially to see how other people handled the Superhero genre we drew.
Well, stupid me, it never previously occured to me to look on the web to see if any of those filmmakers posted their work. Today I went "duh" and started searching YouTube. I found tons of 48HFP films listed, but was able to quickly narrow it down by searching for "48 Hour Film Project Portland 2007".
I then tried looking specifically for Superhero genre films. Only one from Portland was there (The Passing), but there were a total of 17 2007 Superhero shorts from various cities.
I watched them all (click here to see the full list).
If you're interested in checking out the films on YouTube, here's my ratings:
KnightFall *** (Houston) Interesting idea, but the execution was flat. The first of a lot of people sitting around and talking films.
Superheroes *** (L.A.) A married superhero couple sitting in bed and discussing how they've fallen out of the limelight.
Captain Buffalo ** (Buffalo) Son of a superhero, who inherited the jero identity, drives around in his Secret Identity and talks about not being a hero and about the city of Buffalo. Blah.
Icarus ** (Minneapolis) I appreciate that these things are made fast, but for Pete's sake, don't use an unaltered iPod as some powerful mystery device. Any plastic box with a button glued on it would be better. Slow. Tedious. And for God's sake, stop crossing "the line" (a cinematographic rule).
Liberal Man: The Suitcase of Destiny **** (Denver) One of the two best ones. A cute idea about an ultra lefty superhero pitted against extreme right baddie "Neo-Connie". Bad supersuit.
Truth Be Told ** (Providence) A weak idea badly done. The villain is a plagiarist...well, someone who sells knock offs of Harry Potter. A few funny ideas, but otherwise flat.
SuperherOs *** (L.A.) A guy gets a superpower as a prize in a cereal box. It's an idea that deserved better execution than it got.
The Passing ** (Portland, OR, and ergo had to use the same elements we did.) Murky both visually and plot-wise. I almost didn't get what happened at the end because the way it was shot I wasn't quote sure what happened. I rewound it 30 seconds and then I got it.
Oak Pine Willows Superhero Rehabilitation Center ** (unknown city) A nice idea, but it's just people standing around, talking. And can't anyone make a halfway decent supersuit?
Clever Girl v2.0 * (St. Louis) I hated this one. It's clumsy, and there's this weird and pace-wrecking use of cominc book style cards. Someone discovered PhotoShop...
Farm Force! *** (Boston) This was made with a bunch of school kids. It's dumb as a box of rocks, but at least it was cute and has a sense of humor.
SideKick *** (San Diego) A guy who's father dies by a spoon (don't ask) applies to be a superhero sidekick. The interview process is the best bit.
Simply Amazing **** (Asheville) The best one of this lot. The family of an aged superhero wants him to hang up the cape, but he doesn't know what else to do. Does he still have it? One good (probably rented) costume.
We Could Be Heroes *** (Boston) Villains attend a seminar to try to become heroes. A good idea, but the script lacks punch. Oh, at least we FINALLY see some costumes!
Fallout ** (San Jose) A super-deed goes whong and the superhero corporation has to do damage control. More people sitting around a desk.
The Visionary ** (St. Louis) This one had promise, but it's just bogged down by weak performances.
Saving Angela * (Buffalo) Seriously, I get what they're trying to do, but the way it's done it just comes across as someone trying to make an art film without any idea of what they're doing. Maybe there's symbolism here I'm missing... I doubt it.
Ego aside, I think our film is better than practically every one of the ones I saw, in terms of tempo, story and overall production value. Wish I could see more!
Dana's never seen Blade Runner.
Not in any incarnation.
I got the new remastered "Final Cut" of the film just before Christmas, but when I saw it was going to be playing at the Castro, I figured that was the place to introduced Dana to it.
So, we went tonight. And I *finally* remembered to use a present Sherri got for me year before, a pass good for two tickets and snacks at the Castro. I was afraid it was so old it had expired! I always forgot it. Thanks, Sherri!
After a pre-movie cocktail, we headed for the line and found...a line. A lot of people had turned out. Luckily, the seats Dana wanted weren't taken—at the back, on the riser which puts you high enough above the other seats that no person's big hair, hat or height is going to block your view.
The film got started and at first people cheered the obvious credits. Then some people cheeered less obvious credits. And then some wags decided to "woo hoo" minor credits. Ironically, no one cheered the Production Designer or the Cinematographer. Philistines...
I'm not going to do a full blown review the film here except to say I didn't like it much in it's original 1982 incarnation, and found myself becoming more enamored of it with the early 90s Director's Cut which wasn't. I like the Final Cut best, albeit it's only slightly different from the Director's Cut.
Dana liked the movie, but I can tell he didn't love it. And that's what I always expect. Blade Runner's a difficult movie. It rewards repeat viewings because you see stuff you didn't before. Didn't see that unicorn in Sebastian's apartment the first time. Tyrell's office and apartments are festooned with symbols of birds. Leon has a collection of photos, Deckard's piano's littered with them. It adds up the more you watch it.
I maintain that it's a film that works in spite of itself. It missteps all over the place. There are continuity errors galore, and things that just don't make sense, but what works is so strong that it manages to make the other issues seem trivial. It's also a smart movie...it doesn't explain everything. You're left to decide for yourself what various things mean. And this isn't necessarily sloppiness...it's just the filmmakers realized where explanation didn't matter and left it out, leaving it up to you to figure out why.
But it's got some of my favorite movie lines of all time, like: "All those moments will be lost. Like tears in rain."
And how can you top this capper?
"It's too bad she won't live. But then again, who does?"
Every year I draw a custome birthday card for an old friend. This one took eight hours from start to finish...most of that time "painting" it on the computer. It beats Hallmark!
I'm rather anti-Valentines Day, as it's another marketing gimmick designed to make you spend money, so I'd prewarned Dana I'd treat it pretty much like another day. I told him he could be my Valentine earlier, but it wasn't going to be about the 14th.
I met him for lunch today, and while I don't "do" Valentines, I did have an Apple branded notebook for him, so I gave it to him. He, on the other hand, acted on the day, gave me a card, and asked me if I'd go with him to Vegas next week for a field trip to meet some of his friends. He even got me a plane ticket! Awwww.
Someone got a Valentine's smooch, even though I don't observe it.
Saturday
Wow, am I beat.
Sure, there's the little matter of getting to bed at 4 a.m. after the film shoot, but then, exhausted as I am, I have trouble sleeping. Partly it's because it's warm and Dana has the windows open, and the conveniently located but at 5:30 a.m. inconveniently loud MUNI trains are waking me up, and then his upstairs neighbor decides to do step aerobics at 6:45 a.m. Ugh.
We're both tired, but it's the most gorgeous day outside, so we're determined to get out in it. After walking his dog we head across the Golden Gate Bridge to get lunch and see the Point Bonita Lighthouse. Well, that's the idea, but then I start to worry that we'll miss getting to the lighthouse before it closes if we go to Mill Valley for lunch as planned. We decide to put off food, stem hunger with the leftover snack bars from last night's film shoot, and go right for the lighthouse.
Dana loves lighthouses, so taking him there is something I want to do with him. We stop and take a few pictures on the way over, then we reach the end of the road and walk a half mile down to the lighthouse. We see the Farallon Islands peeking through the fog on the horizon, like islands sitting on clouds. Ships and boats big and small and heading in and out of the Golden Gate, and great rolling waves are breaking on the rocks north of the lighthouse. It's picture perfect.
But, are we picture perfect?
Afterwards, we make our to Mill Valley and, at last, find real food by way of an early dinner. I decide to take Dana to the Buckeye Roadhouse, a great old restaurant ("Duncan Heinz recommends"!) with really good food and cocktails. He has a wedge salad for an appetizer. I have a mojito. I order a very nice filet mignon, and he has the brisket—which I taste and think is amazing. I also get a side of mac and cheese and ham which is nothing like the Kraft variety. We finish everything except that mac and cheese, half of which is to go.
The evening is lazy. Ice cream. Dog walk. DVD. Soup. More DVD.
We're out cold soon thereafter. Thankfully, we get to sleep in...no dawn aerobics from upstairs!
Sunday
It's another gorgeous day today (Sunday), and we take advantage of it and seek out a restaurant where we can sit outside. We end up at a street side table at La Méditerraneé and get a brunch for two that's made up of a over half dozen little plates of scrumptiousness; little quiches; cheese and fruit, eggs, pastries with cheese, baklava, etc., accompanied by champagne. Now that's the right way to spend a Sunday!
Ahhhh.
silly
