Aardman's lost, return of Ed Exley, and Lynchian goodness (?)

[thehefner]

It's bad enough that FLUSHED AWAY got dicked-over in terms of attention (CARS gets nominated for an Oscars?! Fucking Pixar's name recognition for all their other films that are actually excellent). I mean, in fairness to Dreamworks, I think it wasn't entirely their fault; I saw tons of promotional material for it at McDonald's and such. Regardless, since they're not sufficiently competing with Disney/Pixar, Dreamworks has canceled their deal with Aardman halfway through. Word is they may be going for Nickelodeon instead.

This is a real bummer. I can only hope that Pixar will step in and fund Aardman. Can you imagine what a powerhouse that would be? Two of the greatest (or, depending on how you look at it, perhaps the only two *good*) major animation houses working together? Now if we can just get some good 2-D hand-drawn movies back.



In other news, L.A. CONFIDENTIAL and NARC are two of my favorite movies of all time, and are both brilliant cop films to say the least. So you can imagine my wonder and joy when I learned that NARC director Joe Carnahan is going to be directing the "sequel" to L.A. CONFIDENTIAL (in that L.A. is part three of a quartet, with THE BLACK DAHLIA being part one), WHITE JAZZ. And considering that novel, which I still need to read, features the return of my very favorite character from L.A., Ed Exley, I had to wonder what place Guy Pearce might have. CHUD.com ran the following story:

In the fall we brought you the news that Joe Carnahan would be directing an adaptation of White Jazz, James Ellroy’s sequel to LA Confidential. Later it was announced that George Clooney would be starring as dirty cop Dave Klein, sending interest in the film through the roof. Carnahan has said that he would like to see Guy Pearce return as Ed Exley, a character he played in Curtis Hanson’s film version LA Confidential who makes his return in Jazz.

But does Pearce want to come back? He’s not too sure. I asked him about it today at the New York City press conference for his new movie, Factory Girl, where he plays Andy Warhol.

"It’s been mentioned to me, but I haven’t read the script yet,” he said. “I ultimately don’t feel hugely compelled to revisit any character I’ve played before, really – but having said that it would depend on how it was realized, I guess.”

Word is that the script is great, and Exley has a pretty large role, so it would be great to have Pearce back. Somehow I imagine that with a look at the script – and a decent paycheck – Guy Pearce will be very happy to get back into the LAPD.

Here's hoping.



And finally, due to the magic of youtube, I've found a long-out-of-print David Lynch classic, "Industrial Symphony No. 1: The Dream of the Broken Hearted." Now, before you watch, bear in mind... this is David Lynch. That fact will either lure you in or turn you away.

There's thing one girl I've known for almost eight years who I met at a Folger Shakespeare class. We bonded on our love of David Lynch, and so, knowing that, it isn't as weird when I say that during our few hang-outs I showed her PERFECT BLUE, TITUS, THE ICEMAN COMETH, and this. Maybe that's why, even though I will likely have the hugest crush on her for the rest of my life, we never did get together. Regardless, she loved them and, if you enjoy David Lynch, you'll love this too.

Consider this kind of a TWIN PEAKS musical, especially since some of those songs actually appear in here. It's split into five parts. Enjoy if you can. If your brain melts, don't say I didn't warn you.

Comments

[kmousie.livejournal.com]

Here's hoping.

You said it, man. God, that would be awesome. If it happens, we have to figure out a way to watch it together.

[thehefner.livejournal.com]

I would adore that. We will find a way. Heck, even if he doesn't, we should anyway. Just to compare Exleys.

[kmousie.livejournal.com]

Count on it. Maybe we should write to Guy! "Um, Mr. Pierce, we'd really like to watch this movie together to celebrate your awesomeness and that of your character. Reprise the role, please?" *laughs*

[thehefner.livejournal.com]

"We will also accept if you and Robert Carlyle teamed up again for STILL CHEWIN': A MUSICAL OF "RAVENOUS."

[kmousie.livejournal.com]

*chuckles* The projects don't have to be mutually exclusive! Can either Pearce or Carlyle sing?

[gore-whore-5.livejournal.com]

I would LOVE it if Pearce was Exley again. That movie was so much fun. I totally want to rape that man.

[thehefner.livejournal.com]

I bet he'd be touched to hear you say that.

I loved Exley too, although some people (the Lynch girl I mentioned above), *haaaated* him.

[treyhawk.livejournal.com]

It's bad enough that FLUSHED AWAY got dicked-over in terms of attention (CARS gets nominated for an Oscars?! Fucking Pixar's name recognition for all their other films that are actually excellent). I mean, in fairness to Dreamworks, I think it wasn't entirely their fault; I saw tons of promotional material for it at McDonald's and such. Regardless, since they're not sufficiently competing with Disney/Pixar, Dreamworks has canceled their deal with Aardman halfway through. Word is they may be going for Nickelodeon instead.

I have not seen FLUSHED AWAY yet, so I can't comment on that film. CARS definitely got nominated on its technical merits, and the runaway jukebox known as HAPPY FEET got in because of its feel-good environmental story (despite its HAL-like take on biodomes). MONSTER HOUSE came in from left field and definitely deserved an Oscar nod for both its story and animation. It might also encourage other smaller animation companies to take chances.

Could they have expanded the category to five nominees this year? Sure. FLUSHED AWAY would be the fourth entry, and my guess is that OPEN SEASON would be the fifth entry over my personal favorite, the thinly-disguised-morality-play OVER THE HEDGE. We had a lot of animation this year, including some pretty badly-panned fare (THE WILD, BARNYARD, ICE AGE 2: THE MELTDOWN, and the lets-make-all-kids-New-York-Yankee-fans EVERYBODY'S HERO). I think the Oscar committee blew it this year to keep it at three nominees, fearing they would set a precedent they couldn't uphold in future years. Stupid.

[thehefner.livejournal.com]

I'm glad MONSTER HOUSE got nominated, even though it seems to have been dismissed by many as just another kids' CGI animated movie.

Stupid indeed, agreed.

[adaptor.livejournal.com]

By the way, I just now finished watching Le Samourai. Oh. My. Gosh. So very happy making! Love. Just love.

That is all.

[thehefner.livejournal.com]

Oh rock! It's so frickin' awesome, ain't it?

Now you should see John Woo/Chow Yun-Fat's THE KILLER, which aside from being a great movie in its own right, largely homages LE SAMOURAI.

Actually, have you seen Jim Jarmusch's DEAD MAN and GHOST DOG: WAY OF THE SAMURAI? The latter is what actually made me want to see LE SAMOURAI, and the former came before it and ties in. I deeply adore them both.

[bimmin.livejournal.com]

Many thank yous for the Lynch. *^_^* I'm getting over a really nasty cold so this was a wonderful way to make me smile!

[jcsbimp.livejournal.com]

You must come over to watch ERASERHEAD sometime. The ending of this reminded me of the ending of that, somestrangehow.

[thehefner.livejournal.com]

Oh, I've seen it! But honestly, I confess I'm not a fan. What's missing is... well, frankly, what's missing is Angelo Badalamenti. I think his music is as essential to Lynch as Elfman is to Burton, as Morricone is to Leone, as Mansell is to Aronofsky.

When Lynch is alone, his stuff is bizarre and horrific, but not all that interesting to me. When he's with Badalamenti, there's something ethereal and angelic even in the most fucked-up stuff.

[jcsbimp.livejournal.com]

Good point... there's a wonderful synergy there. In any case, I liked the "Industrial Symphony" beginning with a dialogue between Sailor and Lula. Haven't seen those two in quite a while!