Hubcap diamond star halo

Bullitt (1968), Vanishing Point (1971), Christine (1983), Fast and Furious 6 (2013)

Earthbound

I bought a secondhand car with a six-CD player but Led Zeppelin Remasters is only two discs: what to choose for the other four? To start I picked up a secondhand copy of Lisa Ekdahl's Back to Earth (1998) with the Peter Nordahl Trio -- quite possibly the exact same one that I'd sold to the store after listening to it in 1999 and deciding that I didn't like it at all. Plus ça change and all that.

When I first heard Back To Earth I found it clockwork but now, 14 years later I like it: I find it clockwork. I remembered her cover of 'Now Or Never' that hits like espresso but forgotten her charming version of Cole Porter's 'Laziest Girl In Town'. And 'Tea for Two', 'I Get a Kick Out of You' and 'Night and Day.' It's like being in a five-star lobby that never closes.

Ekdahl is Swedish, the daughter of a nuclear physicist and a kindergarten teacher. She takes after both parents: her voice is perfect and innocent, precise and untroubled. The band whirl around her like electrons while she glows at the center, neither positive nor negative, on time and in key.

Critics are divided on Lisa Ekdahl, most of them rating her as not very good. Her voice is one you either love or hate, and she makes no excuses for it. As she told Time Out Hong Kong:

I'm aware that I have a tiny voice, and I try to do the best with what I have. So I accept my voice and try not to make it bigger than what it is, because, for me personally, I love when someone naturally has a big beautiful voice, but I don't think it's so interesting when someone with a not very big voice tries to make it sound big. Another thing is that when I record, I'm aware that my voice is tiny, so I want to make a lot of space around my voice, so for me it's very important to work with musicians who naturally leave a lot of space.

The future's uncertain and the end is always near

 

 "When something dies is the greatest teaching." -- Shunryu Suzuki, Zen Mind, Beginner's Mind

Out of the past

This month's movie top box office earners were based on a 1966 TV series, a 1963 comic book and a 1925 novel. And Daft Punk had a number one with their disco single 'Get Lucky', based whole or in part on guitarist Nile Rodgers' work with Chic circa 1976. Nile talked to GQ about recording with the French duo:

Once it got down to specifics — once I had to pick up my instrument, and it was like, Now we've got to translate from concept to reality, we go from nothing to something—I said, Well, this is how we used to do it. And guess what, guys? You're also in the place where I cut my very first record. This is where Chic became Chic. And not only that, I also did INXS here, the biggest record of their careers. And I was here when the studio was built for Hendricks, and I was here before that, when it was a nightclub called Generation, and I played here and hung out here as a teenager. There's a lot of great ghosts in these walls. And at that point, it was like, Okay, the magic is about to commence. I started to deconstruct my parts — I do one pass where I'm playing it, and I take it apart, and do it sort of in single notes and other components. That process seemed to be the way they worked, because they were working with me. They would sing little licks that they'd hear me do, or I'd play something and that would spark an idea.

It's a nice thing as you get older – things come around.

Also announced this week: John Slattery is going to direct a movie version of Pete Dexter's God's Pocket starring Philip Seymour Hoffman, Christina Hendricks and John Tuturro. I'm a huge fan of Mr Dexter, and this means he gets paid.

The dream factory

For the last few weeks I've been working with director Jonathan King on our film Realiti, picking off one day of scheduled shooting at a time. Production on the feature has been made possible by the generosity and spirit of all involved, from location owners to the local film students and hardened professionals who've worked on the crew, and to the wonderful actors who have found time between stage, TV and (very) big film productions to come and be part of Mr King's third feature. When I was writing the screenplay and casually dashing off phrases such as 'EXT. HOTEL EXTERIOR - NIGHT' it never occurred to me that the result would be six people standing on a wet, rainy city street at 11p.m. with their faces turning blue. But stand there they did, until they got it right, and not a complaint from any of them. Honestly, guys, I thought 'INT. NIGHTCLUB' was keeping it simple. And don't get me started on how easy I thought it would be to film 'INT. OFFICE - DAY'.

Realiti is still a work in progress. Without giving too much away I can tell you that I've seen the rushes and they're amazing. But don't tell anyone: we don't want to peak too soon. In the meantime my ongoing thanks and gratitude to Chow and Good Luck Bar; to the crew to date which includes Jack Barrowman, Oren Graham, Joseph Hambleton, Cath Maguire, Kelly Manu, Lee Tolley and Niki Winer; and my admiration and respect to the immensely talented actors including Michelle Langstone, Johannes Meister, Nathan Meister, Miranda Manasiadis, Graham McTavish, Aroha White, Richard Whiteside and Tim Wong. All of whom are being corralled, encouraged and captured by the directorial eye of Mr Jonathan King. Jonathan has been shooting a lot of handheld, and can hold a half-crouch for a really long time.

And hats off, too, to Wellingtonians. Their city might be home to one of the most expensive film productions in the modern world but the locals still brake for a micro-budget New Zealand movie. Literally, sometimes: we've been filming on the street. Sorry about that, chief.

Pictured: Graham McTavish and Miranda Manasiadis between takes at a very special house; cast and extras in the club; Graham, Oren Graham and Nathan in the wind; and Michelle Langstone -- a star and a star on Twitter.

All tomorrow's parties

Futureworld (1976), Logan's Run (1976), Rollerball (1975), The Stepford Wives (1975), Westworld (1973)

All of this has happened before and it will happen again

Montag jammed his Seashell to his ear.
"Police suggest entire population in the Elm Terrace area do as follows: Everyone in every house in every street open a front or rear door or look from the windows. The fugitive cannot escape if everyone in the next minute looks from his house. Ready!"
Of course! Why hadn't they done it before! Why, in all the years, hadn't this game been tried! Everyone up, everyone out! He couldn't be missed! The only man running alone in the night city, the only man proving his legs!
"At the count of ten now! One! Two!"
He felt the city rise. Three . He felt the city turn to its thousands of doors. Faster! Leg up, leg down!
"Four!"
The people sleepwalking in their hallways.
"Five! "
He felt their hands on the doorknobs! The smell of the river was cool and like a solid rain. His throat was burnt rust and his eyes were wept dry with running. He yelled as if this yell would jet him on, fling him the last hundred yards.
"Six, seven, eight !"
The doorknobs turned on five thousand doors.
"Nine!"
He ran out away from the last row of houses, on a slope leading down to a solid moving blackness.
"Ten!"
The doors opened. He imagined thousands on thousands of faces peering into yards, into alleys, and into the sky, faces hid by curtains, pale, night-frightened faces, like grey animals peering from electric caves, faces with grey colourless eyes, grey tongues and grey thoughts looking out through the numb flesh of the face.

-- Ray Bradbury, Fahrenheit 451 (1953)

The Wanderers

The pressure to entertain, to sell ourselves and never to be visibly anxious keeps ratcheting up. The number of Americans who considered themselves shy increased from 40 per cent in the 1970s to 50 per cent in the 1990s, probably because we measure ourselves against ever higher standards of fearless self-presentation...

At the onset of the the Culture of Personality, we were urged to develop an extroverted personality for frankly selfish reasons -- as a way of outshining the crowd in a newly anonymous and competitive society. But nowadays we tend to think that becoming more extroverted not only makes us more successful, but also makes us better people. We see salesmanship as a way of sharing one's gifts with the world.

-- Susan Cain, Quiet: The Power of Introverts in a World That Can't Stop Talking (Penguin, 2012)

(Pic: Gustav Courbet)

Slip-sliding away

Some people see a glass that is half-full and some people see a glass that is half-empty and others see a Glass That Could Fall And Break Into Shards And Take Someone's Eye Out What If It Was A Child You Would Never Get Over It* (*Celtic Edition). News of a national literary fellowship losing its sponsor puts me in mood (iii). It would be nice to think that private partnerships between the business and the arts community would flatter the former and permit the latter to survive or at least develop with some latitude but the challenge is one of time, not scale: most small businesses are created and die within the time it takes to write a novel, and lately the fortunes of the world economy can turn before a small painting would be able to dry. I benefitted from the Sargeson Fellowship and like to think that I paid it back in column space / visibility / reciprocal behaviours. But as a writer once remarked, the benefit of funding a novel is that at the end of the process, you have a novel.

QED, motherfucker.

Meanwhile, pictured: production art from the highly anticipated Marvel feature Guardians of the Galaxy. This is a movie that will star a raccoon with a gun.

While I am but a nascent fan of gun-wielding raccoon-based entertainment and believe, as a writer, that other writers should be permitted the freedom to express themselves, there comes a point when all you can see is the Third Option. We've all had a lot of fun with storytelling, and I'm the first to acknowledge that. But I think it's become time to stop this shit and go read a book.

Clothes of authenticity

I'm in two minds about Henning Mankell. He doesn't do plot -- surprisingly, for such a mainstream writer -- but, like some other Swedish authors, he really does coffee and sandwiches. Such details bring the Wallander novels alive. Here is the reluctant crime writer on crime and location:

Q: Your 'Wallander' novels too seem to chronicle important changes in society.

HENNING MANKELL: It is twenty years since I wrote the first book, and in that time some interesting things have happened. When I started I realized that crime itself was going through changes, with the fall of the Berlin Wall and the opening up of Eastern Europe. Earlier you'd only see criminality in a big city like Stockholm but now you can buy drugs even in small towns. Look at where Ystad is situated, down south in Sweden in a border area close to the European continent – you could say that the Baltic Sea is our Rio Grande.

Q: Your choice of setting the books in Ystad appears to have created a trend.

HM: Yes, but today, I'm sorry to say, there's a lot of very bad crime fiction being written in Sweden where writers use small town settings without any real point. If you set a crime novel in Gotland just because you spend your holidays in a cottage there, I'd call it ridiculous. With a few exceptions, much of the crime fiction published in Swedish is trash.

Martin Cruz Smith is a journalist who wrote pulps before sweating 11 years on Gorky Park, the novel that would become the first of several starring Arkady Renko. The subsequent Renko novels have tapered off in length -- Smith returning to his pulp habits, maybe -- but maintain the tone, and are thick with detail. Smith spoke to Anna Mundow about researching place and time:

Q. "Stalin's Ghost" revisits the Chechen war. Are historical events starting points for you?

A. Well, I had to begin somewhere, and the Chechen war is practically a coloring book of disasters. I was interested to read about Chechens in Solzhenitsyn's "Gulag Archipelago." Then I read a little Lermontov, a little Tolstoy where there is a theme of this wild, hono r-bound, somewhat privileged society. That's one of the great things about what I do; I'm allowed to follow any trail.

Q. Is Arkady's environment increasingly bleak?

A. With "Gorky Park" I thought I had done my Russian book. Then Russia changed. I couldn't get back in, so I got on the factory ship, the Polar Star. I could sense that things were changing. Then at the end of "Red Square" there was great hope that things were coming together, a triumphant feeling. That has disappeared. Arkady is more and more thrown back on his own resources, which makes what he does all the more singular and dangerous.

Q. You literally couldn't get back into the Soviet Union?

A. Literally. I was barred from the country.

My friend Paul Reynolds loved John Le Carré. One birthday when I made the error of gifting him yet another copy of Single And Single he accepted it with enthusiasm -- 'One can never have too many,' he said. Tinker Tailor Soldier Spy is built almost entirely on details of time and place: the narrative plays out in the characters' memories. (The action centerpiece is Peter Guillam stealing a folder from a library.) Here is Le Carré on location in an interview by George Plimpton in 1996:

There's some kind of constant interaction between the fantasy that I brought with me to the location — the place as character — and what happens to me after that, the way the fantasy takes on some semblance of truth. What we want is not authenticity; it is credibility. In order to be credible, you have to dress the thing in clothes of authenticity.

I'll ring and see if your friends are home

Author and screenwriter Jonathan Ames talks to Jennifer Vineyard about being a writer on Twitter:

AMES: I don't have any certainty about anything. The reason it's hard for me to tweet is I don't want to pronounce anything, and Twitter is for pronouncing.

VINEYARD: Is that why, after joining a Twitter conversation involving New York's Matt Zoller Seitz regarding the criticism that Girls faces — noting that you had faced it as well, but perhaps not as loudly — you jumped out saying, "Very complicated topic for Twitter"?

AMES: I find it very hard to parse things out. I admire people who are able to do it, actually — it's sort of like reading runes. I quit Twitter at one point, and I lost all my followers. Twitter and Facebook, they were bothering me. I felt like I was only using them to self-promote, and that annoyed me, you know? But it is hard to get the word out on anything if you don't do it, so I thought, Well, I've got this novella about it, I want to tell people about it. I came back on Twitter in October, and but I don't know if my announcing it on there actually does anything. It's weird because it's silly and it feels like a time suck. I find it very constraining, and it's hard to talk about anything sensitive like that.

Read the full interview here at NYMag.com.

I am of the pre-Twitter generation that uses a phone to communicate with one person at a time. Pictured: Ray Milland in Alfred Hitchock's version of Dial M For Murder (1954), based on the play by Frederick Knott. In Knott's thriller the personal nature of the telephone call is crucial to the plot. The technology and the premise would later be updated in the too-often-overlooked remake A Perfect Murder (1998).

Frederic Knott worked as a script editor at Hammer Studios before spending 18 months writing the play about a perfect crime gone awry:

"I was always intrigued with the idea that somebody would plan a crime, and then you see that everything doesn't turn out right. You can plan a murder in great detail and then put the plan into action, and invariably something goes wrong and then you have to improvise. And in the improvisation you trip up and make a very big mistake."

The Hitchcock version is the most famous but Knott was still receiving royalties from the play up until his death in 2003. Hold on to those rights.

I'm just looking / Just looking for a way around

'L'Amour fou was just a phrase and became thirty pages.'

-- Jacques Rivette

(Pics: Miami Vice, Heat, Out of Sight)

WIP

It was always very important to me to be able to get involved in diverse situations. The biggest challenge for an arranger is to be able to deal with different styles and personalities. But it is even more important to make sure that the artist achieves its goals either musically or even commercially. It´s also essential to work with the record company to make sure that they are happy enough to spend good money in promotion for that particular project. It would be a very serious mistake to go against the record company or trying to impose your musical "views" into a project that needs your help and specific work done.

-- Eumir Deodato

Q: Breathless put you at the center of the French New Wave. Were you surprised?

A: I was out of work and needed the money. The producer asked Columbia, which then owned my old Preminger contract, if I was available. He gave Columbia a choice of $12,000 or 50% of the world profits. With great foresight, Columbia took the $12,000. It was shot for $76,000 in five weeks. Most of the time we worked half days. We'd break and sit around in cafes. One day the producer saw us, it was his last card, and he got into a fistfight with Godard because we weren't working.

-- Jean Seberg

Q: When will your next solo release come out and what can we expect from it?

A: I don't know and I don't know.

-- Roisin Murphy

Who's gonna pay attention to your dreams?

Ungraded set pic: Nathan Meister in the passenger seat c/- director Jonathan King.

St Valentine's Day massacres

The victim who has been hacked to death and left in the Bayou is an analogue for the movie itself of In the Electric Mist, based on the James Lee Burke novel. Directed by Betrand Tavernier, Tommy Lee Jones's Dave Robicheaux remains too faithful to the character, which has panicked the studio to cut the narrative in an effort to get things moving -- a mistake, because detective novels are all about sitting around. But the movie still works. It has Burke's voice, and his atmosphere and his landscape, with its sudden, emotional bursts of colour. In The Electric Mist could have been Bad Lieutenant: Port of Call New Orleans or No Country For Old Men but in its bones it's Chinatown, i.e. a movie that wants to be a crime novel: complicated and puzzling for most of its length until the resolution appears right where it started. Also: Kelly Macdonald. All movies with Kelly Macdonald in them are good movies.

It's taken me this long to see Before The Devil Knows You're Dead and if I had to draw up a list of the ten best noir movies I've seen it would come in at around number four. Sidney Lumet directed it and it's a fucking gem: modern, shabby, direct and as black as night. Shot in digital, interestingly, a long time before people were talking about that. If you like Black Widow, Against All Odds (one of the best remakes of Out Of The Past) or The Morning After you should really tuck into this. Lumet calls it a melodrama but it's realistic and dirty and moving. The DVD includes a good making of documentary featuring interviews with the cast, producers and director, but not author Kelly Masterson.

Shadows and fog

Some more thumbnails from the set of Realiti, the micro-budget SF movie that director Jonathan King is shooting around Wellington and parts of Auckland. Top to bottom: Miranda Manasiadis and Nathan Meister lurking in the shadows; Graham McTavish giving the news; Nathan Meister hearing it; and Michelle Langstone on her way to something that may or may not happen. Jonathan has been shooting in digital in real locations with found light and a crew so small I'm not sure whether to call it a guerilla or a skeleton.

Realiti is pared-back science fiction: my idea, when I wrote it, was that the characters would come into a room and just talk. I keep referring to it as a science fiction film with no special effects, although when Jonathan is through with it there will be some opticals: removal of objects, fiddling with backgrounds, that kinda thing. Much of our discussion about the movie is what it won't be, and what won't be in it. In many ways it's a noir... but more colourful than that: stranger.

I wrote the script for Jonathan a long time ago. We revived the project after putting our toes back in the water by making on a comic strip, City Lights, which I wrote and he drew. One of the many things I love about these images as they trickle through is the way they evoke the director's drawing style. It's a good sign, I think: evidence that the movie's visual style is evolving naturally.

These preview pics are very small and have not been graded. And the shoot is just coming up to halfway: there's a long way to go yet. But the actors are looking way cool and the footage is looking great. Build it simple, fly it slow...

Bedside reading

Crisscross

Director Jonathan King has wired some more production stills from REALITi: Aroha White as Jessamine; Michelle Langstone as Holly; Miranda Manasiadis and Nathan Meister as Meg and Vic. Currently shooting in Wellington: it's all coming together. I wrote the script years ago but only now do I realise that these were faces I had in mind.

Watch this: Space!

If you're in Wellington in the coming weeks and spot a film crew not on a $500+ million budget from Warner Brothers, it might be Jonathan King making REALITi, a new full-length feature film. Jonathan will be shooting with a small team in and around Wellington which, through the magic of cinema, will be transformed into a New Zealand city in the kind-of present day.

REALITi is a script I wrote for Jonathan in 2008. It's a talkie: a science fiction film with no special effects; an adult fantasy set in the New Zealand now. Pictured: Nathan Meister as Vic and Tim Wong as Lo.