Oh goody. I really needed to wake up to this news today. Its bad enough that work is sparse right now — on top of it all, the Screen Actors Guild (the film actors union) is preparing to vote on October 18th regarding whether or not the union should go on strike. It would be the second such strike this year in my industry, a strike which has been looming for many months as talks continue to break down with the Alliance of Motion Picture and Television Producers (AMPTP).

The studios, represented by the Alliance of Motion Picture and Television Producers, said the economy is in trouble and urged actors not to strike.

“It is unrealistic for SAG negotiators now to expect even better terms during this grim financial climate,” the AMPTP said in a statement. “This is the harsh economic reality, and no strike will change that reality.”

The SAG’s national board, a 71-member body, is scheduled to meet Oct. 18. A simple majority is needed to approve the call for a strike vote.

On the flip side, can I really blame the union for wanting to strike? The AMPTP is now attempting to pressure the union, using the economic crisis as a reason not to re-negotiate their terms. Um, okay, so…what about your other contract agreements? Are you saying that you won’t be able to honor them because the economy is in trouble?

The guild wants union coverage of all shows made for the Internet, regardless of budget, and residual payments for actors on made-for-Internet shows that are reused on the Internet. It also demands protections for actors during work stoppages.

The alliance has stuck by a final offer it made June 30, which it said mirrored deals accepted by directors, a smaller actors union called the American Federation of Television and Radio Artists, and writers following their strike.

Oh okay. So, AFTRA gets theirs, and DGA members (directors) get theirs, but actors don’t? That’s great for me, but not so great for our actors. I’m sorry but um…that dog won’t hunt.

I support the union in their negotiating position & hope a strike will be averted. If not, it’s going to be a bumpy autumn.

The Associated Press: Actors union moves closer to strike vote.

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I had the opportunity last year to work on a wonderful, politically-charged film in Memphis called Nothing But the Truth. The film, starring Kate Beckinsale, Alan Alda, David Schwimmer, Vera Farmiga and Matt Dillon, and directed by Rod Lurie, debuted a couple of weeks ago at the Toronto Film Festival and the initial reaction has been quite good. Here’s a link to some trailers for the film for you to check out. (HT: memphis. cool. movies.)

Trailers by Film: Nothing But the Truth – Trailer Addict.

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For the last couple of days, while recovering slowly from illness, I’ve read innumerable stories about people up in arms over Crash beating out Brokeback Mountain for the coveted Best Picture Oscar. I’ve tried to just sit around and ignore all the hoo-hah as Hollywood baiting, people with an agenda who feel they’ve been wronged. At the end of all the fussing, I’ve read no less than a dozen stories equating Brokeback’s loss to “Hollywood’s homophobia” or something equal. It was already written long before this Academy Awards presentation that if Crash were to beat Brokeback, it would somehow point out the deep-seeded homophobic underbelly of Hollywood — one which may be true, but one to which this contest was not the bell ringer or bastion of proof.

To those who have not seen Crash and who have seen Brokeback Mountain, you’re short-changing yourself into believing what you want to believe. If you read this blog regularly, you know my stance on all issues regarding gay civil rights and the rights of the disenfranchised millions out there who have no voice. So please take to heart what I’m about to say: for your own benefit, get over it.

I would never argue that Brokeback Mountain was not an epic accomplishment in filmmaking for a number of reasons. I would never argue that it was not a great film, a memorable film, and a well done film. But the issues of humanity explored in Brokeback Mountain are completely overshadowed by the issues of humanity explored in Crash. It’s a film with universal appeal, one that talks to the worst in each of us.

The Gay press needs to back down, back way way way down about this. It’s a non-issue. Why? Because Brokeback Mountain represents much more than an Academy Award. It represents a sea change in the way films will be looked at and made in Hollywood with regard to gay themes and issues. It signals an enormous acceptance by movie-going audiences and the major studios of romantic themes involving gay characters, and those victories should be enough. Don’t sit around and cry because you didn’t get to take home all the prizes. Even if you didn’t win this trophy, you still won. Victory is yours.

Don’t point your fingers at Hollywood, don’t call Paul Haggis a “hack” (as one person referred to the Oscar-winning director in a conversation with me), and don’t dismiss Crash because it beat out your horse for a stupid trophy. It reflects poorly on you to pit these two films against one another, particularly when there were FIVE films nominated in this category — including Capote (also a film with a gay protagonist), Munich (a deeply political film), and Good Night, and Good Luck (a film with deeply important historical, social, and political commentary).

At the finish line, since these two films have been pitted against one another, Crash is a film that deals with the humanity of everyday life, a humanity to which people can actually relate. It’s not the spoiler at the Brokeback Mountain party so much as it is the winner at the “universally moving portrayal of the human condition” party.

One argument I don’t have an explanation for that I’d like to hear someone weigh in on: the cinematography in Brokeback Mountain was inarguably superior to that of Memoirs of a Geisha, a nonetheless beautifully-shot film. Why is it that Rodrigo Prieto keeps getting overlooked by the Academy? This is one of not only the greatest DP’s in the business but one of the greatest PEOPLE in the business. It’s a bizarre insult that year after year, his greatest accomplishments get slapped down by the Academy voters.

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It hardly matters that it’s not true, but its a funny phrase nonetheless. Never in my wildest dreams did I think I would ever be able to utter that phrase, but I think it’s got some heat. Phrases like:

• Oscar-Winners Triple 6 Mafia
• Academy-Award Winner Frayzer Boy

Did you ever think these phrases would be uttered? I am still sitting here beside myself, mostly because i’m still sick as a dog and I’m only barely fighting it.

Let’s talk about my trip to The Church Health Center. If you’re poor and you’re sick, you have only one option: The Church Health Center on Peabody and Bellevue. The clinic opens at 7am for appointment setting, but if you’re not in line by 6:45, you can expect not to be seen. The clinic is only open Monday, Tuesday and Thursday. If you’re indigent, jobless, or without health insurance, you can be seen at the clinic and receive all of your medications for a total cost of $30 payable upon rendering of services — check or cash only, no exception.

I was second in a very lengthy Monday morning line. I was checked in and seen by a doctor before 8am. No bloodwork was done, and though I described my symptoms in depth to the good Doctor (including the fact I had been taking OTC remedies to mask the symptoms), the best she would do is to give me some Flonase and Allegra for my allergies and send me on my way. I was livid. I explained that I had a history of Tonsilitis, that at one time my doctor had put me on a steroid-pak to keep me from having to have them removed. She “disagreed” and then, as I waited for my meds, suspiciously discovered they had no Allegra on hand. Meanwhile, I’m watching patients walk out with handfuls of medications to deal with problems. I’m sitting there (as I am right now) suffering from chills, nausea, random sweats, swelled-up tonsils and body aches, the doctor is going to argue with me.

Beggars can’t be choosers, but I smell a might of discrimination. Apparently, I need to be poorer and less enfranchised than I currently am (meaning out in the street pushing a metal cart full of Ding Dongs and umbrellas up Madison singing “Chitty Chitty Bang Bang”) in order to benefit from the Church Health Center’s program. Next time, I’ll wait until I’ve been sent to the emergency room to call on them — by that point, maybe they’ll alter their prognosis.

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I am so sick I can barely stand up, I haven’t been able to hold down solid food since yesterday, my tonsils are swelled up like golf balls, and I’ve just learned that Memphis’ own Three Six Mafia win the Academy Award for “It’s Hard Out Here For A Pimp”. I am speechless, mostly because my throat hurts too bad to talk. Congratulations, peeps.

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TO: THE MEMPHIS/MID-SOUTH FILM & TV COMMUNITY

FROM: THE MEMPHIS & SHELBY COUNTY
FILM AND TELEVISION COMMISSION –
Film Commissioner Linn Sitler
Chairman Herb O’Mell
Deputy Film Commissioner Sharon O’Guin

RE: SUPPORT NEEDED FOR PRODUCTION INCENTIVES LEGISLATION

DATE: FEBRUARY 19, 2006

As you are likely aware, since January, 2004, The Memphis & Shelby County Film and Television Commission has been a strong, vocal advocate to our state legislators re: the continuing, urgent need to pass competitive production incentive legislation.

We now have well-researched and well-considered recommendations for such legislation —thanks to a report recently prepared by the Film Production Advisory Committee (FPAC) of which Linn Sitler was an ex-officio member. The report is available at The Commission’s website at www.memphisfilmcomm.org

Recently, our Board voted unanimously to endorse the recommendations in this report. As you’ll see upon reading the report, the incentives proposed by FPAC encourage both out-of-state production companies working in Tennessee and also indigenous production companies shooting in the state.

You, as members of the Memphis/Mid-South production community have everything to gain — and everything to lose — by the fate of the legislation containing these recommendations.

In the weeks to come, we’ll keep you informed of the progress of the legislation filed — and what you can do to enhance the cause.

Right now, we are asking you to email a short message of support asap for The Film Production Advisory Committee’s Report on Tennessee’s Urgent Need for Competitive Production Incentive Legislation to:

phil.bredesen@state.tn.us (Governor Bredesen)
cc: dave.cooley@state.tn.us (Deputy Governor Cooley)
david.j.bennett@state.tn.us (TN Film Commissioner)
linn@memphisfilmcomm.org (Memphis/Shelby Co. Commissioner)

Additionally,with this email, we are asking for the support of the innumerable businesses and hotels in our community which benefit so greatly from production. Let’s stay “in touch and together” in the weeks to come in order to see our state come from behind to pass competitive incentive legislation THANKS!

A follow-up: here is the email I sent. Feel free to steal any part of this for your own:

Dear State Representatives,

I wanted to take a moment to contact you in support of the Film Advisory Committee’s Report on Tennessee’s Urgent Need For Competitive Production Incentive Legislation. As a working professional in the film, television, and commercial industry, I want to stress to you the importance and urgency of this legislation as it relates to our state’s overall short and long-term economy, our regional economy, and the job security of thousands of people like me: Tennessee residents and their families who are working professionals in the film, tv, video, and commercial industries.

As a working professional, I speak on a daily basis with people in these industries regarding projects they are considering filming in Tennessee. The deciding factor on whether or not to begin production in our state is almost always the tax incentives that are provided by other states in the region. As a result of Tennessee’s outdated standards for Film/TV/Video/Commercial production, we have lost millions of dollars in production revenue to neighboring states who willingly legislate and provide tax incentives. We stand today at a crossroads in the future of the entertainment industry; the decisions each of you will make regarding this legislation will have a far-reaching impact in terms of our state’s short and long-term economic growth and well-being.

The production houses that choose to bring work to Tennessee are walking away and taking work to other states. These companies would willingly pour billions of dollars into our state’s economy over the next ten years; but their decision will be based on whether or not these tax incentives are approved.

For the security of working Film/TV/Video/Commercial industry professionals who make Tennessee their home by choice, it is imperative that you quickly and judiciously review the recommendations of the Film Advisory Committee and sign into legislation the tax incentives which they are proposing. Allowing even another six months to go by without moving forward would deliver a crippling blow to our state’s economic well-being. Your urgent consideration of FPAC’s research and swift move to provide tax incentives to companies willing to come to Tennessee to film will stimulate rapid economic growth and put Tennessee on the fast track for its share in the annual $1.23 trillion entertainment industry of the 21st century.

E.J. Friedman

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Last night, I attended a mini-premiere of sorts for local 2005 Indie Memphis Film Festival award winner Act One. I’m an enormous skeptic about new films, and I’m even more critical when people I’ve met or been acquainted with are doing those films. I went into the theater last night with high hopes and low expectations. Everything I had heard about the film from others was overwhelmingly positive. But then again, sometimes you just have to find out for yourself.

I can now safely report to you that Act One is a delightful coming-of-age romantic comedy that eschews all the rules of filmmaking by using the process of a screenwriter struggling to write his screenplay in order to tell its story. Kevin Hansen, the film’s erstwhile protagonist, has become enormously successful as a screenwriter and, some might say, equally as successful at “playing the field” in the dating game. But with Kevin’s meteoric success also comes a failure of epic proportions, one so dire as to potentially end his short-but-financially-successful career as a screenwriter. In an attempt to get out of the rut and prove his skill, Kevin begins working on a screenplay that is affected almost entirely by the events unfolding in his personal life.

The process by which Kevin eventually finishes his screenplay is filled with rocky precipices, life-changing moments, fleeting joys, and a lot of imagination. But will Kevin ever find the success that he wants, find true love, and inevitably grow up to find the personal successes that his new-found financial wherewithal cannot buy him? Without giving much of the plot away, that’s the setup for what is quite a remarkable accomplishment.

The movie’s undertone, though somewhat misogynstic, is merely part of Kevin’s development and transferrance from his childish ways to accepting the responsibilities that come with success. Allen Gardner is extremely likeable as Kevin, and one can easily chart the progression of his character/narrator from youthful indiscretion to the complexities of adult realities. Bettina Adger also does an exceptional job as the friend who changes Kevin’s life forever. The film is incredibly well-lit, the production design exceeds that of many of the independently-financed films I’ve seen, and the editing could not have been better. The music, courtesy of Will Deshazo and Landon Moore, adds texture and punctuation to the films many laughs. I don’t think I really stopped laughing for more than a few minutes at any given point in time.

As a jumping off point for a group of friends who have been making independent films in Memphis for nine years now, Act One is a breath of fresh air in the coming wave of cinema for which Memphis seems destined to be the heir apparent. The movie is only running for a week at Malco’s Studio On The Square. I suggest you take your friends or your significant other to check it out. You will not be disappointed.

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You are cordially invited to the theatrical release of Old School Pictures’ award-winning film “Act One”.

2005 Indie Memphis Winner of the Hometowner Award for Best Narrative Feature.

Playing exclusively at Malco’s Studio on the Square.

Friday Feb. 17th – Thursday Feb 23rd

Hope to see you there!

www.oldschoolpictures.net
www.malco.com

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First of all, I’m late to the game on this but condolences go out to the friends and family of Chris Penn. He was a very talented actor and, as Winona Ryder said at Sundance, “He was much more than Sean’s little brother.” His work speaks for itself, and I was saddened to hear of his passing today.

Secondly, I got a piece of celebrity gossip in my Inbox from a friend seeking validation of its truth. I read the item, and sat there shaking my head thinking, “Who in the hell dreams up this crap and why?” All in a day’s work, or lack thereof, I’m sure. But to the nincompoop who dreamed up this piece of ridiculous misinformation, what was your purpose?

TIMBERLAKE RESPONSIBLE FOR RICCI AND GOLDBERG SPLIT?

Actress CHRISTINA RICCI split with boyfriend ADAM GOLDBERG after filming
with JUSTIN TIMBERLAKE made her realise she wants a boyfriend who is as
successful as the singer.

The MONSTER actress filmed BLACK SNAKE MOAN with Timberlake in his hometown
of Memphis, Tennessee, and the two became close friends.

A set source tells US Weekly magazine, “She saw Justin doing all that he is
doing and started to really like him. When she came back from filming she
broke up with Adam and said she wanted more. Adam is furious about it.”

The co-stars didn’t become romantically involved, but the friendship caused
Ricci to re-evaluate her three-year relationship with the SAVING PRIVATE
RYAN actor.

The actress has put the Los Angeles home they shared on the market for
$3.1 million (GBP1.72 million).

For sure it’s none of my business, but I can report with certainty it’s a bunch of total malarkey. Maybe I’m naive, but I couldn’t think of one “set source” who would waste their time coming up with this nonsense. If you hear anyone repeating it elsewhere, tell them it’s bullshit and then give them a list of better things to do than talk about Christina Ricci.

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