A Trip to the Moon

When Neil Armstrong’s family suggested that every time we caught sight of the moon we “give Neil a wink” in remembrance, I immediately pictured Georges Melies’ moon in this famed short film – which in turn gave me the idea for compiling this list. So let’s start with that wink, shall we?

 

This week at Comic Con, writer/director Rian Johnson (Brick, The Brothers Bloom) and film composer Nathan Johnson are scheduled to appear on “The Character of Music” panel to discuss the soundscapes of their upcoming film Looper. From the press release:

Looper is perhaps [Nathan’s] most unique score to date, featuring a host of indecipherable instruments along with intertwining rhythms and textures. In preparation for the project, Nathan began gathering a wide range of field recordings and then he and his team created a sort of playable, hybrid found-sound orchestra using those original recordings.

But just in case you can’t make it to San Diego, Ain’t It Cool News has posted this exclusive featurette on Nathan Johnson’s Looper score with a listen to the track “Time Machine”:

Cynthia Hawkins:  Hi Simon Smithson! Here we are again like an ’80s action sequel striving to be bigger and badder than last time. I’d just like to note that for the occasion I’m wearing mirrored sunglasses and just lit a match off my husband’s five o’clock shadow for no reason at all.  In other words, I’m ready to discuss The Expendables.

SS: Hi, Cynthia Hawkins! I’ve been enjoying your cinema posts on TNB; given that people are discussing and deconstructing literature and music and poetry it seems only fair that film is included. I’m glad you’re picking up the slack on that front, and I’m glad you seem to have become TNB’s resident movie buff. However, for this particular piece I’m not even going to make an attempt to go highbrow or even to attempt a neat segue … because what I’d really like to discuss is ’80s action flicks. The ’80s (to me) seems to be when action movies really hit their stride. I’m talking Terminator, Aliens, Die Hard, Predator… First Blood, Tango and Cash, Commando. This was the golden age of guys like Schwarzenegger and Stallone. Do you think there’s a defining quality, or qualities, to the action films that were such an iconic part of the 1980s?

CH: Why, hello, Simon Smithson! You don’t know how happy it makes me to take up any slack there might be in the TNB movie department. Finally, I feel as if my movie-geekness is being used for good instead of evil. And by evil I mean being unbeatable at Scene It on X-Box. It’s like I finally have a true purpose now, and that purpose is to talk about ’80s action flicks with Simon Smithson. I’d say ’80s action flicks were equal parts mullet, saxophone, slip-on shoes, and kicking ass. But more importantly, I think what seems to set the ’80s action flicks apart as a golden era is that they departed from the gritty realism of the ’70s action flicks and took action movies over the top. Everything was bigger and flashier — the actors, their personalities, the explosions. The same thing was happening in music as well, if you think about it. It’s like going from Boston to Motley Crue.

SS: Well, if you were to have any kind of life purpose, you probably couldn’t get better than talking about ’80s action flicks with yours truly.

Obviously, I’m kidding.

There’s no place for the word ‘probably’ in that sentence.

Do you think advances in special effects had anything to do with the hallmarks of the era? The technical ability catching up with the film-makers’s vision? Because you’re so right – reality went straight out the window. Suddenly, the archetypal story became the one guy, killing a whole bunch of other guys, in the most explosive ways possible, and kind of enjoying himself while he did it.

CH: Your description of the jubilant one-guy killing machine immediately brings to mind Bruce Willis yelling “Yippee ki yay, mother fucker!” in Die Hard. That has to be the quintessential ’80s movie moment. It has everything except a mullet. Now that you mention it, I don’t think the bombast of the era could have been facilitated without those advancements. But it’s funny to think of them as “advancements” now. I remember at the time The Terminator was, in true James Cameron fashion, supposed to be the second-coming of movies thanks to its use of the absolute latest in special effects. Watch that now, though, and it looks a bit chintzy by today’s standards.

In fact, it’s a little hard to pinpoint ’80s action films that do stand the test of time, whether that’s due to the special effects or not. They tend to be so very ’80s even when they aren’t supposed to be. Take Young Guns, for example. A western, so I’m veering a little from the action genre here, but even Billy the Kid has a mullet in Young Guns. And I’m pretty sure there’s a Casio on the soundtrack. The ’80s flicks unabashedly embrace the tastes and trends of the era in ways I don’t necessarily notice films in the decades after doing to that same degree. It’s not too much of a distraction for me, though. I love The Terminator anyway, even if a shot does look like an egg beater getting mangled in a high-school wood-shop vice. Since this is one of your favourite eras and genres, I’m wondering if there are a few that do stand the test of time for you — or if perhaps their rebellious refusal to do so might be part of their allure?

SS: I think you’re right – there’s so much about ’80s movies as a whole – not just action flicks – that are so soaked in the unique ambience of the decade that it’s impossible to see them as anything else. In terms of special effects, some films stand the test of time… some really don’t. So much of a film’s longevity comes down to storytelling, and so much comes down to how and what special effects are being used, and how judiciously – Aliens, for example. The menace is hinted at in darkness, and done with model work as opposed to the shoddy early-era CGI that started coming in afterwards. And it’s amazing how the monsters in Aliens look so much realer than the creature in Alien 3.

I think what makes an action film stand the test of time is – and I’m loath to say this, I really am – honesty. For want of a better word.

Take Die Hard, for instance. It was a new take on a genre that was still being figured out; the storyline was one everyman up against terrible odds, he’s human, he’s damaged, he keeps getting beaten down… then compare that to Die Hard 4.0, which is slick and highly-produced and had tens of millions thrown at it in post-production. Die Hard is, by far, the better, more memorable, and more re-watchable film. Because I think they were still taking risks and trying new things and working from an idea rather than market research and exit polls, as opposed to the hollowness of Die Hard 4.0. Even though, I guess, Die Hard was one of the films that moved action films into the ’90s.

So. Schwarzenegger. Stallone. Willis. Van Damme. Russell. Norris.

Any particular favourite? And why?

CH: I noticed you left Mel Gibson off that list. Does his sharp turn into utter misogynistic, racist madness cancel him out of ’80s flick glory? Talk about things that can make a movie largely unwatchable. Is it possible to watch his Three-Stooges flip-out scenes as Riggs in Lethal Weapon without inserting that weird animal huffing followed by something like, “And I’m gonna chop you up in little pieces and put you in the garden! Rawr!” Tsk, tsk, Mel. You coulda been a contenda.

Stallone. I’d have to say Stallone is the stand-out for the variety of iconic characters he portrayed, the success of the majority of his films, and the fact that his works span that entire decade (whereas someone like Bruce is just getting started at the end of it). Stallone’s characters tend to be dark, brooding outsiders, which always appeals to me because there’s something in that darkness that implies this person is capable of wreaking serious havoc without a moment’s notice. You have faith in this person no matter the odds.

It’s an interesting list you’ve created, though, because each of them had such strong and distinct personalities driving their films. And if there’s anyone I’d cross off it’d be because their personalities just don’t click with me. Chuck Norris for example (I think I just unleashed the hate mail kraken!). Norris’ films just seemed comparatively sub-par in my estimation and his characters weren’t quite compelling enough to remedy that for me. I know I’ll meet with dissenters on that score, and I’ll probably deserve it.

I expect you to answer this question of favourites now, because if I’m going out on a limb here you’re coming with me compadre!

SS: Mel has, unfortunately, lost all cachet with me. Even home-town pride only goes so far, you know?

I have to go for Stallone as well. He gets a lot of flak for his less cerebral roles (which, let’s be fair, sums up most of them), but I would have dinner with him any day of the week.

Admittedly, he would pay.

The guy wrote Rocky when he was 30 and won an Academy Award for it. Say what you like, that’s a better script than I see myself writing at 30. He threw himself into action roles – First Blood is a good movie too; there’s a reason the word ‘Rambo’ became synonomous with the genre – but there’s a lot of darkness and thought that went into Stallone’s performance. I’ve never actually seen a Norris film – I just suspect I wouldn’t care for him, and I don’t really feel any yearning to challenge that assumption.

It’s interesting you say ’80s flick glory – because there’s a lot of glorying going on in ’80s actions flicks. I can’t help but link it to the fact the US was riding high in the ’80s – there’s even a scene in It’s Always Sunny in Philadelphia where they talk about how people aren’t patriotic any more, and Mac says ‘Not like we were in the ’80s!’

Your thoughts on this matter, Ms. Hawkins?

CH: You do realize that there are now parts of the U.S., Texas mostly, in which we’ll only be able to travel incognito due to our Norris sentiments. And I live in Texas. There’s such a fervour over Norris of late, and I haven’t figured out if it’s a joke (like nominating Carrie for prom queen) or if it’s genuine admiration for the guy. I think I’ll quietly tiptoe away from this one and move along…

Oh, I absolutely agree that the bigness of those movies is reflective of the bigness of America’s collective sense of self at the time. I’ve always suspected that the best way to get a handle on any era is through its pop-culture. That said, this is the U.S.A. of the ‘80s based on Rocky IV: “If all we have is a donkey cart to train on, we can still kick your ass. And we will do it to synthesizers. Now, step back and take in the awesomeness of my shimmery satin stars-and-stripes shorts.”

But this reminds me that as much as we love them, these films aren’t entirely representative. They’re largely white, and they’re largely male-centric. Your thoughts on this, Mr. Smithson? (It’s like I just dropped a grenade at your feet and ran away!)

…Okay, I’m starting to feel bad for sticking you with analyzing 80’s flicks for NOT ONLY issues of race but gender as well. I mean, sweet jeebus, how much time do you have? If you’d rather, I was also going to ask you about what you thought of Stallone’s comment regarding the “death” of the genre as it was envisioned in the 80’s. If you’d rather go that route, here’s the official set-up…

Ahem…

So, Stallone told the Los Angeles Times recently that he felt Tim Burton’s Batman marked the beginning of the end for the 80’s-style action hero such as himself. Suddenly, someone more ordinary, less ripped, someone like Michael Keaton, could be the hero. He also felt that the “visuals took over,” becoming more important than the individual. Do you think the 80’s brand of action movie and action hero is truly dead? And, if so, would you agree with Stallone’s assessment of why? I’ll remind you he’s still really big and he’s buying you dinner.

SS: But wasn’t that what America was all about in the ’80s? White guys kicking ass all over the world? Even if they had a decidedly non-American accent. Huh. Can I even say this? Wesley Snipes didn’t become an action hero until Passenger 57, in ’92. Jackie Chan didn’t break for Western audiences until Rumble in the Bronx, which was what, ’95? Bruce Lee was a one-off in Hollywood, so it was up to Chan to open the market for guys like Jet Li and Stephen Chow. Carl Weathers and Bill Duke were probably the most well-known mainstream non-white action stars, and Sigourney Weaver was the sole representative for female heroes (although she beat the other guys to the punch – Alien was ’79). I don’t know, can you think of many other non-white, non-male action stars with the same level of notoriety?

As for the Batman idea… that’s really interesting. I remember reading that there was an outcry surrounding Burton’s decision to go with casting Keaton; people thought Keaton, known up until then primarily for comedic roles, couldn’t pull it off. I would say Stallone was right on the money there – although I think visuals probably would have been just as over-the-top as they are now, if they’d just had the technology at the time to do them. There is an element of escalation – action movies have to keep upping the ante, it seems, which could be one of the reasons they’re becoming so blase and staid.

I think now we’re seeing a combination of 80s and 90s heroes. Bond and Bourne and Batman are just as buff as their 80s forebears ever were – it’s become mandatory to have an shot of someone’s amazingly-ripped body as they train or fight; every film since Fight Club has sought to include it (Pitt’s toplessly muscular fight scenes set the gold standard). But they also have to be psychologically fascinating – the best of both worlds?

And of course, that brings us to The Expendables…

CH: I think you’ve covered it well! If there is, by chance, any non-white or non-male kick-ass action hero we’ve left off, I think the fact we’ve forgotten them says it all about their unfortunate status in the ‘80s. I distinctly remember watching Burton’s Batman and feeling really anxious at one point when it seemed Batman was utterly defeated. He’d just gotten the crap beat out of him. His Batmobile was trashed. And I thought, “What is this? Stallone would have had this wrapped up twenty minutes ago.” Of course, he manages, just barely, to get out of trouble, but Burton’s vision of the action hero introduced a level of vulnerability and ordinariness you just didn’t see often in the ’80s. I think that’s the direction the action hero has continued to go coupled with that attention to visuals Stallone laments.

So … The Expendables. Have you seen it? Is it on where you are? I’m going this weekend, so I’ll report back on it afterward. I was going to avoid it, actually, but after our chat I’m feeling a little nostalgic for that bunch. Except maybe Dolph Lundgren. I’m not feeling nostalgic for Dolph. At all. Until then… I really want to know two things. What is it about this era of action movies that appeals to you, and if I asked you to queue up one of these films to watch this evening which one would it be?

SS: Are you kidding? Lundgren is one of the unmoveable Scandinavian pillars of the action genre. He’s blonde death incarnate. At least, he’s blonde death incarnate up until the last five minutes of any film, when he usually gets iced by the hero. Did you know he has a master’s degree in Chemistry, speaks seven languages, and competed in the Olympics? Which makes two ex-Olympians in The Expendables, along with Statham (and yes, it will shortly be on where I am, and yes, I am going to see it).

I think the simplicity of the concept is what appeals to me. There’s no pretense in ’80s action flicks – the good guys are good, the bad guys are bad, and an explosion will, most times, take care of any problems admirably. Most Hollywood movies – most movies, really – despite how high their aspirations may be, don’t really have all that much higher-level functioning to them as a matter of course. Which is OK, because, honestly, how much philosophy and understanding of the human condition can you fit into two hours of running time? Sometimes it’s nice to see something that dispenses with any kind of effort to be anything but gun porn.

Any one of those films? Damn. You know, I might go with the original Terminator. It’s been a very long time since I saw that film. Did you know that in every James Cameron film that Michael Biehn stars in, Biehn gets bitten in the hand?

I wish Snipes and Van Damme could have made it into The Expendables. That would have been perfect.

So how about you? Any single ’80s action movie?

CH: I do appreciate Lundgren for one thing: uttering the words “I must break you.”

I have to say that Die Hard, First Blood, and the first Terminator are all movies I watch more than the normal person should. So I’m going to follow your lead and pick something I haven’t seen in a very long time. Predator. For one thing, it offers one of my other favourite movie quotes with Arnold’s “you one ugly mudda fucka.” For another, it has Carl Weathers who survives just slightly longer than most non-white people do in ’80s action movies. And then there’s the awesome heat vision special effects, the jungle razing explosions, and an alien enemy who leaves its prey hanging like strips of beef jerky in the trees. What’s not to love?

SS: Nothing.

There is just something about New Jersey that breeds a certain type of life and by extension, a certain type of person. It’s as if all those murky swamps, water gaps and rivers formed a natural economy that led to the confluence of jug handles, diners and highway stink. This in turn, begat an enormous amount of interstate travel options, which caused a lot of lost travelers to just settle in New Jersey rather than spend another hour on the Turnpike or its better looking sister The Parkway. This would at least explain how New Jersey came to be the most densely populated state (with a whopping twenty percent of the population foreign born). Of course, crowded areas make for strange bedfellows, which is how it is that soccer moms and gangsters can shop at the same stores and how such disparate entities as the World’s Oldest Nudist Camp, the Medieval Times Theme Park/Dinner Theater and the International Castor Oil Association can all co-exist in perfect harmony.

In 2008 I began writing letters to famous people because I didn’t have many other things to do at the time.

Some of these letter appeared on my now defunct MySpace blog, and several were used in my final stand-up attempt in early 2009.

Not one of my letters garnered a response.

An Unanswered Letter to Nigel Waterson (MP for Eastbourne)

Dear Nigel (forgive me for dispensing with the formality of including your surname, but I’m sure you must know it by now and I wish this correspondence to be brief),

This letter regards the floral decorations of our great and glorious Eastbourne. I visited the town itself today (for I reside a short train ride away myself) and it really doesn’t look like a town gearing up for victory in the upcoming Sussex in Bloom contest.

In fact things are looking pretty grim— almost as though the town isn’t even aware that such a contest is moving towards us at quite intense speed.

I would like to know exactly what our tactics are for this proud and prestigious botanical bout— even Bexhill-on-Sea has a few cheery hanging baskets adorning it’s otherwise pitiful high street!

If we act fast it will not be too late! With our buds barely blooming, let alone arranged in aesthetically pleasing formations, we have little time, but surely we can throw something together?! I have no ideas myself— I am far from an expert in the field, merely an enthusiastic fan of foliage.

We could of course cheat and use plastic plants; but we must ask ourselves if we really want to be the Michael Jackson of the contemporary flower exhibiting world… I don’t think you need me to tell you that we most certainly do not want that foul infamy!

I wish to see victory (and restoration of local pride) before the imminent death of my poor, world-weary goldfish Colonel Kurtz (named, of course, after Marlon Brando’s character in The Godfather).

Whilst we’re on the subject of my goldfish, I wonder if you can assist me in matters of goldfish behaviour. I do not know whether you are anything of an ichthyologist, but I feel it’s worth a shot.

Kurtz is a very mischievous fish. I often tell him that if he doesn’t behave he shall end up sleeping with the fishes, but this only serves to make him more frisky and excitable than before. Have you any idea how I can restore discipline and order to my fishbowl?

Thank you for your time,

James D. Irwin

An Unanswered Letter to Bruce Willis (Voice of Mikey in ‘Look Who’s Talking’)

Dear Mr Willis,

I am not altogether convinced this address is genuine, but if it is, I have a number of questions.

Firstly, I dined at Planet Hollywood last year. Whilst it was great to see the motorcycle/chopper from Pulp Fiction (I do a great impersonation of that entire scene, playing both your role and the part of Fabienne) and although I was also thrilled to find that our hands are exactly the same size, one question could not escape my mind:

Planet Hollywood was set up after the immense (and richly deserved) success of the seminal action film Die Hard, in which you played the main character. Why then, did you not name the restaurant Dine Hard? And since the world has become full of left-wing lunatic hippies who think that meat is murder, the avenue for a vegan outlet named Dine Hard: With a Vegetable was wide open! Just a thought…

Also: I have a suggestion for a new condiment, also along the Die Hard theme. Salt and Pepper are as old hat as Salt-N-Pepa, why not spice things up with a little Yipee-Cayenne-Pepper? The place is film themed, right?!

Also, is The Sixth Sense a sequel to The Fifth Element? Because they are quite similar (i.e. you are in them) but they are also different (i.e. they are clearly two very different films).

Finally, why is the food at Planet Hollywood so expensive? Please don’t tell me it’s because the film roles are drying up, because I do enjoy your films.

Sincerely,

James D. Irwin

P.S. Who would win in a fight between John McClane and Harry Callahan? I mean ’70s era Callahan, because he looks a bit frailer in that last film with Jim Carrey and the exploding remote control car (something sadly lacking in the Die Hard films).

OR

Would you join forces and take on Chuck Norris in a No Rules Cage Fight? I would be willing to pay anything between $6-12 to see it happen.

An Unanswered Letter to Brad Pitt (Star of Seven and Years in Tibet)

Dear Mr Pitt,

I haven’t seen many of your films, but having seen both Seven and Fight Club, as well as the trailers for Ocean’s 11-13, I’m confident you have the talent, gravitas and cache for my latest foray into the world of cinematic excellence.

Admittedly my plans rely heavily on you either knowing somebody with the surname Pendulum, or adopting a Rwandan child and calling it Pendulum.

The film itself would be a screen adaptation of an Edgar Allen Poe classic.

Imagine the bill Brad… PITT and PENDULUM in… THE RAVEN! Catchy, don’t you think?!

The tickets practically sell themselves!

Question: Poe lived in Baltimore. Baltimore’s NFL team is called The Ravens. Is this a coincidence?

I would like to see more of your films before I write the script, what would you recommend? Also, you might want some say in your supporting cast, but I’d very much like to cast Morgan Freeman as the narrator. Isn’t his voice wonderful? It’s the audio equivalent of taking a bath in hot chocolate whilst Kiera Knightley massages your thorax with warm, fresh honey…

Sincerely,

James D. Irwin

P.S. I want you to reply as hard as you can.

P.P.S. That was a Fight Club reference.

An Unanswered Letter to George Clooney (Nepresso Coffee Spokesperson)

Dear Mr Clooney,

Is there going to be another Ocean’s film?

I can’t help but think the number of Ocean’s films is rising rapidly— perhaps too rapidly. I wonder then, if this is a subtle message regarding global warming?

Perhaps your next Ocean’s film could directly address this phenomena… Ocean’s Rising.

The plot would see another casino being built— a gaudy super-casino, which tips the world’s C02 omissions over the edge, triggering a huge climate change and the oceans literally rising and drowning the Netherlands and Norfolk, England.

Then you, Matt Damon and the other ones (except Brad Pitt, who’ll be busy working on an adaptation of ‘The Raven’, which is being narrated by Morgan Freeman) have to save all the Dutch people. You could save all the people in Norfolk, but Dutch girls are very pretty and the good people of Norfolk have something of a reputation for webbed feet and inbreeding…

Please don’t hesitate to tell me what you think. I don’t have anything locked down as yet, and am very open to suggestions and script alterations.

James D. Irwin

An Unanswered Letter to Matt Damon (Popular Youtube sensation)

Dear Mr Damon,

I recently treated myself to a viewing of Team America: World Police. I was saddened to see you, Matt Damon, offer the most wooden performance I have ever seen. You seemed to be little more than the director’s puppet. It was a particular shame given how great you generally are in films and stuff.

I have enjoyed The Talented Mr Ripley countless times, because one can never tire of watching Jude Law being murdered.

Anyway, I digress. This letter regards your future, and presents to you a prospect I think you’ll find hard to turn down (I would say “an offer you can’t refuse”, but quoting Apocalypse Now is becoming rather cliché).

I may not be a big name in Hollywoodland (although I possess far more talent than the cast of Hollywoodland) but I have some big ideas!

As Brad Pitt and I have already begun to collaborate on a new version of Poe’s “The Raven” (to be narrated by Morgan Freeman) you’ll find your role in the new Ocean’s film much expanded. George and I haven’t come to any firm agreements yet, but as it stands the plot revolves around you and The Cloonmeister saving the Dutch from the catastrophic effects of global warming. The final scene will probably involve pretty Dutch girls with unlikely surnames “thanking” you for your heroics (this scene won’t be too graphic however, as we really need a PG-13 certificate to maximise our demographics).

Now we’ve got that out of the way we can turn our attention to the Bourne films. They’ve done remarkably well, considering you look like my friend Dan who has a dodgy heart.

You may be aware that Mr Robert Ludlum has been very inconsiderate in dying, leaving not so much as a partially finished manuscript on which to base another exhilarating caper for everyone’s favourite amnesiac action hero.

However, I have a sure-fire, whizz-bang of a hit under my belt (just ask the ladies!)

Seriously though… After all that killing he’s done and loved ones he’s lost, Jason Bourne is probably at something of a low ebb. He goes to church, confesses all of his sins and becomes a do-goody Christian— a Born Again Christian.

The film would be called ‘Bourne: Again’ and focus largely on character arc and setting up a high-octane sequel. We’d have to be very careful in making sure that the film was not mistaken for popular ABBA tribute act Bjorn Again— but perhaps they could do the soundtrack?

Towards the end of the film Jason Bourne, now the pillar of a small Mid-Western community, is attacked by a group of no-good punk kids. Attempting to open the can of kick-ass moves demonstrated in the first three films he finds he simply cannot: Jason Bourne is unable to defend himself, and as he lies beaten, bruised and bleeding in the street, he finds that God can’t always defend him.

Bourne is then forced to choose between his faith in God and his faith in beating people shitless.

This sets up the sequel we see that you, Jason Bourne, have opted to put your faith in beating people shitless and have begun to train yourself up to battle man’s greatest foe: God (played by Chuck Norris).

In a thrilling climax Bourne confronts God in an epic battle royale in which both men attempt to out-smite each other (working title: Matt Damon Versus God: The Smitening).

I can’t see any flaws, except the (slim chance) that Mr Norris is eviscerated in the upcoming Cage Fight against Bruce Willis and ’70s era Harry Callahan (tickets $6-12).

I would be delighted to hear your thoughts— and I am, of course, open to any of your suggestions. After all, you have written a multiple-MTV Movie Award winning film!

Sincerely,

James D. Irwin