Specials: DaVinci suit. V’s prophetic. Wenders tips.

Let me just say that I have never been afraid of clowns. Until the Olympic closing ceremonies.

Was that creepy, or what?

LAWSUIT GUARANTEES LITTLE DAVINCI FILM WILL GET SOME ATTENTION
It’s not enough that Dan Brown is full of crap. Apparently, he stole that crap!

V FOR VENDETTA… PROPHETIC?

Opus anticipates V for Vendetta. (I’m seeing it on the 14th.)

Sure, terrorism plays a major role in the story – the main character is a terrorist, after all – but the story’s world, where a totalitarian government curbs personal liberties in the name of all-important security, where people are arrested and held without any real reason, where folks are carted off to concentration camps because of their race, sexual tendencies, etc., where revered religious leaders are corrupted by political affiliations… well, in my more cynical moments, it all feels a little prescient.

FILMMAKING TIPS FROM WIM WENDERS
50 lessons from one of the greats.

1. You have a choice of being “in the business” or of making movies. If you’d rather do business, don’t hesitate. You’ll get richer, but you won’t have as much fun!
2. If you have nothing to say, don’t feel obliged to pretend you do.

 

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  • Gene Branaman

    Drat. Sorry, I’m terrible at those tiny URL thingies. I always get them wrong. Just head over to Amy’s blog. The post is titled “A.N. Wilson on the Code.”

  • Gene Branaman

    Amy Welborn posted a link to A.N. Wilson’s review of DVC over on Open Book & it’s very good. Check it out here!

    http://amywelborn.typepad.com/openbook/2006/05/an_wilson_on_th.html

  • Ellen Collison

    You mean Fellini’s clowns have never scared you?! I think they’re pretty creepy, too…

  • chris

    they have the weepies available on emusic.com, fyi. and if you haven’t checked out emusic, you really should.

  • Peter T Chattaway

    Scholars sue over all sorts of weird things. Some years ago, Dead Sea Scroll scholar Elisha Qimron sued the Biblical Archaeology Society for copyright infringement (or some such charge) because they printed his reconstruction of a Dead Sea Scroll without his permission; he won the case in an Israeli court and was awarded something like 100,000 shekels. The thing is, if his reconstruction was correct, would the text really be his to copyright?

    As for the lawsuit against The Da Vinci Code, the HBHG authors may have difficulty proving their claims of plagiarism when, in fact, The Da Vinci Code explicitly credits their book as one of several sources and even names one of its characters after the HBHG authors themselves (Leigh Teabing, the Ian McKellen character, is an anagram of Leigh and Baigent, the HBHG authors).

  • Michael Knepher

    The Da Vinci Code lawsuit raises an interesting conundrum – if the authors of “Holy Blood, Holy Grail” assert that their book is a recounting or reconstruction of historical facts, something Dan Brown seems to aver in his citation of the prior book as a defense of the “historicity” of the background of DVC, one has to wonder how the HBHG authors can claim copyright to the ideas in their book. Either they desire their work to be accepted as a “true history” in the sense of, say, a William Manchester biography of Winston Churchill, in which case they cannot claim copyright to the sequence of historical events described in their book, or they intend it to be “true history” in the sense of, say, WWE RAW, in which case they may have an airtight claim … ;o)

  • opus

    I also see that your library has got Travel Edition 1990-2005. That’s a nice summary of Saint Etienne’s career, from their early, more clubby/dance material (including a dance house cover of Neil Young’s “Only Love Can Break Your Heart”) to their more recent straight up pop stuff. Some of my fave Saint Etienne tracks are on there (“Nothing Can Stop Us”, “He’s On The Phone”, etc.).


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