Hart Crane was a poet, one who was known by and friends with other notable poets. The poet e. e. cummings claimed that "Crane’s mind was no bigger than a pin, but it didn’t matter; he was a born poet" (Google books preview). Tennessee Williams said he could "hardly understand a single line" but insisted he wanted to be buried at sea at the "point most nearly determined as the point at which Hart Crane gave himself back." Crane had his critics — Marianne Moore and Ezra Pound come to mind, and William Carlos Williams wrote "There is good there but it’s not for me" — but Jack Kerouac and Allen Ginsberg used to read "The Bridge" together, John Berryman wrote one of his famous elegies on Crane and heavyweight Robert Lowell included his “Words for Hart Crane” in "Life Studies." Science/Fiction author, James Tiptree, Jr. (Alice Sheldon) also wrote that "nobody seems to have noticed that Hart Crane really was the first space poet," quoting lines from his epic The Bridge in the story Mother in the Sky with Diamonds. Those are all words by other people, why not read a few from Crane? [more inside]
The Dead Authors Podcast: Legendary time-traveling writer H.G. Wells (Paul F. Tompkins) welcomes literary giants to The Upright Citizens Brigade Theatre in Los Angeles for a lively discussion in front of a live audience. Unscripted, barely researched, all fun! [more inside]
In the early eighties, Orson Welles was a fixture at L.A.’s Ma Maison, where Wolfgang Puck was the chef before he moved on to Spago. Nearing 70, and 40-plus years removed from Citizen Kane, which he made when he was just 25, Welles was fat and famously difficult, no longer a viable star but still a sort of Hollywood royalty—a very certain sort. The younger director Henry Jaglom was one of many aspiring auteurs who admired him but possibly the only one who taped their conversations. These took place in 1983 over lunch at the restaurant.
What Does D-Day, MLK JR and Tennessee Williams have in common? NO, not that D-Day. The other D-Day. [more inside]
Tennessee Williams said it was the best film version of any of his plays. Roger Ebert called it "awkward and hopeless on its most fundamental level". John Waters calls it a major influence on the development of his taste. [more inside]
The Room: The Movie. Triple-threat (actor/writer/director) Tommy Wiseau made his cinematic debut in 2003 with the The Room (see trailer and various scenes), "a blend between a softcore porn flick and a Tennessee Williams stageplay." Wiseau ("who's not just one of the most unusual looking and sounding-with an unidentifiable Eastern European accent-leading men ever to grace the screen, but a narcissist nonpareil whose movie makes Vincent Gallo's "The Brown Bunny" seem the apotheosis of cinematic self-restraint...may be something of a first: A movie that prompts most of its viewers to ask for their money back-before even 30 minutes have passed." - Variety), allegedly raised $6 million outside Hollywood to cover production and marketing costs of the self-described "black comedy about love, passion, betrayal and lies" (see various rough dress rehersals). Audience members, including comedian David Cross, have been "marveling at the bizarre editing, bad bluescreen, uncomfortably explicit sex scenes and, of course, the enigma of Wiseau himself" as the film played monthly for years in Los Angeles. Available on DVD, diehard "roomies" swear by the theatrical experience, shout out their own commentary, hurl spoons at the screen and singalong to the soundtrack. Some call it "The Rocky Horror of the New Millenium" and stage "Room" parties. If you look at the marketing campaign or survived a screening you might see The Room as "a seminar on how NOT to make a movie." [Inspired by Boing Boing]