A homeless man looked up at the marquee of the New Beverly Cinema - noticed the caption emblazoned in bold letters across the front - and quizzically pondered, "What is the Wright stuff?"
For local film buffs, it was not a difficult question to answer.
The "Wright Stuff" was a festival of films which screened at the Art Film house - not necessarily the "right" stuff - but the stuff that director Edgar Wright "likes".
In fact - it occurred to me during the run of films - that Wright may be well-suited for a career in Public Relations.
For example, on one evening in particular - with writer/director Shane Black in tow - the mercurial little showman managed to enthuse a captive audience over a couple of films - "Last Boy Scout" and "Kiss Kiss Bang Bang" - which did not fare so well at the box office or muster up much critical acclaim.
As the old lyric goes Edgar, "You could sell an Eskimo snow".
Just before the lights went down and "Last Boy Scout" lit up the screen, Edgar raved about a film he argued "deconstructed" the genre. In addition, he had a shopping list of highlights in the Bruce Willis big-budgeter which he alleged set the film apart.
Well, fortunately, I opted to focus on the "event" rather than review the film.
Although there were a succession of rapid-fire hilarious quips and one of the best henchmen demises on screen - the scene with the puppet was imaginative too - the opening credits were ho hum. And, the explosion at the end was not funny or riveting, either.
In sum, "Boy Scout" was not ahead of any curve by any stretch of the imagination, Edgar!
Roger Ebert said in his review,
"As for my thumb, I'll use it and my forefinger to hold my nose."
Wright gusheth a bit too much; but, the packed house didn't appear to mind.
But - it's important to note - this is the crowd that roared and went gaga over the previews for films like "Action Jackson" and those starring B-list actors Segal and Chuck Norris when the clips splashed wildly across the screen!
Yeah, when Wright astutely noted "Boy Scout" was super-pumped with testosterone- boosting action, this enthusiastic crowd was ripe for the kinky sensations to wash all over 'em.
In fact, when Wright laughingly tittered - "I'm feeling a little bit homosexual because of it" - the feeling was mutual for many in the theatre, I'm sure.
Yeah, the guy is an astute pulse-taker.
Although Wright argued that Shane Black's aim in "Boy Scout" was to deconstruct the genre - when called up during the intermission - Shane Black disagreed.
Actually, Black hinted that concessions were made to - as he demurely put it - "get a**es in the seats" at the directive of the studio big-wigs.
Black was "pleasantly surprised" by the turn-out for the screening - but wondered aloud if the packed house was due to the "silliness of the retro moment" - or inspired by a sincere interest in "Boy Scout".
Some were taken aback when he confided that - in his opinion - the movie didn't work as a whole. Actually, the screenwriter harshly criticized the Willis vehicle.
Was he testing the waters?
Was the sting of a bad review still gnawing at him?
"Too choreographed," he shrugged. But, he admitted he liked the first half hour.
In addition, he was a little reluctant to reveal how much of the original scripted material ended up on screen, which scenes were rewritten, or how much of the plotline was overhauled to suit the suits.
The writer acknowledged he was frustrated over the fact there appeared to be a demand for smash-ups, football stadium theatrics, and odd-ball stunts.
Ultimately, he lamented that it was off-putting to have to adhere to the trend of the day.
When the subject turned to detective writers, Black confessed he was a great fan of Mickey Spillane and Dashiell Hammett.
Yes, he's fond of the old gumshoes.
In fact, he often draws on their rich history to lend background and weight to his own projects - in a bold-faced creative effort to make them resonate more fully - he conceded.
When he alleged that an homage to a "Private Dick" was a phenomenon peculiar to the American Cinema, Edgar Wright quipped,
"And, Sherlock Holmes?"
Black was quick on the uptake, "He did cocaine by the way."
At this juncture, the repartee between the two became quite engaging. Yes, Black and Wright were transformed before our eyes into a genuine stand-up comedy team.
The conversation drifted, funnily enough, to movie ratings. Both directors concurred that an appropriate rating appeared to depend on how many times the word **ck was actually used on screen. And, in what specific context.
"If you said - 'The car is **cked' - it's a PG-13," Wright joked.
"And, if you said - 'I want to **ck the car' - then, it would land an R rating," Wright added without batting a pretty eye.
The audience went wild.
Then, Black piped up that films featuring "cigarette smoking" tended to get a tougher rating, too.
At this juncture, it was noted that Black's original script for the action-thriller starring Mel Gibson (Lethal Weapon) - sold for the highest sum at that time.
In spite of the fact it was a first offering from a whiz kid - all of 22 - yet.
Memories of Dick Donner, who directed the project, were amusing to listen to.
Black kidded that the crew were forced to blindfold the director whenever they went anywhere because every time something caught Donner's keen eye, he hankered to squeeze the compelling images into the movie somewhere. The object of his affection might be a festive Indian wedding, a subtle metaphor, or whatever hit up his fancy!
When a film buff in the audience asked how Black worked - he asserted that knowing how a film would fade to credits - was not the be all or end all at all.
"It's important to know where you're going, though," he quickly added.
Maybe that's what's wrong with "Kiss Kiss Bang Bang".
There wasn't enough preparation or thought put into the ending; hence, the close of the odd-ball detective story stinks.
Speaking of "Kiss Kiss Bang Bang", according to Black, everyone in town turned the script down. Eventually, Joel Silver courageously backed it.
Black claims the reason distribution was poor, and the reason it basically got shelved, was because one exec at the studio originally passed on the project.
"He sought to bury it," Black accused.
The argument sounded ludicrous to me.
The fact is - while arty and somewhat original with a lot of flair - "Kiss Kiss" was not a solid or well-produced feature. In my estimation, that's why it bombed.
Black went on to further note that he was "okay" with the fact the intriguing feature was not "given a chance".
He boasted that he would rather have people stride up to him and say,
"You got a raw deal because that was a great film."
Better that, he concluded, than to have to take potshots from people for having produced a hit.
Frankly, that sounded like a lot of twisted logic to me. At this point, I was not so sure that Shane Black was entirely honest.
For example, at times during the Q & A, Black walked a fine line. He was inclined to tease a little - hold back a lot - then offer up just enough background info to titillate.
In the end scenario, he left a lot of questions unanswered.
Curiously - when one fellow in the audience asked about his prior writing relationship with Decker - he was hesitant to respond, at first.
After all, it has just been revealed that Decker - his former writing partner - had been accused of being "cool" towards Shane Black in Q & A sessions at other events elsewhere when his name was brought up.
However, in what amounted to a diplomatic moment, he applauded the writer's talent.
And, went so far as to state, "I'd work with him again."
Then, he uttered almost under his breath, "But..."
Yeah, there's always a but.
From his standpoint, he and Decker were both Alpha males, bent on getting their own way. In gay terminology - both were "tops" - neither versatile enough to go "bottom" to make the partnership of "strange bedfellows" work.
In "Kiss Kiss" - Black chose to feature a couple of off-beat characters he affectionately referred to as the - "fu** up" (played by Robert Downey, Jr.) and "the fag" - a role inhabited by temperamental actor, Val Kilmer
At that time, no one wanted to hire Kilmer or Downey, for obvious reasons.
He theorized the reason both were so cooperative on this project was due to the fact that "both had to shape up and fly right" or suffer the consequences of losing further footing in their respective careers. Because both needed the project, they were humble, according to Black.
Then, he made a curious comment - something to the effect that "the scenario" would obviously change - when "both were back on top".
But, he corrected himself.
"Well, Downey will always remain humbled."
Inferring, of course, that Kilmer will no doubt be up to his old tricks once his fortunes change. If they ever do!
The audience roared!
He noted for the record there were no on-set troubles with either actor; in fact, he alleged there were more problems with actor Bruce Willis on "Boy Scout".
"Bruce wore a hairpiece in the movie, by the way," he casually pointed out for some inexplicable reason out-of-the-blue.
After noting that he turns 46 next week, Mr. Black confessed to recent Botox injections.
"My face is swollen and feels like a hose injected water into it."
Ah, perhaps that explains his tendency to stare at the floor during the interview. Was he a little self-conscious, perhaps?
Maybe he was embarrassed a little by the fact that he was garnering so much attention for a couple of forgettable films that didn't deserve the attention?
In a body of work, they're important, though.
It will be interesting to see where the man has positioned himself in coming years.
Life Achievement Award? "King" of the Hill?
Maybe.
The remarkable filmic style on display in "Kiss Kiss" is difficult to ignore - especially in view of the fact - it signals a potential for greatness pregnant with possiblities.
We'll see.
