Jason Reitman's programming event at the New Beverly Cinema was sold out on Sunday; in fact, disappointed fans were forced to return last night to catch the filmmaker's second run of the two films he chose to screen this weekend (Boogie Nights & Shampoo).
Reitman (UP IN THE AIR) is an expressive articulate filmmaker who gets passionate about the creative process - particularly evident - when his hands start to flutter to emhasize a salient point or two.
As surreptiously as possible (and mindful not to be too intrusive) I managed to capture a few minutes of his enlightening dialogue on HD Video to share with you.
Once the footage is processed, I will post the Video here and at my YouTube site later today.
Jason Reitman (Shampoo & Boogie Nights)
http://www.youtube.com/watch?v=jrHHnVy5TWI
At the early show at the Revival House in Hollywood, Reitman excitedly gushed that" Shampoo" was a perfect film.
"Up in the Air" (his lastest directorial success) was inspired by the Hal Ashby adult comedy, according to Reitman.
"I grew up in the neighborhood (Beverly Hills) where the film was shot. Just bet I could tell you the names of all the streets depicted in the movie," he boasted.
Ashby was one of Reitman's heroes
"The three films he directed back-to-back underscored what a talent he was," the likeable film buff opined in so many words.
"It humbles me as a director."
Of course, he was referring to "Harold & Maude", "The Last Detail" and "Shampoo".
Reitman chose the two films (Boogie Nights & Shampoo) for his programming debut for the double-bill (although they appear at first glance to be an odd coupling) because the characters in each project are essentially searching for themselves (trying to find their way).
The last time I caught "Shampoo" was years ago on cable.
With a lot of life experience - and film knowledge under my belt now - I found myself peeling away the layers I missed before when I was a younger film enthusiast.
All I recalled 'til yesterday was that Warren Beatty played a hairdresser with a sexual addiction to women of all shapes, sizes, and persuasions.
A straight stylist (a rare find), Beatty's character is tracked by Ashby as he hilariously tip-toes his way through a mindfield of off-the-wall trysts (mostly with former or current clients at the hair salon where he snips and tips).
Who could forget the Beatty "do" - and the hip attire he sports with great machismo from that era - that jolted back memories of the "way we were" when I got caught up in the side-splitting plot of Shampoo last evening.
Filmgoers smiled when "Sergeant Pepper's Lonely Hearts Club Band" and "Lucy in the Sky with Diamonds" crept in to buoy up a couple of pivotal scenes.
Once the story unfolded, though, it was obvious that Ashby was making a more profound statement, especially about sex and politics in particular.
Now and then, for instance, the camera lens panned to a television set to capture Richard Nixon campaigning for the election, which was quite telling.
Suddenly, it dawned on me this quirky comedy was all about sexual politics, not just about a romp in the hay.
In one of my favorite moments, "George" (Beatty) barks out:
"I don't fu** for money. I fu** for fun."
There you have it.
After a handful of choice revealing scenes, George comes to recognize his failings in life (too late).
What to expect?
Ashby subtly underscores (without banging folks on the head) that many choose relationships - not based on sex (or even love) - but on their potential for future security.
Especially, after they've played the field, and sown their wild oats (in George's case).
Ironic that the film features Nixon (once known as tricky "dick") and a plotline that focuses on the tricky situations George gets into because of his own (cock),
In another interesting parallel, Beatty professes his love for Julie Christie's character - intriguing - since the two were lovers in real life off-screen for years.
I wonder how much of the dialogue rang true in uncanny impromptu moments on the set during filming?
Of course, I am referring to Burt Reynolds,
His acting chops had pretty much fallen by the wayside, written off by the industry, when he sprang back in this remarkable gem of a role.
It was rumored that he was so desperate for the part of the porn director that he worked for a measly 100 thousand dollars (in spite of the fact he once commanded milliions to star in big-budget studio projects).
The gamble paid off.
For Mark Whalberg, the meaty part (in more ways than one) was a chance to be taken seriously as an actor.
Just prior to this release, I recall reading an interview where he complained that no casting director would hire him.
This was no doubt due to the fact their take on his acting ability was clouded by his Marky Mark persona and the underwear crotch-thrusting exhibitionist days of yesteryear.
But, there's been no looking back for Mark, since the release of Boogie Nights.
For me, it was a real hoot to catch Philip Seymour Hoffman in a dicey little role such as the one he played here (with tie-dyed t-shirt, belly hanging out, and tacky ill-fitting jean - which drew attention to the fact - he keenly prepares for a role)..
Catch the flick just for his performance alone.
All in all, it was a fun entertaining night out with Jason Reitman.
Reitman returns on Wednesday night for another double-bill.
He'll be screening two films:
Breaking Away & Bottle Rocket
The latter was Wes Anderson's first venture into filmmaking.
At press time, it was announced the two leads who starred in "Breaking Away" might attend schedules permitting.
See 'ya there!
