Film and Television
The Verdict is In
There’s no question about it. Paul Brownstein is the best producer of DVD boxed sets in the industry and he’s proved it once again with PERRY MASON: THE 50TH ANNIVERSARY EDITION, which includes twelve episodes (featuring future stars like Ryan O’Neal, Robert Redford, James Coburn, and Burt Reynolds) and is loaded with special features that, on their own, are well worth the purchase price. The extras include the original audition/screen tests for Hamilton Burger and Perry Mason, two Charlie Rose interviews with Raymond Burr, and a late 1950s episode of "Person to Person" in which Burr gives viewers a tour of his L.A. home. As if that wasn’t enough, they’ve also got interviews, featurettes, and the "Perry Mason Returns" TV movie. I wish they’d included an episode of THE NEW PERRY MASON, starring Monte Markham, for the hell of it. If you you’re a TV geek like me, you’re going to love this boxed set. I also strongly recommend Brownstein’s amazing GUNSMOKE, DICK VAN DYKE SHOW and WILD WILD WEST sets.
STINGRAY: THE COMPLETE SERIES, the Steve Cannell series that starred Nick Mancuso, arrived in
my mailbox today from Amazon in Canada, which sells it for half as much as Amazon stateside ($22 vs $44!). It’s a quirky series that I loved when it aired and that is probably not as good as I remember it, but I’ll let you know.
Old is New Again
I am a bit bewildered by the surge in remakes and spin-offs of old TV shows in development. First, there was NBC’s KNIGHT RIDER pilot/Ford commercial last month. Now comes news that the CW is developing a BEVERLY HILLS 90210 remake, ABC is reviving the short-lived series CUPID from a decade ago, SciFi is crafting a BATTLESTAR GALACTICA prequel series called CAPRICA, and producer Bill MacDonald, actor Roger Moore (as a producer) and director Barry Levinson are independently financing a pilot based on THE SAINT and shopping it around themselves. Meanwhile, movie versions of GET SMART , SPEED RACER, and SEX AND THE CITY are on tap for this summer and director John Singleton’s A-TEAM is coming in June 2009. What is spurring this renewed interest in old TV? It’s not like the last wave of TV remakes did so hot (MIAMI VICE, BIONIC WOMAN, I SPY, etc.).
(In a related note, based on the success of THE OFFICE and UGLY BETTY, the networks are also on an over-seas shopping spree, developing U.S. versions of the UK series SPACED, LIFE ON MARS, and THE ELEVENTH HOUR, as well as formats from Australia).
Michael Clayton
I finally saw MICHAEL CLAYTON…it was my test drive using the Amazon Unbox to rent a movie on my TiVo (a service which I liked). If you haven’t seen the movie, you can stop reading now, because I’m going to spoil some things.
I thought George Clooney, Tom Wilkinson and Sydney Pollack were terrific and some of the dialogue really crackled, but the simple plot was inexplicably and needlessly hard to follow at times and there were some logic flaws that pulled me right out of the movie, ultimately ruining it for me.
The bad guys did a slick and professional job of killing Wilkinson’s character and making it look like a suicide, thus establishing them as formidable opponents. But then they put a car bomb in Clayton’s Mercedes. Why!? Why not stab him in an apparent "mugging gone bad" or run him over as he’s crossing the street? Why kill him in a manner that will draw an enormous amount of attention — the exact opposite of what the bad guys wanted? It was stupid and sloppy writing, made worse when Clayton is able to fool them (and apparently the police) into thinking he’s dead even though there’s no charred corpse in his car… just his wallet and his watch. Did his body get vaporized?
There was also one niggly detail that bugged me, too. At one point they say Clayton was born in 1959. Then, a few scenes later, Clayton says that he’s 45. The math just doesn’t add up (and the movie clearly takes place in 2007, sine he’s driving a brand new SL).
I also don’t get how Tilda Swinton got nominated for an Oscar, much less won the thing, based on her small role…
Our Worst Script
I published the post below on this blog in July 2006…and forgot all about what I said I’d do at the end. Now I am following through…
Ken Levine writes today about the worst script he and his partner ever wrote.
In 1993 my writing partner, David Isaacs and I did a short run series
for CBS called BIG WAVE DAVE’S starring Adam Arkin and David Morse. It
ran that summer, got 19 shares, kept 100% of MURPHY BROWN’S audience
and was cancelled. At the time CBS had starring vehicles in the wings
for Peter Scolari, Bronson Pinchot, and the always hilarious Faye
Dunaway so they didn’t need us.We were given a production order
of six with three back-up scripts. We assigned the first two back-ups
to our staff and planned on writing the third ourselves. When the show
was cancelled we put in to CBS to get paid for the additional scripts.
They said fine, but we had to turn in the completed scripts. Gulp!
Bill
Rabkin and I had almost the exact same experience on SEAQUEST. We’d
already turned in the outline for episode 14 when we got canceled.
But in order to get paid for the teleplay, we had to write it. We did
it in one day, while we were packing up our office. I still live in
fear that some sf fan will stumble on a bootleg draft at a scifi
convention, post it on the net, and people will think we actually write
that bad. I’m in Germany now, or I’d post an excerpt. I’ll try to
remember to do it when I return.
UPDATE March 8, 2007: Okay, here’s an excerpt from "About Face," the script Bill and I wrote in a day to get our script fee. We knew no one would ever read it. All you need to know to follow along is that Piccolo a man with gills and Darwin is a talking dolphin (I’m not kidding).