Tuesday, December 26, 2006
Grandma Erma’s Corn Pie
2 T white onion, chopped fine
2 T green pepper, chopped fine
1 t sugar
1/2 t salt
2 T flour
1 cup milk
2 eggs slightly beaten
1 can whole kernel corn
Saute onion and green pepper in butter. Add flour and cook a few minutes. Add milk all at once and keep stirring until thick and smooth. Add salt and sugar. Remove from heat. Add corn and eggs. Stir thoroughly.
Make crust of buttered cracker crumbs: Melt 2 T butter. Crush crackers (about half a packet of saltines) with rolling pin (or Cuisinart). Put crumbs into butter and stir with fork. Use fork to shape crust. Use more butter if needed.
Pour corn mixture into crust. Bake at 375 for about 25 minutes.
Friday, November 17, 2006
Last night was my second MoMA screening of The Joy of Life. I was up against Rossellini’s Paisan in Titus 1. Of course, most of the mob at the MoMA ticket counter was for him, not for me. Having seen the beautifully restored 35mm print of Rome: Open City that kicked off the Rossellini retrospective the night before, I was tempted to skip my own movie in favor of a Neo-Realist classic.
Standing in the lobby, who should I see but Bill (from Cinemania)? Approaching him out of some irresistible impulse, I say, “Thanks for coming to my movie the other night.” He looks at me defensively and says, “I didn’t see your movie. What movie? Are you a filmmaker?” And I’m like, “Oh, uh, I’m sorry. I thought you were there.” Fumbling, I congratulate him on being in Cinemania and he looks at me like I’m crazy.
And so, it seems I was mistaken. That bespectacled nerd in my audience last Saturday night was some other poor, under-sexed straight guy out for a night at the movies.
Surely some self-effacing Woody Allen quote is in order here – patron saint of all us neurotic geeks. But I can’t think what it is. I’ll have to put Manhattan in my Netflix queue when I get back to San Francisco.
P.S. There is still one more chance for New Yorkers to see The Joy of Life on the big screen -- at the IFC Film Center this coming Monday November 20th!
Monday, November 13, 2006
I pop in the DVD and within the first ten minutes I discover that the other wacko who happened to be in the MoMa audience that night is also in this film! And he actually says some of the exact same things in this movie that he said while sitting in my post-screening Q&A at MoMa.
Bill is this straight guy who at first commented on the seeming irony of the fact that my protagonist is ostensibly trying to find intimacy but seems unaware of why she is unable to find it. Which was a great observation. But he then started to give me a hard time about the explicit sexual descriptions in the film, saying that they were lacking in emotional connection and were simply empty sexual encounters. Which made it obvious that he totally didn’t get that part of the film. As I attempted a reasonable response at least a half-dozen hands shot up in the audience. As Jennie Livingston and Kristine Woods leapt to my defense and pointed out how significant it is to have explicit sexuality being expressed from a female, queer, butch point of view Bill interjected words to the effect that maybe this butch lesbian was getting lots of sex, but being poor and male he was not. It was oddly poignant.
So, in Cinemania he specifically talks about how he hasn’t had sex in years and he’s going to try an Internet dating service and he laments: “You know I’m not an unattractive guy. Just middle-aged and poor.”
The great thing about his comment though (as gay film critic Jim Fouratt pointed out to me in the lobby afterwards) was that it prompted a bunch of people in the audience to be much more expressive about why the sexuality in the film was important to them. It was really quite amazing.
The truth is, it was probably the most entertaining Q&A I’ve ever had about the film. Far more interesting than debating the pros and cons of the Golden Gate Bridge suicide barrier.
So Roberta, an elderly woman in Coke bottle glasses, is sitting in the very front row and pops her hand up immediately as I begin the Q&A to complain that she doesn’t understand why, for a film that is supposedly about the beauty of the changing light of San Francisco, why did I shoot so many shots blurry or out of focus.
There was nothing to do but smile, pausing to think of a gracious response, as it dawned on me that this cranky, bad attitude was somehow the nature of New York (or at least MoMa) audiences. Having just coped with various walk-outs and any number of snoring audience members during the screening (not to mention the guy who quipped on exit as the credits rolled: “That was a complete waste of my time, I’m gonna go jump off a bridge now.”) it was one of those moments where you just have to laugh. So, I told her I shared some of her disappointment in that the film had been shot on film and was sadly being shown on video. But added that this was the first time anyone had suggested it was out of focus, and that in fact it had been almost universally praised for its cinematography. Fortunately for me I left it at that and it didn’t go any further.
Because as I learned in watching Cinemania, it turns out Roberta has actually had her MoMa membership revoked in the past for being disruptive and violent at screenings.
“Roberta is famous for having these vicious arguments, you know where she’s strangled people or hit them or started screaming at them,” explains fellow film buff Jack. “Roberta is the queen of cinemaniacs in New York. I think the person who is most recognizable, most visible, most notorious on the entire circuit.”
If only I had known I was being provoked by sublebrities! I would have applauded them for their cinematic fanaticism. I would have acknowledged them in some way, pointed out to the rest of the audience who they were.
I would have been flattered, rather than annoyed, by their presence. As Museum of the Moving Image curator David Schwartz points out in Cinemania: “There are some film buffs, like Roberta… where if I see them in the audience I feel really proud ‘cause I know that they think that what we’re showing is the best thing available today in the city. So, it’s like the stamp of approval.”
I hereby want to publicly thank Roberta and Bill for coming to my screening.
And there’s still time for all you other cranky New Yorkers to come see my movie: Catch it this coming Thursday night, Nov 16th at 6pm at MoMa, and Monday November 20th at The IFC Film Center.
11 West 53 St (b/w 5th & 6th Aves)
Adults: $10; Seniors: $8; Students: $6.
IFC Film Center
323 6th Av at W. 3rd St.
IFC Box Office: 212.924.7771
Adults: $10.75; Seniors: $7.
The Joy of Life is also now available on DVD:
For more info visit:
Tuesday, September 12, 2006
Friday, September 08, 2006
Sunday, September 03, 2006
I took this shot in April 2005 while in Milwaukee for Passover after reading a small item in the local paper about the fact that this place was about to be torn down. There was something about the name of it (not to mention this fantastic sign) that was just so appealing to me: The National Liquor Bar -- what a great name, it sounds so commanding and official. And oddly redundant (liquor bar).
Saturday, September 02, 2006
Friday, September 01, 2006
Really old interview about PopcornQ (by Ron Hogan)
"Trailer Queen" interview in The Advocate
Lesbian News -- Oooh, it's the cover story
And my interview of Trini Alvarado star of my fave movie, Times Square
And much more recently from Bay Guardian - me and Jennifer Reeves chatting about each other's movies.
Oh yeah, and a very flattering (recent) distinction: Here's the 2005 City Pages Artists of the Year page!
Friday, August 11, 2006
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Sunday, August 06, 2006
Just iChatted with Julie, Micky and Hazel in their hotel room in Jerusalem. It's 10pm here in San Francisco and they're just heading off to 8am breakfast. Video chat produces such an odd sensation. It's like watching live theater -- you sort of keep reminding yourself that it's really happening, right there in front of you, live!
All appears to be good there. Julie is speaking tonight at Jerusalem City Hall in some World Pride related capacity. Surely she will share this experience with the world on HER blog in the next few days.
Saturday, August 05, 2006
I'm beginning to understand the appeal of blogging. It's like a place to put things. Equivalent to all the tiny scraps of paper in my pocket with little notes on them.
In a moment of Internet weakness I started a surf on "pinball" and experienced the visceral breathtaking joy of seeing an image of the first machine I ever played. And now I have a place to put this experience. O joy.
There were always four pinball machines along the far front wall at Lee's Billiards (in Falcon Heights where I grew up). They were changed occasionally over the years, but my first memory of them was when Bowling Queen was on the far right, closest to the front door. And I remember standing on a chair to play it when I was about 6 years-old.
Someday I will write at length about why I love pinball so much. The happiest recurring dream that I have is of playing pinball. There I am at the pool hall, or sometimes at the bowling alley (which was just a few doors up the street). And it is sheer heaven.
* Kevin Killian posted a wonderful review of the evening in the comments field of James Reidel’s Kees bio (Vanished Act) on Amazon (scroll way down to find it, and purchase a copy of the book while you're at it). P.S. Also check out James Reidel's amazing Weldon Kees website.
* Susie Gerhard was kind enough to let me write about my curatorial process for the June 7th "Wednesday: Found" section of SF360.org. The piece is called Looking for Mr. Kees.
* Reyhan Harmanci interviewed me for this great June 8, 2006 SF Chronicle feature, MR. MYSTERIOUS: Weldon Kees Screening collects obscure films of poet/painter/artist who disappeared in 1955.
* And Johnny Ray Huston (who shares my fanaticism for Kees) penned this wonderful feature for the June 7th SF Bay Guardian, Light after darkness: Jenni Olson excavates the film life of late SF icon Weldon Kees.