By Jared Chausow
By Katie Toth
By Elizabeth Flock
By Albert Samaha
By Anna Merlan
By Jon Campbell
By Jon Campbell
By Albert Samaha
Rather than push this into a heated debate about the dangers of the fashion trade, I appeased Del Toro by asking about his craftthat always worksalbeit in a mildly insouciant way. Does he really think Traffic is all that powerful? "Fuck, yeah!" he said. "Don't you? What movies do you find powerfulThe African Queen?" Uh-huh, I said, "anything with the word queenplus Nashville and Mary Poppins." "And Batman," he chirped, finally coming down to my level. We could have gone on all night, but I had to get home to the wife or there'd be serious hell to pay.
That wasn't the end of the awards mania. Wifey and I crawled to the Manhattan Center for the annual Golden Trailer Awards celebrating those short, flashy commercials that usually tower over the movies themselves. (As proof, Bedazzled, Hollow Man, and Gone in 60 Seconds all won Golden Trailers!) The evening came with dinner, and mercifully only the Krispy Kreme dessert was a play on the trailery theme; the main course was salmon, not Cheez Whiz. Also helping us eschew cheesiness were celebrity drop-ins ("I've never heard of me either," said TV's Jim Gaffigan) and even celebrity relation drop-ins (the statuettes were codesigned by Matt Damon's brother Kyle, whose work is "uniquely interactive").
That cute Tod Newton from E! hosted the ceremony with saucy remarks and groaners that the crowd of editors and film cutters approached with their shears out. "Without trailers," he said, "most of us would never see the work of Kevin Costner." He also made some crack about Faye Dunaway's face having won Best Horror/Thriller last year. My personal highlight was finding that an indie movie I'd cameoed in was up for a trophythough it turned out to be for the best trailer representing the worst movie! And it didn't even win!
The urge to writhe into a corner and watch Nashville or Mary Poppins through eternity was superseded by the chance to see Resident Alien, the one-man show in which a guy named Bette Bourne plays the purple-haired, uniquely interactive late legend Quentin Crisp. I felt a little guilty, mainly because when Crisp did pretty much the same show, I never bothered to go. But there's something perversely appealing about seeing the Grand Canal in Vegas instead of the one in Venice, and Alien does provide a fascinating replica not only of Quentin's filthy apartment, but of his woolly wit and singular views. Bette was bourne to play Quentin, who I'm now convinced didn't die at all, he just changed his name and moved to a larger theater.
Lippy sophisticate Sally Kellerman's still around, so she's playing herself over at Feinstein's at the Regency in an act designed as a celebration of femininity, "using me as a perfect example of women." Reed-thin in a clingy black pants suit, Kellerman's like a cat who slinks, smiles, and preens for your approval, which you can't help but give up in spades. There are some very weird moments, like an insane, breathless medley of songs written by women, from "Music of the Heart" to "Battle Hymn of the Republic." (I much preferred the sampler of Kellerman's commercial voice-overs, from FDS to Hidden Valley ranch dressing.) There's also too much scripted biographical patter and corny rah-rah stuff about womanhood (though I did like learning that she rebuffed a pass by Marlon Brando when she was 17 and has deeply regretted it ever since). And she doesn't even mention her role in the 1973 musical tragedy Lost Horizon! But Kellerman's charm comes through, and the spontaneous moments really sparkle. ("Being here at the . . . where are we? . . . is so great!") Quirks and all, "Hot Lips" can still envelop a room.
While we're addressing public acts of confusion, let me make a correction, forsooth. I recently attacked the Ethan Hawke Hamlet for including the line "What a piece of work is a man" instead of "What a piece of work is man," which is the way it appears in Dorset Press's William ShakespeareThe Complete Works, not to mention the musical Hair. I thought the aggressively revisionist flick had insanely added an a. Well, now I learn it's Dorset that seems to have fucked up by leaving out the a. I'm throwing the book out before checking to see if they changed "To be or not to be" to "Scooby Dooby Do, where are you?"