"I walked into a honkey tonkey just the other day I droped a nickle in the juke box just to hear it play I didnt have no tune in mind, I didnt wait to choose Just droped a nickle in the slot and I played the juke box blues
Theres a guy in there with an old tin horn And a feller on an old banjo, and the man of the fiddle He wasn't no slouch he could really drag that bow Well, the man on the fiddle he must have got tired I didnt hear him say, 'cause he cut loose on the steel guitar And the juke box ran away And I've herd something going strong It must have been a drum It gave that song a solid beat Boy it was goin' some
I walked into a honkey tonkey just the other day I droped a nickle in the juke box just to hear it play I didnt have no tune in mind, I didnt wait to choose Just droped a nickle in the slot and I played the juke box blues
I've played alot of juke boxes, most everyone in town That's the first tune I've ever heard That can make one night surround Play the juke box blues, such a rythum I've never heard I danced out both of my shoes"
"Walk the Line" soundtrack
"Norma and Arthur Lewis, a suburban couple with a young child, receive a simple wooden box as a gift, which bears fatal and irrevocable consequences. A mysterious stranger, delivers the message that the box promises to bestow upon its owner $1 million with the press of a button. But, pressing this button will simultaneously cause the death of another human being somewhere in the world; someone they don't know. With just 24 hours to have the box in their possession, Norma and Arthur find themselves in the cross-hairs of a startling moral dilemma and must face the true nature of their humanity". Source: www.imdb.comFilmmaker Richard Kelly prides himself on thinking so far outside the box that major chunks of the Internet are devoted to deconstructing his intentionally murky movies. His desire to bewilder has earned him a certified cult classic (2001's Donnie Darko) and an unmitigated flop (2007's Southland Tales), but no direct hit.For his third big-screen feat, the 32-year-old USC film-school grad is not only thinking inside the box. He is actually making The Box, complete with his first major studio (Warner Bros.) and an A-list star (Cameron Diaz) on board.God bless Cameron Diaz. The second she signed on, our lives changed in a great way", Kelly says on location at NASA's Langley Research Center. Wrapping up the film's final week, he spent a long day shooting inside a cavernous wind tunnel and atop a gantry, a 240-foot-high erector-set-style structure once used to train Apollo astronauts.
Unlike his previous efforts, the sci-fi-tinged thriller is a breeze to summarize. Its plot hook is inspired by a 1986 Twilight Zone episode that haunted Kelly as a kid: A couple (Diaz and James Marsden) open their door to find a box containing a button. If they push it, they will receive $1 million. The catch? Someone they don't know will die."We made Donnie Darko when we were 25, so obviously that has an innocence about it," he says of his unnerving high-school fable made with producer pal Sean McKittrick. The political satire Southland Tales, on DVD March 18, "is punk rock and rebellious. We love that about it." Still, the film was barely in theaters, grossing only $273,420 on a nearly $18 million budget. "There is no place for small movies to catch fire," he says. "We got with Warner Bros. as a means of survival."
He is ready to go commercial. "With The Box, I hope to make a more mainstream popcorn film."
Of course, nothing is ever quite that simple in a Richard Kelly film. Richard Matheson's original 1970 short story, Button, Button, is just a jumping-off point for the $30 million morality tale. Embellishments include '70s kitsch, teleporting and the 1976 Viking mission to Mars.
"We don't feel like we are watering ourselves down," Kelly assures.
The man who delivers the title container? Masterfully creepy Frank Langella. "Richard is in a league of his own," the veteran actor says. "He has sort of an extraterrestrial creature running around in his head. That is what Steven Spielberg was like as a young boy". Source: www.usatoday.com "I watched 'The Prestige' on a little box that can show moving pictures on a bright screen, the same little box that I am now using to display the words I am typing, words that I can effortlessly move around by pushing a button and spinning a ball. It is powered by alternating current. Alternating current was developed by Nikola Tesla".The duplication machine in 'The Prestige' is miraculous, yes. But it is really no more impressive than any of the miracles Tesla did bring about. We now take those for granted, so the story invents a new one, one by which we will be appropriately awed, the way we should be awed every time we turn on the radio".
"Looks like things are heating up between Reese Witherspoon and Jake Gyllenhaal with a full English breakfast on the menu.
According to US reports Witherspoon, 32, has slipped under our radar and has moved in to Jake’s London home – yes London, in Notting Hill!
Brokeback Mountain’s Jake, 27, is reportedly filming scenes from his new film Prince of Persia: The Sands of Time over here.
Apparently she has taken a four month break to be with her man with one mole revealing, she ‘loves England and has been really looking forward to spending this time living with Jake.’
Now Jake Weird has a new affiliate with Seth Rogen Online, devoted to this funny Canadian actor who starred in "Knocked up" as Ben Stone. Watch this video dedicated to Mr. Rogen (with scenes of him in "Knocked up", "The 40 years old virgin" and "Superbad"):
"Jake Gyllenhaal has quietly moved into Reese Witherspoon’s $5 million L.A. home, reports Us Weekly.
“Jake keeps his things at Reese’s house and uses it at his home base most of the time,” an insider reveals. “They literally don’t want to spend any time away from each other.”
But with Reese’s daughter Ava, 8, and son Deacon, 3, the couple has to be careful.
“Reese is very content with where things are right now,” a Witherspoon pal says. “She has her career, her kids and a fantastic relationship. [And] she has been careful to work in Jake into her childrens’ lives slowly. She knows her kids already have a daddy.” Source: Justjared.buzznet.com
"Unfortunately, most of the folks trying to make indie movies these days, as was revealed at my film financing panel Saturday (including producer Cathy Schulman, ICM's Hal Sadoff and New Bridge Capital's Danny Mandel), seem to be trying to make genre thrillers with someone on the list of not-too-costly actors between the age of 20 and 30 who foreign sales agents want to sell in territories around the world (where interest in American product seems to be drying up). Quality dramas are a no-go, said Schulman, although that's what she's trying to make at Mandalay Indie. And the surviving specialty distribs are strictly cherry-picking. You might get your movie made. But it might go straight-to-video. And it wouldn't be worth as much as it might have been a few years ago. [...] I know I don’t have to repeat all the ways that the independent film business is in trouble. But I’m going to do it anyway—because the accumulation of bad news is kind of awe-inspiring:
1: Picturehouse and Warner Independent have been shut down.
2: New Line’s staff was cut by 90 percent, and the survivors were sent to hell...I mean...Burbank.
3: Paramount Vantage was folded into the mother ship (this one may not be all bad news, by the way, but it still scares the hell out of independent film people).
4: Sidney Kimmel shrunk his company in half.
5: ThinkFilm is being sued for not paying its advertising bills, even as the unions repeatedly close down their David O. Russell production with the prophetic title “Nailed” for failure to meet weekly payroll.
6: Another five companies are in serious financial peril. And those are only the ones I’m sure of.
7: The $18 billion that Wall Street poured into Hollywood over the past four years has slowed to a trickle, and shows no signs of being replaced at even remotely the same levels from any new source.
8: There’s a glut of films: 5000 movies got made last year. Of those, 603 got released theatrically here. And there’s not room in the market—as there used to be—for even 400 of those.
Maybe there’s room for 300. So everything else just dies. Most of these pictures are pre-ordained flops from independent distributors who forgot that their odds would have been better if they’d converted their money into quarters and taken the all-night party bus to Vegas.
9: Advertising costs have radically outpaced inflation even as media delivery of audiences falls through the floor. So movie companies now enjoy the privilege of paying way more to be far less effective marketers.
10: Movies now routinely fight with really compelling leisure alternatives that nobody in the last great era of cinema—the 1970s—even imagined: from ipods to Xboxes to tivos to you tubes to the radically improved behemoth that is cable television.
11: The international marketplace may be growing dramatically, but all of that growth is eaten up by studio movies, a couple dozen top independent films, and burgeoning local language productions. Everything else we make in this country doesn’t sell for less—as it has for the past 20-plus years. Now, most American independent films don’t sell at all overseas. I’ve never seen more depressed people in my life than I did in Cannes last month. The phrase “worst market ever” could be heard from every corner. A lot of film market veterans were musing about never coming back. It’s that bad out there.
12: One entertainment industry banker I know believes another 10 independent film financiers will exit the business in the next year. I think he’s low.
And finally, just for bad luck:
13: The average cost of an independent film released theatrically in North America shot up dramatically last year (not as much perhaps as the 60% the MPAA reported for its member companies, but a lot nonetheless). And this of course makes it a hell of a lot harder to break even or squeak out a small return and stay in business".
"Juke Box Blues" Love Song
Filmmaker Richard Kelly prides himself on thinking so far outside the box that major chunks of the Internet are devoted to deconstructing his intentionally murky movies. His desire to bewilder has earned him a certified cult classic (2001's Donnie Darko) and an unmitigated flop (2007's Southland Tales), but no direct hit.
For his third big-screen feat, the 32-year-old USC film-school grad is not only thinking inside the box. He is actually making The Box, complete with his first major studio (Warner Bros.) and an A-list star (Cameron Diaz) on board.
God bless Cameron Diaz. The second she signed on, our lives changed in a great way", Kelly says on location at NASA's Langley Research Center. Wrapping up the film's final week, he spent a long day shooting inside a cavernous wind tunnel and atop a gantry, a 240-foot-high erector-set-style structure once used to train Apollo astronauts.
"We made Donnie Darko when we were 25, so obviously that has an innocence about it," he says of his unnerving high-school fable made with producer pal Sean McKittrick. The political satire Southland Tales, on DVD March 18, "is punk rock and rebellious. We love that about it." Still, the film was barely in theaters, grossing only $273,420 on a nearly $18 million budget. "There is no place for small movies to catch fire," he says. "We got with Warner Bros. as a means of survival."
"I watched 'The Prestige' on a little box that can show moving pictures on a bright screen, the same little box that I am now using to display the words I am typing, words that I can effortlessly move around by pushing a button and spinning a ball. It is powered by alternating current. Alternating current was developed by Nikola Tesla".
The duplication machine in 'The Prestige' is miraculous, yes. But it is really no more impressive than any of the miracles Tesla did bring about. We now take those for granted, so the story invents a new one, one by which we will be appropriately awed, the way we should be awed every time we turn on the radio".
