The Words Behind the Pictures

I don't know exactly how Letterboxd defines a writing credit for the purposes of their database, but I suspect it's broader than just screenplays, judging by some of the names on my list of most-seen films written by these people. 

Having seen all the films that Charlie Chaplin has directed, I suppose it's no surprise that he's also my most-seen writer, too, given the amount of control and involvement Chaplin had in his films. 

The next three names in the list--Maltese, Foster, and Pierce--all wrote a bunch of Looney Tunes shorts. 

Ben Hecht, next on the list, has a fascinating filmography, writing superb films like Notorious, Spellbound, Scarface, Design for Living, Stagecoach, The Thing, and Strangers on a Train, but also z-grade stuff like Queen of Outer Space, the 1967 version of Casino Royale, and Switching Channels. 

Felix Adler wrote Three Stooges shorts. 

Ian Fleming makes the list thanks to James Bond and Chitty-Chitty-Bang-Bang. 

David Lynch, of course, writes or co-writes most of the material he directs.

Clyde Bruckman is another writer of Three Stooges shorts, but also features from comedy greats such as Buster Keaton and Harold Lloyd. 

Woody Allen, like Chaplin and Lynch, writes much of his own material. 

Stephen King makes the list, I suspect, because of "story by..." credits for the many adaptations of his novels and short stories. 

Laurent Bouzereau produces short documentary "making-of" subjects that appear as special features on many of my discs. 

Orson Welles, again, is another film polymath. 

George Lucas makes the list thanks to Star Wars, Indiana Jones, American Graffiti, etc. 

Sylvester Stallone, I suspect, is here thanks to the Rocky and Rambo franchises. 

Elwood Ullman is another Three Stooges writer. What a fun job that would have been...

Richard Matheson is a well-regarded prose fantasist, SF author, and contributor of teleplays to The Twilight Zone, among other shows. Here for adaptations, much like King, I suspect. 

Ethan Coen is of course one-half of the famous Coen Brothers writing-directing team.

And finally, David Cronenberg is another director who writes much of his own material. 

 

Earl's Directors

According to Letterboxd, this is my list of most-watched directors. Having watched all but one of Charlie Chaplin's many films, it's no surprise that he's at the top. But who is William K.L. Dickson, you ask? He's one of the pioneers of film, and as I've been watching a bunch of films from the early days of the medium, folks like Dickson, Georges Melies, Louis Lumiere and William Heise wind up on my list. Of course, a bunch of their films are only a few minutes, or even just a few seconds, long.

Fast Company, Familiar Faces

Today I watched David Cronenberg's 1979 drag-racing movie, Fast Company. I watched it for two reason: Cronenberg is a great director and I hope to one day see all of his films (I've seen about 75 percent of them at this point), and I heard that it was filmed in Edmonton.

Fast Company is a solid B-movie and worth watching just to see well-known character actors John Saxon and William Smith deliver their typically passionate performances, but it's especially interesting for Albertans, who will recognize Highway 2, Jasper National Park, the old Edmonton International Speedway, a Western Drug Mart (remember those?), Doug Main playing himself as an ITV newscaster, Michael Bell (from those annoying Brick commercials) playing a reporter from Spokane, Chuck Chandler as the race announcer, and Whyte Avenue circa the late 1970s, with the Princess Theatre prominent (doubling as a street in Spokane). There are also glimpses of 630 CHED's old logo and an Edmonton Oilers sign.

What's even more interesting is that Alberta isn't just a shooting location, but most of the movie (aside from a side trip to Washington state, still shot in Alberta) actually takes place in Edmonton and environs. It's kind of a kick to imagine that John Saxon hung around, and neat to hear Michael Smith say "Wouldn't you rather come back to Edmonton and race with me?" The exciting climax features a funny car chasing a light plane, which crashes into a semi-trailer right on the raceway. If something like that really happened in Edmonton, it would stay on the news for a decade.

On a related note, I followed Fast Company with Cronenberg's other 1979 feature, The Brood. Talk about a complete whiplash in tone, content and impact. Zowie. Let's just say if you're going to run a double bill like I just did, be prepared for some strange dreams afterwards. I certainly am.

Once Upon a Time in Canada

Once Upon a Time in the West is an epic Sergio Leone spaghetti western. Once Upon a Time in America is Leone's gangster odyssey. Once Upon a Time in Mexico is the third chapter in Robert Rodriguez' El Mariachi series. Bollywood has Once Upon a Time in Mumbaai. There are even two Once Upon a Time in China films. 

I think a notable Canadian director - perhaps David Cronenberg would be a good choice - should direct Once Upon a Time in Canada, with a story just as rooted in our national mythology as the other "Once Upon a Time" films. In keeping with Cronenberg's dark sensibilities, perhaps it could be the story of a Canadian of European descent and a Canadian Inuit who embark on an ill-fated ice-fishing expedition. It could begin in medias res, with the two stranded on an ice floe that's calved off the main shelf due to climate change. As the floe drifts through the frigid Arctic Ocean, the pair could share stories in flashback about their respective experiences...both growing up as Canadians, but with experiences wholly alien to each other. They argue politics and the merits (or lack thereof) of Canadian culture; they can't even agree if there is such a thing, and if the aboriginal experience is part of it or something wholly separate. As they waver between suspicion, rage, grudging respect and enduring companion ship, the midnight sun circles overhead, watching their struggle dispassionately. In the end, an American nuclear submarine surfaces to rescue them, mere seconds after they die of exposure. An exhausted polar bear beaches itself on the floe and stares at the corpses as the American sailors look on. Pan up to the midnight sun and fade to brilliant white; roll credits.

What do you think? Is that Canadian enough?