Nestflix is a site for cataloging movies within movies and shows within shows. "Fictional movies within movies? Got ‘em. Fake shows within shows? You bet. Browse our selection of over 750 stories within stories."
For example, remember in Robert Altman's The Player, there's a film starring Julia Roberts and Bruce Willis? Yup, that's Habeas Corpus.
Lynn Fisher
I've been a fan of Lem Dobbs since around 1987 or '88, back when he was known throughout Hollywood for writing Edward Ford, which many consider to be the greatest unproduced screenplay of all time. That script is one of the first things I sought when I got on the internet in the early 90s.
Today, Dobbs is likely best known as the writer of The Limey. Steven Soderbergh directed the film and Terance Stamp starred in it. I believe it's not only a great "gangster picture," it's also Soderbergh's best and one of the most accurate film portrayals of memory.
If you have the chance to listen to Dobbs' commentary on The Limey DVD, I highly recommend it.
There's a notorious 90 second scene in The Limey, which you can watch here:
In the commentary, Dobbs uses this scene to highlight a problem with film critics — and perhaps the public's understanding of filmmaking in general.
Dobbs notes that the film's negative press often referred to it as "underwritten," while the positive press praised Soderbergh's "brilliant direction." Many of them cited this scene and how the camera waits outside, forcing the viewer to imagine what's happening inside while increasing the menace as Stamp's character approaches after exiting.
The irony is that the script was not underwritten. Soderbergh cut out much of what the critics wanted. Furthermore, in the screenplay, which Dobbs wrote years before Soderbergh was involved, Dobbs instructed the camera to remain outside:
Dobbs took the blame for what Soderbergh changed and Soderbergh received credit for what Dobbs envisioned.
Such is the life of a Hollywood Screenwriter.
All this to alert you to this lengthy interview with Dobbs. Admittedly, not the prettiest website, but an interesting read nonetheless.
Anecdote Alert
For years, I used the name Dobbs as one of my heteronyms. Both Lem and I took the name from the same source: Humphrey Bogart's character in Treasure of the Sierra Madre. (Lem's birth name is Anton Kitaj. He is the son of painter, R. B. Kitaj.)
I have another very odd connection here. The scene in the clip above was filmed at the far end of this street in downtown Los Angeles:
To get to it (just prior to the clip), Wilson walks past the building on the left, which happens to be owned by a friend of mine. I've spent a great number of American Thanksgivings there over the years — the best dinner parties I've been to in my life have all been in that building.
On one of the first trips I took after my stroke, I ended up crashed here while my friend was out of town filming the devastation of the Camp Fire in Paradise, California. Another friend of his, filmmaker Noaz Deshe, was also staying there at the same time. I have fond memories of deep discussions of film history with Noaz. What was particularly delightful is that they were the first signs that my memory wasn't completely shorted-out from the stroke — something that had been deeply troubling me. In particular, we had a mutual fondness for Miklós Jancsó's films, The Red and the Black, and Round Up (posters below). Good times.
If you want to read the screenplay for The Limey, you can find a PDF here.
You can also get a PDF of Lem Dobbs' celebrated, unproduced script, Edward Ford.
If you're a fan of Terance Stamp, I recommend the audiobook for one of his memoirs: The Ocean Fell Into the Drop, which is unfortunately an Audible Exclusive.
Today I learned that in 1983, there was a Casablanca television show starring David Soul as Rick and Scatman Crothers as Sam. The cast also included Ray Liotta as Sasha, the bartender, and Hector Elizondo as Renault.
I couldn't find original episodes of it, but here's a Video Essay about it, from The Seventh Art.
The website for the Wim Wenders film, Perfect Days, is wonderful. I enjoyed the movie very much, though it could have been the company I was keeping.
My Blonde GF is a 19 minute film about the victim of a deepfake porn. One interesting revelation is that, in the UK at least, deepfakes aren't considered revenge porn because they don't feature the actual victim, but just their image overlayed onto another party. Just another way that our laws aren't keeping up with technology.
From Guardian Documentaries. I mostly like The Guardian but am conflicted supporting it because their Trans coverage is garbage. That in mind, they excel at documentaries and podcasts.
The Seventh Art is an independently produced video magazine about cinema.
Lots of good stuff here, including interviews with Pedro Costa, Sean Baker, Terence Davies, David Gordon Greene, Claire Denis, the Safdie Brothers, Ruben Östlund, Lukas Moodysson, Paul Schrader, and Thomas Vinterberg.
Anecdote Alert!
There is also an interview with Toronto filmmaker Hugh Gibson, who I first met in 1993 when he was just 14 or 15 years old. His parents had sent him to Art & Trash Video, a shop I ran from '93 to '98. Because he was underage, his folks wrote him a letter saying that he could rent any film he wished, regardless of the film's rating. I put a note on his file and for the next five years we rented Hugh many of the world's greatest films. (A&T existed pre-DVD, so we were renting out VHS tapes and Laserdiscs.)
To my knowledge, we had the largest foreign film collection in Canada: 14,000 titles from 113 countries, all organized by Country > Director. Regular customers included Cinematheque Ontario, The Festival of Festivals (now called TIFF), and every filmmaker in the city worth their salt. It was a great place to work.
In 1994, we were also one of the first video stores in the world to have a website. I'd built it to help myself learn how to build websites. A few months earlier I'd also built [sic], which was one of the first-ever blogs. (The word blog would not be coined for another 3 years.) [sic] won Canadian Website of the Year, which got it some press, and that, along with the Art & Trash site, led to my phone ringing and me becoming one of the first professional web designers in the country. My clients included YTV, The Ontario Federation of Labour, Danko Jones, and General Motors. I would do this for a living for twelve years until returning to retail at Vortex.
The Art & Trash site contained a searchable database of our entire inventory and I distinctly remember having to repeatedly explain to people what a website was. It was these customer interactions that, in a circuitous way, would also lead to me being interrogated in my living room after midnight by CSIS a few years later, but that's another story altogether.
Years later I would run into Hugh at TIFF when he was introducing a film he hadn't directed. We caught up and met for dinner a few times — turns out he lived on Roncesvalles — but then I lost touch with him when he moved out of the neighborhood.
Here's the trailer for his stellar documentary, The Stairs:
