My next film: ROY’S WORLD.

I’d like to tell you about my new project, a documentary.

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ROY’S WORLD: BARRY GIFFORD’S CHICAGO

Barry Gifford is one of America’s greatest storytellers. His work includes the novel Wild at Heart, which was adapted by David Lynch into a Palme d’Or-winning film, the screenplays Lost Highway and City of Ghosts, and dozens of other novels and books of poetry and essays. In a series of autobiographical stories spanning more than forty years he has chronicled the adventures of Roy, a boy coming of age largely on the gritty streets of 1950s Chicago. In Roy’s World, Gifford’s recollections of his childhood will be interwoven with excerpts from the Roy stories, vintage footage and photographs of Chicago, and an evocative jazz soundtrack to create an impressionistic portrait of a vanished place and time.

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It’s been awhile since I tackled a documentary of this sort. (I made AMBIENT STORYTELLING 1 in 1993 and AMBIENT STORYTELLING 2 in 1994.) But I’m fired up! I’ve just started pre-production, which will of course involve a lot of research and legwork and sundry other tasks I probably haven’t even thought of yet.

At the moment, there are two Chicago neighborhoods I’m focusing on: the Rockwell/Devon area in Rogers Park (in the neighborhood of the original Kow Kow) and the intersection of Rush/Chicago (especially anything about Lake Shore Pharmacy, the all-night drugstore which was next door to the Club Alabam). Any photos, tips, or memories are greatly appreciated. Drop me a line at randomcha(at)gmail(dot)com.

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3 things about Kelly Reichardt’s RIVER OF GRASS

River of Grass [1994]

1. His drink resting on top of the bass drum.
2. Random merchandise at the convenience store: sundry canned goods, Quik, women’s wigs.
3. While still behind the wheel of the moving car she nonchalantly closes the door on the passenger’s side, and shortly thereafter tosses the gun out the window. It lands in the street not far from where it was originally found.

I’m pretty sure it was at least partially meant to be a parody of Badlands. As someone who largely finds Terrence Malick’s work self-important frippery, I was tickled pink.

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3 things about Terence Davies’ OF TIME AND THE CITY

Of Time and the City [2008]

1. Deconsecrated churches turned into gourmet restaurants.
2. “‘You meet your destiny on the road you take to avoid it,’ Carl Jung.”
3. The beach so full of people you can barely see any sand.

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3 things about Ang Lee’s HULK

Hulk [2003]

1. A succession of conveniently stretchy pants.
2. “Bingo, your parking lot is ready.”
3. Hand becoming metal.

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3 things about John Lee’s PEE-WEE’S BIG HOLIDAY

Pee-wee’s Big Holiday [2016]

1. Hair map.
2. “Jingle Bells” on balloon.
3. From his jacket he removes two tiny straws.

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3 things about Lucrecia Martel’s THE HOLY GIRL

The Holy Girl [2004]

1. Streetcorner theremin.
2. Jose tries to comfort Helena, who is weeping. “You’re filling your eyes with microbes.”
3. For a moment, he stands behind the curtain and watches her. Sitting alone in a chair in front of the audience, wearing a red dress with straps in the back.

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3 things about Steven Knight’s LOCKE

Locke [2013]

1. “You don’t trust God when it comes to concrete.”
2. A few swigs of cold medicine.
3. The sound of a baby.

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3 things about Lewis Seiler’s IF I’M LUCKY

If I’m Lucky [1946]

1. Harry James in Brazilian garb.
2. “How can a guy so tight be so loose?”
3. Fast motion bus chase = red herring.

Not as blah as Doll Face but still pretty blah.

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3 things about Joseph L. Mankiewicz’ CLEOPATRA

Cleopatra [1963]

1. “I’m not sure I want to be rubbed by you at all.”
2. Platform-bearers in black and gold bodypaint.
3. “I asked it of Caesar. I demand it of you!”

3 other things.

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3 things about Walt Disney’s FUN AND FANCY FREE

Fun and Fancy Free [1947]

1. Yawning trees.
2. A sliver of bean between two tissue-thin slices of bread.
3. He helps himself to the Brown Derby.

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