March 20, 2003

On the evening of March 20, 2003 I was working as a field researcher for a UIC/Robert Wood Johnson Foundation health study. My job was to go door to door to the addresses randomly chosen for the study and conduct a 30-minute interview with residents, for which they were paid $50. I kept a packet of money envelopes in my backpack for this purpose. Nearly everyone I met during the study was surprised when they found out I was walking around with all this money. But I didn’t feel any particular worry about it; after all, no one would have guessed it was there.

That evening I was sitting on someone’s couch, conducting an interview. The man I was interviewing sat across from me in an easy chair, and between us was a TV set. It was on but the sound was down low. We were right in the middle of the interview (“About how many times in the past month have you missed work due to illness?”) when we both noticed, more or less simultaneously, that the TV program had been interrupted by a live news report. An aerial view showed Lake Shore Drive completely shut down, overrun with protesters. The man and I shook our heads in disbelief. I had heard there was going to be an anti-war protest, but the sight of Lake Shore Drive flooded with people was stunning, beyond anything I had pictured. Though we were distracted, we finished the interview and I gave the man his money.

I remember thinking that evening, as I took the bus home, that even the spectacle of thousands of protesters snarling traffic on one of Chicago’s busiest thoroughfares, joining hundreds of other demonstrations all over the country–that even all that would have no effect on stopping the war. The war was moving forward as planned; the administration was dead set on invading Iraq, and there was literally nothing to be done. So many lives were going to be lost. So many billions of dollars were going to be spent. And there was nothing to be done. Except wait. Wait for the day to come when people would shake their heads in stupid regret over another unnecessary war.

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3 things about Peter Hunt’s ON HER MAJESTY’S SECRET SERVICE

On Her Majesty’s Secret Service [1968]

1. Snow white dress and cleavage.
2. The janitor is whistling “Goldfinger.”
3. Sunrise in the Alpine Room.

3 other things.

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3 things about David Lynch’s INLAND EMPIRE

Inland Empire [2006]

1. AXXonN.
2. The women both wear the same watch.
3. Blonde star wig.

3 other things.

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3 things about Robert Stevenson’s DARBY O’GILL AND THE LITTLE PEOPLE

Darby O’Gill and the Little People [1959]

1. The mountain slams shut behind him.
2. Up pops the empty whiskey glass.
3. Solarized death coach.

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3 things about Jules Dassin’s TOPKAPI

Topkapi [1964]

1. The bouncing ping pong ball triggers Sousa.
2. A vat of oil. The wrestlers grease each other. Her eyes widen in excitement.
3. Upon proving his strength, he does a little dance.

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3 things about Anatole Litvak’s THE AMAZING DR. CLITTERHOUSE

The Amazing Dr. Clitterhouse [1938]

1. The fence owns the Hotel Sequin.
2. From a basket, he pours pretzels into a bowl to hide the jewels.
3. “I can’t risk subjecting myself to too much champagne.”

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A cocktail: Shanghai Rainbarrel

A cocktail of my own creation that I’ve extensively tested and tasted and now I need to post the recipe in case I lose the piece of paper I wrote it down on …

SHANGHAI RAINBARREL

2 oz. orange juice
1 oz. unsweetened grapefruit juice
1 oz. Mt. Gay Eclipse rum
.75 oz. Amrut Old Port rum
.75 oz. Smith & Cross rum
.5 oz. Mathlide orange liqueur
.25 oz. falernum
dash of Angostura bitters
4 drops Herbsaint (or Pernod)

Combine all ingredients with 1 cup of cracked ice and flash blend for three seconds, then pour into a tiki mug. Add more ice to fill; garnish with whatever’s handy.

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3 things about David Cronenberg’s THE FLY

The Fly [1986]

1. A state of the art word processor.
2. “There is an elevator.” He picks her up. “Don’t you feel elevated?”
3. A package of mini cake donuts.

3 other things.

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3 things about Steven Soderbergh’s SIDE EFFECTS

Side Effects [2013]

1. “They don’t make you into anything you’re not, they just make it easier to be who you are.”
2. She screams into the pillow to get in the mood.
3. The pen stares back at him from his desk.

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3 things about Stanley Donen & Gene Kelly’s ON THE TOWN

On the Town [1949]

1. The shot is framed in such a way that the Statue of Liberty makes the trio into a quartet.
2. Upon noticing that the cabbie is a woman: “Hey, what are you doing driving a cab, the war’s over!”
3. Hans Conreid as an easily bribable maître d’.

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