Some time around the mid-‘90s I took a weekly screenwriting class for a while, and the teacher loved Paul Schrader. He seemed to bring him up in every class. The guy who wrote TAXI DRIVER. The guy with the strict Calvinist upbringing. Eventually he had us watch a Paul Schrader movie, and he chose LIGHT OF DAY – the one where Michael J. Fox plays in a rock band with Joan Jett. I had seen it before and I didn’t dislike it but I thought it was a weird choice to represent Schrader. I think maybe the teacher hadn’t seen it yet.
But, you know, after THE CARD COUNTER last year and finally watching LIGHT SLEEPER this year I was kinda high on Schrader and thought it might be worth going back to this one to see if there was something I was missing. Well, no, not really, but that’s okay. It’s not in the vein of those ones I just mentioned and it’s not as powerful or as distinctly Paul Schrader, but I don’t think anybody else would’ve made exactly this rock ’n roll movie.
I used to think of it as corny because it’s a rock star acting and a sitcom star rocking, but what’s cool about it is that it’s thoroughly working class. It’s about a band, but it’s never about the record label guy is coming to the showcase and it’s their big chance and they write a hit and they get the cover of Rolling Stone but then it’s the pressures of fame or whatever. No, they’re just a small band that plays at a little tavern in Cleveland called the Euclid (“the Euc” for short) and they try to keep that gig or set up a small tour or play in a different band that will pay better. They do pull a pretty good crowd for the size of the place, but they’re not famous. Nobody knows who they are. And they gotta have jobs. (read the rest of this shit…)
August 23, 1991
Charles Lane had written, directed, and starred in a 1989 film called SIDEWALK STORIES, about a homeless artist in Greenwich Village who takes care of a little girl (played by his daughter) after her father is murdered. Partly an homage to Charlie Chaplin’s THE KID, it’s silent except for the last scene. Roger Ebert loved it, it was nominated for Independent Spirit Awards for best director, first feature and male lead, and according to Wikipedia it won the audience prize at Cannes, though I haven’t been able to verify this. The point is, it was respected.
June 14, 1985
At various points in the movie Oliver’s performance will remind me of Haley Joel Osment’s in A.I., but it’s a very different approach to the story. Rather than a dark fairy tale journey through a fantastical future world, this is what happens to a character like that trying to pass for human in a normal ‘80s suburb.
RADIOLAND MURDERS is a retro comedy, a madcap murder mystery taking place in 1939 as a Chicago radio station has a gala live broadcast performed in front of an audience and a room full of big shot affiliates waiting to be impressed. There’s a big band and actors doing adventure shows and commercials while the writers, directors and sound engineers scramble to have something on the air after the boss just tossed out all of their scripts. Meanwhile, writer Roger (Brian Benben, 
