www.gamespy.com/articles/664/664147p1.html
com&dechannel=gamespy&network=gamespy&site=gamespy& pagetype=gspy_article&articletype=feature&article_id=664147&topic_id=536 &object2_id=482108&object2_id=535944&object2_id=535954&object2_id=573904 &network_id=22&channel_id=508§ion_id=1491&article_id=664147&gob_id=0 &pagetype=gspy_article&secondary_objs=482108,535944,535954,573904&js=fal se PlanetFargo: On the Set of The Movies This week, thanks to The Movies, Fargo uncovers a side of himself he didn 't know was there.
penned the screenplay for a movie based on Civilization. So now that Peter Molyneux's new game The Movies is almost upon us, I eager ly jumped at the chance to do the review. Meanwhile, I'd like to talk a little bit about the early days of filmmaki ng. And by that I mean the early days of my filmmaking, which were as in credible as those of D W Griffith but for the fact that I didn't know what I was doing. You see, in The Movies, you've got to have a studio-boss's eye for detail . I had hired a hot leading man, a gorgeous actress, and an extra. When my writers turned in a steamy script, I was excited to get that sucker p roduced! I was gonna turn up the heat in theaters around the country! Th at's where the whole "eye for detail" thing comes in: I hadn't paid any attention to who signed on as the extra for my leading man.
Fade In: a burly cowboy walks into a bar, holding a bundle of roses. The cowboy swaggers over t o the man and gives him the flowers: the bald Asian man all but weeps fo r joy. So believe me when I say, I have absolute ly no problem with any man who is, in his own personal private life ... I just didn't think the audience in 1920s America was really ready for a gay cowboy movie to hit the box office. "Love with a Gu n" was a hit: it rocketed up the charts. I raked in so much cash-money t hat I was able to simultaneously produce two movies at once for my next project. Eager to mix things up, I ordered scripts for both an action movie and a romance movie. Both scripts sucked, which was par for the course at Farg o Studios (where our studio logo is a large toilet with a star behind it ), but I rushed them to production. And, to make sure I didn't run into any more casting snafus, I hired a stunning female extra to round out my cast. Things got so busy at the studio -- I had to personally supervise the pla nting of several attractive shrubberies -- that I didn't have a chance t o oversee the casting. Our action movie was the first in the can: This s tuff was pure quality. A woman enters a basement to find another woman, and an argument ensues. Our starlet pulls the trigger and g uns down the hapless extra. This may have been the first cinematic use o f the gut-shot ever put on film. I released the movie to worldwide criti cal disgust and astounding box-office success. But wait -- if my female extra was in that movie, just who was in princip le filming with my leading man? Moments later my next movie wrapped up a nd was ready for me to view. Fade in: a balding Asian man stands in blea k Nevada desert. I'm just saying, if people were to look at my body of work so far, they might jump to conclusions. But I'm not a cowboy, I'm just a studio head who seems to have an unwaver ing talent for busting out an endless stream of homoerotic cowpoke flick s And yet, my second gay cowboy movie raked in more cash than all my ot her movies combined. Now that I had create d the all-male equivalent of Hepburn and Tracy, I was planning to milk i t for every penny. Stick around next week for a full review of the game, as well as the Worl d Premiere of my first full-length talkie, "Stiff Dick: Private Eye." My studio may be ranked last, but we've cornered some sort of market.
|
http://csua.com/feed/