Edgar Wright's Film Festival - "The Wright Stuff" - recently roared into the theatre with a few high-profile celebrities in tow. At the screening of "Phantom of the Paradise" - which was paired with the musical comedy Bugsy Malone - there were so many filmgoers jostling for seats that they were inclined to wait patiently in a long line which snaked along Beverly Boulevard in front of the theatre and offshooted down a dark side street into the great beyond.
Edgar Wright - the adventurous director of two recent blockbuster hits - "Shaun of the Dead" and "Hot Fuzz" - promised surprise guests and he did not disappoint.
It was rumored that Paul Williams - composer of the film score for "Bugsy Malone" and the unlikely star of the cult phenomenon "Phantom of the Paradise" - was on hand to field questions and sign autographs in a Q & A session during admission.
The crowd was tame, but antsy.
Normally, the New Beverly Cinema opens promptly at 7:30 pm, but on this harried occasion - for some inexplicable reason - ticket-holders stood in line for over an hour before the doors were flung open and excited fans were allowed to storm the theatre in search of the best available seats.
Then, a few die-hards had to wrangle their way through a second more oddly-configured line to order up tasty snacks at the confection booth.
Heh, business is good!
There was a lot to take a gander at while stumbling through the queues; a film crew - for instance - logging footage for a documentary on Paul Williams, surreptitiously hung around the lobby catching candid shots of the attendees.
On the street, Scott Caan - son of James - caught the ire of a few filmgoers when he persistently revved up his motorcycle out front - some say - in a selfish attempt to nab some attention.
After working with the actor on one project, Robert Duvall was alleged to have snidely remarked in a TV interview once that young Caan, "Occasionally needed a pat on the back."
No one was offering it last night; they were too preoccupied with the celebrated guests in attendance and the adrenalin rush of the festivities underway.
Edgar Wright was in good form, dashing around the theatre like an excited kid with a new toy.
After all, this was his baby.
Edgar organized "The Wright Stuff" - a festival of his favorite films - which included preparing the press releases, lining up all the projects, and arranging for special surprise celebrities to appear.
Before the main features screened, the handsome heavyweight treated the enthusiastic audience to a short video he directed and produced - aptly titled - "After Hours" - which featured music by the "Blue Tones".
Without doubt, the award-winning auteur has on-camera talent, as well.
I particularly enjoyed one dance number where he planted his hands firmly on a table top, half-turned - thrust his little butt into camera with a twist and a kick of agile legs - then popped back upright to finish the snazzy choreographed number which was a sassy tribute to "Bugsy Malone".
During half-time, Edgar stood up-front and center with Paul Williams, and managed to extract some intriguing behind-the-scenes gossip about the two projects, too.
Apparently, "Bugsy Malone" came about when the director - Alan Parker - put in a call to the Paul Williams tossing up an idea about a musical featuring kid gangsters.
The tale started out as a bedtime story for his children. Each night, as Parker tucked each child in before their journey on to dreamland, a new chapter was added. Then, one thing led to another.
The visionary director met with the songwriter in Las Vegas - where Williams was performing on stage at the time - and hammered out the details.
Curiously, the duo hired army brats for all the key roles.
In respone to a query from the audience, the award-winning composer noted that the voices of the young performers - including Jodie Foster's - were dubbed to create a jarring odd-ball effect.
"Bugsy Malone" was a personally rewarding experience for Williams, who joked in an afterthought,
"I got to keep a lot of the clothes, too."
In reply to another fan's question, the charismatic guest confirmed that he started out as an actor in a throw-away role in the film, "The Loved One".
He laughingly noted to the audience that he was difficult to cast for two reasons; for starters, he gave the appearance of being a kid. Secondly, when placed next to a child actor, he looked - for all-the-world - like a youth with a hang-over!
The audience roared!
At this juncture, Williams had a confession to make.
For the record, he admitted to gaps in his consciousness over the years due to acute alcoholism.
For sure, the alcohol "got the better of him" on more than one occasion - and clouded his memories - he admitted without shame.
In respect to composing, he says the career path presented itself in a round-about-way.
On a set one day, he allegedly plucked up a guitar and started to strum a little, without much thought or consternation.
Robert Duvall turned an ear to the musical whimsies, and finding them appealing, brought them to the attention of Arthur Penn.
Slowly, thereafter, his composing career unfolded as if directed by a finger of fate.
When asked about his favorite tune in "Phantom" - without hesitation - he noted with pride it was the haunting "Old Souls".
On the heels of this revelation - he added sadly that - "Old Souls" has never been recorded yet. Gloria Estevan expressed an interest at one point, but nothing came of the overture.
Williams - looking more the record exec than pop star or composer - was smartly attired in a sharp black suit which was tastefully matched up with a blood red shirt which added a dash of color to the mix.
To the surprise of many, the diminutive star noted that "Phantom" was a big hit in Winnipeg!
He surmised that the movie hit gold in the city north of the border because parents dropped their kids off at the movie theatre "to devour" Phantom for hours on end - while they went off to shop and do chores - confident that their "babysitter" would keep them under a spell 'til they returned to gather 'em up.
Williams proudly noted for the record that there is an annual "Phantom" festival in Winnipeg, now. The songwriter attended the festivities for the first time this past year.
Go figure, "Phantom of the Paradise", is also popular in Paris.
"Well, they love comedy over there," he chirped.
He labelled Phantom - "a cartoon with real people" - and added that when it was originally produced the project was timely.
"The Vietnam War was raging and the body count was high," he recalled. And, "The idea of an assassination - like the one depicted in the film - did not appear to be so far-fetched."
In sum, he surmised that the foregoing reasons may have accounted for the popularity and success of "Phantom" during that era.
Near the end of the Question & Answer session, Paul Williams lamented to the audience - "I love to act" - as he turned and gave Wright a little wink.
Edgar, I think that was a hint. Williams is pining to be cast in one of your films!
As if there wasn't enough headiness for one night, there were more surprises on tap, too.
As promised on Wright's "myspace" web site, there was a surprise feature beckoning at midnight, too. Around the witchin' hour it was ceremoniously unveiled - "Ishtar".
To get the ball rollin', Quentin Tarantino rushed up, baseball cap askew, and gave a brief intro to the delight of everyone.
He noted that when he first saw "Ish", he was gainfully employed at a Video Store in Manhattan Beach.
So, a group of his work buddies proceeded to ensconce themselves in the second row of the theatre at the screening, when - Elaine Mae, director of the Warren Beatty/Dustin Hoffman stinker - strode down the aisle and plunked herself right down in the front row.
He snickered,
"She laughed at everything throughout the entire film."
But shamefaced admitted, "they did too!"
Then, he treated us to his favorite tune from "Ishtar".
With tongue firmly in cheek, he sang out "Hot Fudge Love".
In a quick uptake, Paul Williams argued that were it not for the big salaries of Beatty and Hoffman, perhaps "Ishtar" would not have been so roundly panned by the crtics for having been such a self-indulgent lack-luster over-budget bomb.
I disagree.
Undeniably, the film is still a stinker.
It has stood the test of time in that regard.
But, it was a hoot to take in once again, none-the-less.
