I got my new Technics tables in tonight. They are PIMP. My boy Trey is letting me spin at his bar this Thursday night (Word up to Trey) and then we’re going to have a late dinner at Estradi’s. I’ve never been there, but Bryan buses tables there and says he’s seen fucking Louis Yorba and Ted Danson eat there.
I’m out to rent The Day After Tomorrow. I saw it in the theatres, but it was hard to concentrate on the movie with Paula grabbing my prick so tightly.
Year by Year: Confessions of Steve Survain
Sundance Film Festival 1992
That year I had directed a few (seven all together) short films I detested. It was truly a dry period, not only for me, but for our production company, Going On 40. I was being represented by Garriscond at the time and he had me convinced that two of my films showed promise, so I entered them into Sundance.
The first was a very visual piece starring Santino Krokevik and Tyler Opel, two of my flatmates at the time. It was shot over a course of three days on location in Cincinnati. I believe Garriscond was drawn to the violent nature of the film, but come to no surprise, Sundance declined.
About a lifetime short of a masterpiece, the second film I entered was one I had cowritten with David Mamet in college. This is a little embarrassing to admit, considering David’s screenplay, Hoffa, had been made into a top grossing original motion picture that very year. That other film was also declined.
Garriscond invited me to Sundance despite the rejections and we went and established quite the friendship on that trip. He introduced me to everyone we came in contact with. I met all kinds of people from the industry, including Robert Redford. Yorba was also at the festival, Redford’s niece at his side.
Possibly the most uplifting encounter was with writer Roger Avary, who had written for Quentin Tarantino’s Sundance debut, Reservoir Dogs. We spoke at a cafe outside one of his screenings and he gave me pointers I still use when writing films today. He went on to adapt several Bret Easton Ellis novels and I always congratulate him on the accuracy of his work. People like Avary are few and far between. His sheer love and respect for film making allows him to speak to aspiring directors on an equal platform, in hopes that the next great screenplay will have risen from his inspiration.