{"id":1043,"date":"2009-11-30T21:16:00","date_gmt":"2009-12-01T05:16:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/culturecrash\/2009\/11\/la-confidential-in-mexico.html"},"modified":"2009-11-30T21:16:00","modified_gmt":"2009-12-01T05:16:00","slug":"la-confidential-in-mexico","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/culturecrash\/2009\/11\/la-confidential-in-mexico.html","title":{"rendered":"&quot;LA Confidential&quot; in Mexico"},"content":{"rendered":"<p>THE Misread City just landed in Guadalajara, where an enormous book festival will pack in 500,000 or so by week&#8217;s end.<\/p>\n<p>Tonight I took in a panel on one of the best movies ever made about Los Angeles &#8212; &#8220;LA Confidential.&#8221; Actually, it was just die-hard Angeleno David Kipen interviewing the film&#8217;s director, Curtis Hanson, but the conversation was quite revealing.<\/p>\n<p>Hanson talked about his fight with Warner Bros. to cast lesser-known actors in the role of Bud White (which went to Russell Crowe) and Ed Exley (Guy Pearce) and said he almost lost the film because of the casting issue. &#8220;But here&#8217;s the deal,&#8221; he said. &#8220;I want to shoot unknown.&#8221;<\/p>\n<p>He also described trying to find parts of LA that still existed from the novel&#8217;s 1950s setting, to capture the city&#8217;s continuity rather than the fragmented memory that&#8217;s typically the way old LA is remembered. Hence the use of the Formosa Cafe, near his grandparents&#8217; house, and where he took the actors to talk about their roles.<\/p>\n<p>&#8220;I didn&#8217;t want the movie to feel like the snapshot of a period that doesn&#8217;t exist anymore,&#8221; Hanson said.<\/p>\n<p>And he talked about the role of &#8220;Chinatown&#8221; as a precedent for his film, and how he showed the actors the great Bogart film, &#8220;In a Lonely Place,&#8221; as well as Billy Wilder&#8217;s &#8220;The Apartment,&#8221; to set the tone.<\/p>\n<p>Even then, by the way, Crowe was known &#8212; as the director put it &#8212; as &#8220;trouble.&#8221;<\/p>\n<div><a href=\"http:\/\/4.bp.blogspot.com\/_yrL6yfubw8g\/SxSrzYxQ0XI\/AAAAAAAAAjc\/PNvtE_nWNSg\/s1600\/La_confidential.jpg\" imageanchor=\"1\"><img decoding=\"async\" border=\"0\" src=\"http:\/\/4.bp.blogspot.com\/_yrL6yfubw8g\/SxSrzYxQ0XI\/AAAAAAAAAjc\/PNvtE_nWNSg\/s320\/La_confidential.jpg\"><\/a><\/div>\n<p>By the way, <a href=\"http:\/\/articles.latimes.com\/2008\/apr\/06\/entertainment\/ca-ellroy6\">here<\/a> is my LATimes piece about films based on Ellroy&#8217;s work. All in all, a fascinating discussion about one of the great works of art about the city.<\/p>\n<p>This movie came out a month or so after I moved to town and was a very big deal for me and everybody I knew back then. For me, the movie stands as an important step &#8212; as well as Kevin Starr&#8217;s histories, most of Ellroy&#8217;s work, and books on West Coast jazz and Central Avenue &#8212; in which this city that often has amnesia began to recover some of its own past.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>THE Misread City just landed in Guadalajara, where an enormous book festival will pack in 500,000 or so by week&#8217;s end. Tonight I took in a panel on one of the best movies ever made about Los Angeles &#8212; &#8220;LA Confidential.&#8221; Actually, it was just die-hard Angeleno David Kipen interviewing the film&#8217;s director, Curtis Hanson, [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[35,194,76,30,364],"tags":[],"class_list":{"0":"post-1043","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-books","7":"category-ellroy","8":"category-film","9":"category-los-angeles","10":"category-mexico","11":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts\/1043","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/comments?post=1043"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts\/1043\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/media?parent=1043"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/categories?post=1043"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/tags?post=1043"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}