Yes, They Have No Bananas

If You Will Now Please Join Me For A Minute Of Not Mumbling
I've been postponing expressing my delight at once again figuring so large in major doings. And one of the good parts about expressing my delight here is that, in so doing, I will also be describing stuff that once again makes me appear, to the discerning eye, as somewhat impressive! Can there be any reason not to begin?

A number of people were involved in the making of the amazing, warm comedy, "30 Minutes Or Less," including film superstar, Jessie Eisenberg. I shall be focusing on this film's producer, Stuart Cornfeld, and the several significant things contained in this film that are inside-references for my benefit.

In blog articles I wrote as early as August 2008, I have made reference to Stuart Cornfeld, a person I kind of knew at a certain point in the '70s, and who is now Ben Stiller's producing partner, running "Red Hour Films" with Mr. Stiller. I mentioned back in 2008 how, when Stuart includes in his movies secret inside-references to the gorilla mask(s) in the 1973-74 CalArts student film, "Limbo", it is an inside-reference for my benefit. I've gone into in 2008 blog articles how, when Stuart includes in movies a character standing over another character knocked to the ground, it is an inside-reference to the time in 1975 I was electrocuted when "best boy" on an AFI film set at Santa Monica Beach, Stuart being the person who came over to me to see if I was still ticking. I also mention in 2008 how, when Stuart's "Tropic Thunder" showed the characters considering using an idea one learned from watching a TV show, this joke also started with me, or at the least was apropos of my using it.

As you might have by now guessed, I enumerate here these three Cornfeld-film elements because each can be found, as I essentially predicted in 2008, in the current Cornfeld film, "30 Minutes Or Less". A movie which had not even cast its stars until 2010. The blog statements of mine to which I refer were not only published as part of these blogs, but also as part of Volume 1 of my compiled blogs that I published in November 2009 at Archive.Org (which is the more binding copyright, as articles posted at this blogsite do not contain a binding timestamp other than being witnessed by those who read the articles).

In "30 Minutes," the instance of a character knocked to the ground, the flame-throwing sidekick of the villain (in the scene where an individual coming to his side as he lies on the ground is humorously presented as an important symbol of that person's humanity), regards someone who is considerably less than truly sympathetic. I therefore would want to emphasize here that this is no reflection on me, I don't use flame-throwers, plus, I'm a nice guy. Furthermore, if in writing a screenplay one happens to include a description of an automobile, which perfectly matches a car belonging to a neighbor, however, in your screenplay the car is owned by someone about to blow up the world, this should not be seen by rational people as an accusation against the real-life car owner in any way (the screenwriter might even be pleased with the neighbor who owns the car in real life, wanting to recommend that he be elected neighbor-of-the-month, and NOT wanting to accuse him of trying to blow up the world, seriously NOT wanting to make that accusation).

I also went to see "Rise of the Planet of the Apes," as it is in the realm of things commonly experienced by me, that if one movie currently showing has gorilla masks as an inside-reference for my benefit, another currently showing movie, if about gorillas, might also contain some interconnecting material deliberately placed. I do recognize that these are not the kinds of things that commonly occur in most people's realm of experience. In "Planet of the Apes" (which features John Lithgow, whose sister was my best friend's girlfriend in high school) we do not find someone who operates a flame-thrower knocked to the ground with someone immediately coming up to them to see what happened. No, here it's the person who operates a water hose, shooting not flames from a flamethrower but powerful bursts of water, aimed at the chimps. As in the moment from which the inside-reference to me originated, he is electrocuted and knocked to the ground. People gather over him.

Once again, I love chimps and don't use hoses to knock them down, and any other resemblance to persons etc. unless stupid people are looking for an excuse to bother me in which case - here's one! Put it all together, and you raise doubts about people gathering over me when I electrocute myself. Could this be part of their making a full-length movie about the character Tom Cruise played in "Tropic Thunder," which Stuart produced, yet a character which some say was based on Stuart just the same? I don't know - I cannot even say if Stuart drives the same car as that character.

Express Lane Now Open
I've often discussed how major Arabic terrorist acts have been preceded by "things left on my doorstep", if the significance of these clues is read correctly (readable after the occurrence). And I've also often discussed how I consider this related to my secret super-importance in relation to the most prominent living Jewish man, Spielberg (whether he chooses to exist in their world or not, can we know whether they count him as occupying a chess square?). I've often discussed how I see one primary obstacle to real investigations of these things left on my doorstep: the question, "Why YOUR doorstep?" As the answer requires much fact-checking (by way of my blog articles) in order to verify my assertion of secret super-importance in relation to Spielberg, McCartney, etc., and as this assertion of mine may appear to work against certain important people's "images" (to which financial empires are tied), this fairly obvious, cut-and-dried evidence from Stuart - most of his company's films are distributed by Spielberg's Dreamworks - may someday go a long way (I hope) towards someone being prompted to perform the investigations I seek. And if any of you major Arab terrorists are reading this, please note: You have too many items for the express lane! Go wait on the long line to be within earshot of Spielberg like everybody else! Nevermind.... will that be paper or plastic?

Water, Hot Water, Wet Paint, Etc.

Death Is Like A Carwash
I am pleased to announce that I recently published my new movie idea, "Death Is Like A Carwash" at Archive.Org. I should caution, however, that I do not actually know that death is like a carwash, and therefore, those particularly fond of carwashes risk being seriously disappointed should they choose to end their life out of a belief in this apparent assertion on my part.

Monk/Steinhoff Videoclip, 10.9.09
First, what is NOT in this week's Monk/Steinhoff Videoclip: As was the case as described in my 9.27.09 blog accompanying "Monk/Steinhoff Videoclip, 9.25.09" (they skipped a week, no show 10.2.09, so no Monk/Steinhoff Videoclip for 10.2.09), potential terrorist clues have again resulted in Monk including reference to same without delay. This week's came from what I described in my Oct. 4th blog (Item 6), and this extremely expedited response on their part again indicates to me their appreciation of the gravity/potential gravity, which I in turn greatly appreciate. Suffice to say (who all this is "suffice" to may actually leave out almost everyone), they showed they had followed-up to the degree of uncovering inside word regarding the IQ-Lithgow's sister thing. No, the inside word wasn't contained in the part of the Monk episode where someone was stalking, or killing. That's all I choose to divulge. But it does not make me look bad. No, really. Seriously. And that's all you will get out of me. As it is, what is sufficient is already almost too much.

Second, what IS in this week's Monk/Steinhoff Videoclip:


Letterman, Regis, And Why Steinhoff, Jonathan Suspects Something Though It Makes Him Sound Crazy (Including Another Potential Terrorist Clue)
Prologue-Type Stuff
As you will find by looking in on my 8.30.09 blog ("Boston Crane Shot" section), my 6.7.09 blog ("Delano's Speed And Tinted Window Limit"), and my 5.10.09 blog, I assert, without any doubt whatsoever, that the few things (all non-illicit) that passed between myself and a woman I once worked with at the same NYC company for six years, a woman who Regis Philbin once introduced himself to in an NYC restaurant, are part of specific inside-references that have occured EVERY TIME that Regis has appeared on Letterman for approximately the past ten years (not to mention some of Regis' Ripa's Letterman appearances). Those who watch Letterman know how specially important Regis' appearances on his show are (this is not a subjective assessment). I attribute their involving me, at least in part, to my secret great importance in relation to people such as Paul McCartney. There is also evidence that Spielberg has been at some end of the "doings" pertaining to this woman and myself (I cannot emphasize enough the fact that they seriously made very much out of virtually nothing, and my addressing it all as noteworthy should not be regarded as confirmation that their actions have a substantive origin in a relationship worth going on about, though naturally there is a part of me that enjoys it all).

More Prologue-Type Stuff
There is a strange coincidence in that this same woman first met her husband while working for the same company as my father, a company an hour outside of NYC, my father acknowledging that he knew her husband (though not acknowledging that he remembers her). I have sometimes wondered whether she wasn't secretly instrumental in my having been hired (thru a job agency) by the company we both worked for in the first place (I was there ten years). It had previously occurred that a NYC job agency placed me in an office suite in NYC next to my sister's. I do not mean the building next to my sister's, I mean an office suite next to my sister's. It seems obvious someone set up that job that put me so near to my sister (in that instance I was a temp for Harley Lewin, famed rock lawyer who handled the Jimi Hendrix Estate, a Rod Stewart matter, a Billy Preston matter, had a fist fight with rock promoter Bill Graham described in Rolling Stone Magazine, etc.).

Stuff Probably More In The Epilogue Category

• This same woman (not my sister, please try to keep up) was depicted in a painting as the mother of the Alicia Silverstone character in the Amy Heckerling movie, "Clueless" (produced by Scott Rudin, who worked in the same building we were in). I had encountered Amy Heckerling years before, in 1975, when we both worked on an AFI film shoot.
  

• This same woman had on her wall at work, as the only non-business image, a photo I had taken (of a lobster truck, as she had described to me being sick on New Year's Eve but having been provided a lobster dinner by her husband). In the movie "Clueless" there is a whole emotional thing relating to whether it's about who took a photo versus what a photo depicts, and all of the emotional confusion this generates.
  

• There's also a bunch of other Heckerling and Silverstone and even Batman stuff I'm not describing as well (who has time for these endless details that help elucidate important things?).
  

• The painting in "Clueless" depicting this woman, I learned thru investigating, was by an artist named Rinaldi.
  

• The day immediately following one of Regis' appearances on Letterman, there occurred what became a major national news story: the abduction of children at a Jewish Community Center in Southern California. Specifically, Rinaldi Street.

• I concluded at the time that Letterman and Regis may inadvertantly have the worst people in the whole world somehow in their loop, as do all of us super-important and secretly super-important people (we're a magnet for certain types), but it seems most unlikely that it is any of their own doing.

• Now everyone's breath has been baited in anticipation of the fateful moment when Regis shows up on Letterman to touch on the tabloids' front-page subject of Letterman and his non-business relationships with his co-workers.

• Could this whole Letterman thing trace back to the Letterman-Regis-Steinhoff, Jonathan stuff? Hmm, but it looks like someone is going to jail, that's cooking with a human life. Yeah, but so was (in my view) the stuff that interconnected with the Jewish Community Center abduction. Here is where one needs theories, and I begin with the premise that it's all some kind of a pre-planned thing, with someone pulling the short straw, etc. It comes too close to the Letterman-Regis-Steinhoff, Jonathan co-worker business. One theory would be that, just as we know a person can die for his country, so a person can go to jail as part of a plan to end the endless Letterman sex jokes about Clinton, which were messing with our perception of the former president, thusly fueling the Republicans and thereby messing with the survival of the planet. Let's also remember that Stephanie Birkitt, the girlfriend of the blackmail villain whose diary was exploited as part of his blackmail scheme, shared the stage with Letterman quite a bit, when the pretense of deep-rooted animosity was just part of their shtick (she would pretend that his requests of her were tedious enough to warrant insolence and insults). This blackmail business can't also be a show? I have seen a LOT of front page show biz (and other) stuff regarding things that secretly began with major interconnecting to me. I have been making this point from the beginning. I'm sure Lennon knew how hard it can be.
  

"The Office", "Community", "Marley and Me" and Me


I make no mention in this videoclip regarding NBC Thursday night sitcoms that an NBC Thursday night sitcom that was canceled this year, "My Name Is Earl", was created by me. Otherwise, I will let the videoclip speak for itself.

Drew Barrymore and More
As Saturday Night Live often makes inside-references/usage of things regarding me/my material, a few things I saw last night on that show strike me as also belonging in that category, but only if seen in the context of SNL's history of doing such Steinhoff-related things:

• In a comment in relation to an article on Huffington Post this past week, as JonathanDS2U, I wrote something about scattershooting (about how the "convention" of making derisive remarks about pot smokers is a scattershot attack on a large number of people entitled to choose pot as their form of inebriation). On SNL last night, Drew Barrymore played a character who was described as chalking her cuestick in a scattershot manner.

• In another comment I made to a Huffington Post article, I wrote that, though the Taliban was cutting off people's hands for voting in the Afghan election, this is the type of thing that gets forgotten about in time as people look back on the election results, failing to factor in how this would have distorted the election's outcome. On SNL last night, in the Larry King parody, Kristen Wiig played a character who said that, in time, the only thing people remember about a news story is the wiener factor, failing to factor in things that were important in the discussions that took place when the news stories were first on the table.

• There was a sketch where a man was carried away by birds. Though this also occurs in my book, "The Coin That Came In Second" (which led to the creation of the Spielberg movie, "Jurassic Park"), I didn't clearly see anything else on last night's show that also connected to this work, which is generally how I judge there to be a deliberate reference. True, in the HBO premiere of "Marley and Me" (see second videoclip in this blog) they drive a car quite similar to one I used to drive (1985 Ford Escort), when my personalized plate read, "2 Coin"; and true, there was a sketch last night in which Drew Barrymore plays the author of a book; and true, Drew Barrymore starred in Spielberg's "ET"; and true, emphasis on the behavior of animals became relevant to the second videoclip in today's blog. None of these things are really enough, however, and I therefore mention them only to avoid omitting something intended by someone or another for inclusion here.
  

• I am quite certain that Cameron Diaz, close friend of Drew Barrymore, drove by me on my way to work Thursday. Although I do live in Burbank, 99% of my "celebrity sitings" have this degree of immediate relevance, and so are to be scrutinized as likely being deliberately designed to exist in such a specified context. Additionally, my June 25th and June 28th blogs both feature videoclips that include Cameron Diaz involved in things relating to me.

• Drew Barrymore's previous appearance on SNL included references to me/my material in nearly every sketch.

The Small Ones That Got Away
And finally, I'm building up a collection of more references on "Smallville" to my "Mall Man" video, and will put them together when I have enough to shout "bingo!", or maybe just "bing!"