I caught the premiere screening of Fuck last night at AFI Fest. As you know, Kevin pops up for some interviews talking about the word, how he has embraced it in his films, and more. Overall the flick was a funny and thoughtful mixture of flicks like “The Aristocrats” and “Bowling for Columbine”, stylistically. The interviews are people as varied as Pat Boone and Ron Jeremy. Kevin’s interview is given some solid time around the middle of the flick, where he tells a funny story I had never heard at any of his Q&A sessions about going to see “Scarface” the day it opened with his buddy, and the kid’s mom coming to pick them up and catching the last few minutes of the flick. Anyone who has seen “Scarface” can imagine the moritification of being thirteen and having your mom see those scenes. He also touches on the dubious honor of “JSBSB” beating “South Park” by one “fuck” for the all time usage record, how they treat swearing around Harley, and the well-trodden subject matter of he and the wife’s sex style. There were clips from “Clerks” and “JSBSB” as well. Obviously with “Clerks 2″ duties he wasn’t at the screening or after-party, but Joey Lauren Adams was there based on having worked with the director of “Fuck” before. As usual, she looked tiny and stunning, which is more than I can say for Ron Jeremy (who was a nice guy but not a looker). If “Fuck” ends up coming to a theatre near you (and hopefully keeping its title) I definitely recommend checking it out for its humor and thoughtful commentary on the state of free speech and vulgarity in an increasingly conservative country.

Clerks (1994)

All told, the credit card bills and sundry expenses amounted to somewhere in the region of $25,000. That’s a lot of coin to pay back, but if Kevin Smith was ever worried about recouping his borrowed, begged but absolutely not stolen outlay for his first movie, then he didn’t really have time to show it. For Clerks was quickly picked up by Miramax chief Harvey Weinstein, who overlooked its dodgy production values, ropy acting and a story that resists the description ‘threadbare’ because he saw a raw vitality in its balls-out dialogue; a vitality and spirit and, more importantly, laugh out loud sense of humour that ensured that Clerks connected instantly with disenfranchised tweens and shop workers everywhere, and the rest is history for Smith, from Chasing Amy to the continuing adventures of Jay & Silent Bob, to Empire Awards and domination of the geek world. Or, as Wor Kev might say it, motherfucking cocksucking history.”