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The ongoing talks between the WGA and the AMPTP continued to look promising through the weekend, but the writers couldn’t help but have fun with the studios’ claim that they made their “best and final offer.”

After the statement was made late Saturday before talks continued today, union members took to X to have a little fun with the AMPTP’s choice of words.

It inspired Mike Flanagan and a few others to come up with possible movie titles, should Hollywood ever decide to chronicle this hot mess of a negotiation. “Best Final Offer. 2 Best Final. Best Final Offer: 3D. Off4: The Best & The Final. Bfo 5: The Finalest Offer,” he wrote.

Eden Danger followed with a few of her own: “Offer Final Offer Best & Final Offer Last & Final Offer Smart & Final Offer Final Offer Tokyo Drift.” And so did George Samir Nader: “B&f: The Motion...

Michael Barker is not only a prime moving force in indie film distribution, but one of the funniest raconteurs alive. He and Tom Bernard, also a funny man, have been the co-presidents of Sony Pictures Classics since 1992, which qualifies them as the Methuselahs among studio heads. Their films have won 24 Academy Awards and 101 nominations. He knows everybody and takes little mental notes, resulting in an outpouring of stories I could tell you, but then I would have to shoot you.

Like many funny people, he exerts a magnetic attraction for funny experiences. He attracted one just the other day, when he went to see the new Paul Verhoeven film. "I'm looking at the screening schedule and I can't believe my eyes," he was telling us the other night. This was at dinner on the Carlton Terrace with Richard and Mary Corliss, Chaz, and our granddaughter Raven. "I'd never heard anything about this.

Leave it to Quentin Tarantino to find a climax unique in the history of war movies. Also trust Qt to get away with a war movie that consists largely of his unique dialog style, in which a great deal of action is replaced by talk about the possibilities of action. His "Inglourious Basterds," which premiered Wednesday morning here at Cannes, is a screenplay eight years in the writing, and you can't fill 148 minutes with descriptions of special effects. At least not if you're a motormouth like Tarantino.

My review will await the film's August 21 opening. I know, I wrote a lot about "Antichrist," but with this one I'd like to hold out until opening day. No, that doesn't mean I disliked it. It means it inspired other kinds of thoughts--about Cannes, Tarantino, and the way the movie industry seems to be going these days.

"Why," Mr. Tarantino, he was asked...