I've gotten a surprising amount of email over the past 24 hours from my Tech Central Station piece on Hollywood yesterday, most of which has been extremely positive. (Most of the nays have been based around the theme that "it's not the politics in Hollywood that suck, it's the scriptwriting". Well, sure. But what mindset drives the bulk of the writing?)

Speaking of scriptwriting, Kate Wright, producer and author of Screenwriting is Storytelling read my article and emailed me some thoughts on the upcoming Memoirs of a Geisha:

Memoirs of a Geisha moves along at a clipped pace with sumptuous visuals and superior production values. Then, all of a sudden, whammo, we’re in -- World War II -- but wait, there’s no Rape of Nanking, no Invasion of Mongolia, no Pearl Harbor?! We’re smack in the middle of what looks like an American invasion? Oh, the war’s over now, and we’re in the middle of the American occupation…

Now we meet this sleazy United States Colonel who’s in charge of doling out the reconstruction monies. The lascivious Colonel requires a lust-bribe in the form of an invitation into a bacteria-laden hot tub with the lead Geisha to play “Truth or Lies” and he blurts: “In America, we call that marriage.”

But the ugly American Colonel doesn’t stop there. He’s such a lout he just has to have that innocent self-sacrificing Geisha girl – he’s a “he-said-she-said” rapist, too?!

The final button belongs to the drunken Geisha friend who has fallen into prostitution to survive that nasty occupation: “Y’know those Americans, they’re all bastards!”

Oh, really -- those Americans -- all bastards?

So, that’s what the Memoirs of a Geisha producers think of their “fiduciary obligation” to the shareholders.

Update: Found via Dave Johnston, C/Net has a great profile of Andrew Breitbart, whom I interviewed for the TCS piece.