Poor Mojo's Newswire

Stewart will be taking a break from the "The Daily Show" beginning in June to direct the film "Rosewater," an adaptation of the book And Then They Came For Me: A Family’s Story of Love, Captivity and Survival, which chronicles author Maziar Bahari's experience covering the 2009 Iranian presidential election. John Oliver, a regular on "The Daily Show," will anchor the popular show in Stewart's absence. A journalist and documentarian, Bahari was held in a Tehran jail for four months in 2009. Stewart will be making his directorial debut in making the film, for which he also wrote the screenplay. He conceded to the New York Times that the project frightens him. “I am a television person who is accustomed to having a thought at 10 a.m. and having it out there at 6:30 p.m. and moving on, so this is a little scary, yes,” Stewart said. Stewart said Bahari's story resonated with him. Before his arrest by Iranian authorities, Bahari was involved in a sketch on "The Daily Show" in 2009.

In late 1992, Quentin Tarantino left Amsterdam, where he had spent three months, off and on, in a one-room apartment with no phone or fax, writing the script that would become Pulp Fiction, about a community of criminals on the fringe of Los Angeles. Written in a dozen school notebooks, which the 30-year-old Tarantino took on the plane to Los Angeles, the screenplay was a mess—hundreds of pages of indecipherable handwriting. “It was about going over it one last time and then giving it to the typist, Linda Chen, who was a really good friend of mine,” Tarantino tells me. “She really helped me.” When Tarantino met Chen, she was working as a typist and unofficial script consultant for Robert Towne, the venerable screenwriter of, most notably, Chinatown. “Quentin was fascinated by the way I worked with Towne and his team,” she says, explaining that she “basically lived” at Towne’s condominium, typing, researching, and offering feedback in the preparation of his movie The Two Jakes. “He would ask the guys for advice, and if they were vague or disparate, he would say, ‘What did the Chink think?’ ” she recalls. “Quentin found this dynamic of genius writer and secret weapon amusing. “It began with calls where he was just reading pages to me,” she continues. Then came more urgent calls, asking her to join him for midnight dinners. Chen always had to pick him up, since he couldn’t drive as a result of unpaid parking tickets. She knew Tarantino was a “mad genius.” He has said that his first drafts look like “the diaries of a madman,” but Chen says they’re even worse. “His handwriting is atrocious. He’s a functional illiterate. I was averaging about 9,000 grammatical errors per page. After I would correct them, he would try to put back the errors, because he liked them.” . . .

Over all, the network’s ratings have fallen so far that no episode of any show on NBC in February came within one million viewers of a show on PBS: “Downton Abbey.” And forget approaching the numbers of a cable hit like AMC’s “The Walking Dead.” Nothing NBC has put on in prime time has matched even the appeal of the “Talking Dead,” a show with people simply discussing “The Walking Dead.” That show managed a 2.2 rating in the 18-49 audience. NBC’s best prime-time number for the month has been a 2.1, achieved by episodes of “The Biggest Loser” and “The Office,” a comedy that is about to go off the air. Remarkably, the best-rated show on NBC all month has been “Saturday Night Live,” which produced two original versions in February, both times hitting a 2.3 rating, topping everything else on the network. “SNL,” though, is not even in prime time — and it is 38 years old.