This Is Where I Leave You
The family gathering comedy is one of the more difficult genres to pull off. Good for Levy for trying something different. But next time he…
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Jana Monji responds to our Movie Love Questionnaire.
Weird Al hits Number 1; The banality of the celebrity profile; A guy walks into a bar; "Galaxy Quest": The Oral History; Wallace Shawn on Ibsen.
Sandra Bullock's character in "Gravity" defies the norms of female characters in Hollywood films.
The first in a monthly series of video essays about unloved films, Scout Tafoya's video essay is an appreciation of "Alien 3," the debut feature by David Fincher.
Science fiction films of the 1950s gave women surprisingly prominent roles as scientists.
Marie writes: the ever intrepid Sandy Khan recently sent me a link to ArtDaily where I discovered "Hollywood Unseen" - a new book of photographs featuring some of Hollywood's biggest stars, to published November 16, 2012."Gathered together for the first time, Hollywood Unseen presents photographs that seemingly show the 'ordinary lives' of tinseltown's biggest stars, including Rita Hayworth, Gary Cooper, Humphrey Bogart and Marilyn Monroe. In reality, these "candid' images were as carefully constructed and prepared as any classic portrait or scene-still. The actors and actresses were portrayed exactly as the studios wanted them to be seen, whether in swim suits or on the golf course, as golden youth or magic stars of Hollywood."You can freely view a large selection of images from the book by visiting Getty Images Gallery: Hollywood Unseen which is exhibiting them online.
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Marie writes: According to the calendar, summer is now officially over (GASP!) and with its demise comes the first day of school. Not all embrace the occasion, however. Some wrap themselves proudly in capes of defiance and make a break for it - rightly believing that summer isn't over until the last Himalayan Blackberry has been picked and turned into freezer jam!
The visceral impact that Ridley Scott's "Alien" had in 1979 can never quite be recaptured, partly because so many movies have adapted elements of its premise, design and effects over the last three decades -- from John Carpenter's remake of "The Thing" (1982) to David Cronenberg's remake of "The Fly" (1986) to "Species" (1998) and "Splice" (2009). No movie had ever looked like this. And it still works tremendously -- but let me tell you, in 1979 a major studio science-fiction/horror film that hinted darkly of interspecies rape and impregnation was unspeakably disturbing. (It got under my skin and has stayed there. We have a symbiotic relationship, this burrowing movie parasite and I. We nourish each other. I don't think Ridley Scott has even come close to birthing as subversive and compelling a creation since.)
The thing is, the filmmakers actually took out the grisly details involving just what that H.R. Giger " xenomorph" did to and with human bodies (the sequels got more graphic), but in some ways that made the horror all the more unsettling. You knew, but you didn't know. It wasn't explicitly articulated. Dallas (Tom Skerrit) just disappears from the movie. The deleted "cocoon" scene (with the haunting moan, "Kill me...") appeared later on a LaserDisc version of the film, and then was incorporated into the 2003 theatrical re-release for the first time. The deleted footage:
Marie writes: Not everything is what is seems...(Click images to enlarge.)
Marie writes: I've never seen this done before - and what an original idea! Gwen Murphy is an artist who breathes new life into old shoes, transforming them from fashion accessories into intriguing works of art. Thanks go to club member Cheryl Knott for telling me about this. (Click to enlarge.)
Marie writes: Recently, we enjoyed some nice weather and inspired by the sunshine, I headed out with a borrowed video camera to shoot some of the nature trails up on Burnaby Mountain, not far from where I live. I invariably tell people "I live near Vancouver" as most know where that is - whereas Burnaby needs explaining. As luck would have it though, I found a great shot taken from the top of Burnaby Mountain, where you can not only see where I live now but even Washington State across the Canadian/US border...
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Marie writes: behold the power of words, the pen mightier than the sword.
Marie writes: club member Sandy Kahn has submitted the following and I salute her web skills for having found it. Namely, an upcoming auction of film memorabilia the likes of which you rarely if ever see...
He had these smiling eyes. And a self-deprecating manner which seemed to belie his very good looks ("He's so cute," my 19-year-old assistant exclaimed), about which he was fairly oblivious. Most of all, he was simply a very good guy.
Gary Winick, a many-hats-wearing filmmaker and digital pioneer, died of complications following a 2 year battle with brain cancer on February 27th, the day of the Academy Awards --- an especially sad irony for a vital man, weeks shy of 50, whose passion for film and storytelling had filled the decades of his adult life.
The private memorial service was held at the Time-Warner Center in Winick's beloved New York. Overlooking Central Park as the sun set, an invited group of 400 (some going back to childhood, some famous, many with whom he'd worked, even some he'd made sure got a decent meal when they were struggling) assembled to watch film clips, to hear and tell stories - to cry, yes, but also to laugh at so many experiences they certainly cherish now.
Marie writes: Ever since he was a boy, photographer John Hallmén has been fascinated by insects. And he's become well-known for photographing the creatures he finds in the Nackareservatet nature reserve not far from his home in Stockholm, Sweden. Hallmén uses various methods to capture his subjects and the results are remarkable. Bugs can be creepy, to be sure, but they can also be astonishingly beautiful...
Blue Damsel Fly [click to enlarge photos]
So, did you like what you got for Christmas..?
From the Grand Poobah and Mrs. Poobah:Seasons Greetings Everyone! (click to enlarge)
This free Newsletter is a sample of what members receive weekly.For Roger's invitation to the Club, go HERE Marie writes: some of you may recall seeing a custom-built "steampunk" microphone stand made for the group Three Days Grace, by sculptor Christopher Conte; there were pictures of it inside the #14 Newsletter.Born in Norway, Christopher Conte was raised and educated in New York, where he currently lives. After earning a Bachelors Degree in Fine Art, he began working in the prosthetics field making artificial limbs for amputees; which he did for 16 years as a Certified Prosthetist. At the same time, he worked in obscurity creating sculptures which reflected his love for biomechanics, anatomy and robotics. In June 2008, he left the field to begin his career as a full-time artist. And you can now view his work portfolio online...
The Sculpture of Christopher Conte
Marie writes: some of you may recall seeing a custom-built "steampunk" microphone stand made for the group Three Days Grace, by sculptor Christopher Conte; there were pictures of it inside the #14 Newsletter.Born in Norway, Christopher Conte was raised and educated in New York, where he currently lives. After earning a Bachelors Degree in Fine Art, he began working in the prosthetics field making artificial limbs for amputees; which he did for 16 years as a Certified Prosthetist. At the same time, he worked in obscurity creating sculptures which reflected his love for biomechanics, anatomy and robotics. In June 2008, he left the field to begin his career as a full-time artist. And you can now view his work portfolio online...
The Sculpture of Christopher Conte
Welcome to a special Halloween edition of the Newsletter! Marie writes: the Cimetière du Père-Lachaise in Paris is considered one of the most beautiful cemeteries in the world, in addition to being the final resting place of many a famous name. From Édith Piaf, Sarah Bernhardt and Chopin to Oscar Wilde, Jim Morrison and Georges Méliès, the well-known sleep on the tree-lined avenues of the dead and which you can now explore in a virtual 360 degree tour...
Marie writes: Club member and noted blog contributor Tom Dark took this astonishing photograph near his home in Abiqui, New Mexico. The "unknown entity" appeared without warning and after a failed attempt to communicate, fled the scene. Tom stopped short of saying "alien" to describe the encounter, but I think it's safe to say that whatever he saw, it was pretty damned freaky. It sure can't be mistaken for anything terrestrial; like a horse pressing its nose up to the camera and the lens causing foreshortening. As it totally does not look like that at all. (click to enlarge.)
In Part 1 of this post, I provided a clip from Martin Scorsese's 1995 documentary, "A Personal Journey... Through American Film," in which George Lucas and Francis Ford Coppola talked about the contribution computers were making to filmmaking as it evolved from a photographic medium into a painterly one.
In the clip above, from the "making of" promotional documentary, "Avatar: Creating the World of Pandora," director/camera operator James Cameron, producer Jon Landau and many CGI effects artists and technicians show how "Avatar" was created -- not so much in the camera as in the computer. None of these people is Mauro Fiore, who recently won an Oscar for Best Cinematography for his work on "Avatar." What was his role on the film? This has been the subject of much debate -- much of it in the forum at cinematography.com, where professionals have been discussing the question: "What is "Cinematography," now that an 80% CG Movie Has Won Its Highest Honor"?
From Shermin de Silva, University of Pennsylvania:
Q. A few minutes ago I read Stephen Hunter’s 2001 review of “2001: A Space Odyssey” and almost vomited. Here’s an excerpt: “Now, seen in the actual 2001, it’s less a visionary masterpiece than a crackpot Looney Tune, pretentious, abysmally slow, amateurishly acted and, above all, wrong." A crackpot Looney Tune? Amateurishly acted? Wrong? What does that even mean, "wrong?" Wrong about what? Is this guy seriously criticizing this 1968 film for not exactly predicting all of the inventions of the new millennium? How could a Pulitzer-prize winning critic miss the point so badly? (Robert Ford, Coquitlam, BC)
Angelina Jolie as Mariane Pearl
"A Mighty Heart," Michael Winterbottom's film based on Mariane van Neyenhoff Pearl's book about her husband Daniel, a journalist who was kidnapped and executed in Karachi, Pakistan, opens this weekend. I've had my say about the casting of (Czech / Haudenosaunee / American) Angelina Jolie as (Dutch / Cuban / French) Mariane Pearl. And so has Mariane Pearl, who told Newsweek: "This is not about skin color. I wanted her to play me because I trust her. Aren't we past this?"
Marianne Pearl as Marianne Pearl.
Well, some people are. And some aren't. Like, I guess, the people who hired Halle Berry to play white Nevada schoolteacher Tierney Cahill in the upcoming "Class Act." (Berry's at least as much white as she is black. But will she wear "whiteface" in the movie? Do you care?) Or, perhaps, the ones who hired John Travolta to play a woman in "Hairspray." Or even those who think it was just wrong for Marriane Pearl to have married a white Jew in the first place. (Miscegenation!) Let's take that logic to its inevitable extreme. Some people are sticklers for racial, cultural and gender purity. If only race, culture and gender were really that monolithic and clear-cut...
And we're talking about actors here. I'm not advocating blackface or whiteface minstrelsy (that implies bad acting, doesn't it?), but these people are supposed to be able to play characters other than themselves. That's what they do.
Maybe Jolie is terrible and totally miscast in the part. I don't know, I haven't seen the movie yet. But a commenter at the site concreteloop.com succinctly summarizes my own feelings about the matter at this stage: At first it does seem a bit odd, because I am sure there are women of African American or Afro-Cuban descent who could play that role but I would not say this is modern day black-face. If it were some blond-hair, blue-eyed non-talented actress, I would really have a problem. However, I do think Angelina is a great actress and as a matter of fact Mariane Pearl wanted Angelina to portray her in the film. So shouldn’t her wishes be respected?Producer Brad Pitt, who hired his honey for the part, said he was nervous about doing it, but he felt it was the right decision for the movie: "I knew the part had to be played by someone with Mariane's strength and understanding of the world, but I didn't know how to broach the subject. It feels a little like Wolfowitz trying to get his girlfriend a job. [...]
"I know that people are frustrated at the lack of great roles (for people of color), but I think they've picked the wrong example here."
Halle Berry plays Tierney Cahill (pictured -- either the one on the left or the one on the right) in an upcoming movie. You see the resemblance. Gotta problem with that?
I guess it also depends not only on whether you think Mariane Pearl has a (moral? contractual?) right to approve who plays her in a movie made from her own book, but whether you consider Angelina Jolie an actress or just "Brad's girlfriend" — you know, half of "Brangelina." (Or even whether women are capable of making such important judgments, since those who cry "racism" here insist that Jolie and Pearl do not have the personal or professional credibility or authority to make such decisions for themselves.)
And whether you consider the fact that both share Northern European / Caucasian heritage. Much of the criticism I've seen has focused on the tabloid "Brangelina" phenomenon (as if that were real anywhere beyond the supermarket checkstands), or has tried to tie this casting into the history of racist portrayals of African-Americans in Hollywood movies. (In that regard, I recommend Donald Bogle's book, "Toms, Coons, Mulattoes, Mammies & Bucks.") But is that really an appropriate conclusion to draw in this particular instance?
I agree that actors of color should be offered more and better roles — including those that weren't originally written to be one race or another. (Sigourney Weaver played a man's role in "The TV Set" without changing a word. Other parts have been re-written for the actor selected for the part.) But is the problem really one of casting people with the same racial make-up as their characters? Or is it more significant that writers and directors and casting directors are not making films with enough characters of color?
On the practical side... well, a star is a star. Angelina Jolie and Halle Berry are Oscar winners, marquee names, not struggling unknowns. (Not that struggling unknowns or semi-knowns don't deserve a chance, but they're unlikely to get one in such a high-profile project.) Mariane Pearl wanted Angelina Jolie to play her, sought her out, and sold the rights to Brad Pitt's production company. Based on this "package," the film was able to get a greenlight from Paramount Vantage, with the expectation that they would make a profit. The question becomes: Is the only form of "good casting" to make sure the racial balance of the character matches that of the actor?
Is Beyonce really too light — or too dark — to have played a character based on Diana Ross in "Dreamgirls"? Is Denzel Washington really too dark to have played light-skinned, reddish-haired Malcolm X? Was it racist to have cast Chinese actress Gong Li as a Japanese woman in "Memoirs of a Geisha"? Were Al Pacino — or Mary Elizabeth Mastrantonio or Robert Loggia — terrible in "Scarface" (1983) because they are not Cuban? Was it wrong for Benicio Del Toro (Puerto Rican-American) to play a Mexican cop in "Traffic"? If these actors were good or bad in those movies, was it because of their racial background, or because of the roles and their performances in them?
I wonder what happened to a sense of proportion here. This isn't exactly Mickey Rooney playing a grotesque caricature of a Chinese guy in "Breakfast at Tiffany's." Doesn't the performance itself count for anything — or is it all about appearances? (OK, if Jennifer Aniston had been cast as Pearl, I'd be a lot more skeptical. Even though she's only two years younger than Pearl, while Jolie is seven years younger. But if Jolie is playing Pearl in 2001-2002, then she's just about the perfect age, no?)