Sword of Trust
A likable throwback to the kind of rambling, character-driven 1990s indie comedies that the U.S. film industry barely releases to theaters anymore.
* 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.
A look at all of the new shows on network TV this fall.
Lena Dunham and Amy Schumer; Why "Entourage" is bound to fail; Some corporations deserve capital punishment; Women in "Mad Max" and "Transformers"; "Grace of Monaco" writer tweets all.
A preview of dozens of films being released this Summer.
Marie writes: The countdown to Christmas officially begins the day after Halloween, which this year lands on a Wednesday. Come Thursday morning, the shelves will be bare of witches, goblins and ghosts; with snowmen, scented candles and dollar store angel figurines taking their place. That being the case, I thought it better to start celebrating early so we can milk the joy of Halloween for a whole week as opposed to biding adieu to the Great Pumpkin so soon after meeting up again...
August, 2012, marks the 20th anniversary of the debut of "The Larry Sanders Show," episodes of which are available on Netflix Instant, Amazon Instant, iTunes, and DVD. This is the third and final part of Edward Copeland's extensive tribute to the show, including interviews with many of those involved in creating one of the best-loved comedies in television history. Part 1 (Ten Best Episodes) is here and Part 2 (The show behind the show) is here.
A related article about Bob Odenkirk and his characters, Stevie Grant and Saul Goodman (on "Breaking Bad"), is here.
by Edward Copeland
"It was an amazing experience," said Jeffrey Tambor. "I come from the theater and it was very, very much approached like theater. It was rehearsed and Garry took a long, long time in casting and putting that particular unit together." In a phone interview, Tambor talked about how Garry Shandling and his behind-the-scenes team selected the performers to play the characters, regulars and guest stars, on "The Larry Sanders Show" when it debuted 20 years ago. Shandling chose well throughout the series' run and -- from the veteran to the novice, the theater-trained acting teacher and character actor to the comedy troupe star in his most subtle role -- they all tend to feel the way Tambor does: "It changed my career. It changed my life."
August, 2012, marks the 20th anniversary of the debut of "The Larry Sanders Show," episodes of which are available on Netflix Instant, Amazon Instant, iTunes, and DVD. This is Part 2 of Edward Copeland's extensive tribute to the show, including interviews with many of those involved in creating one of the best-loved comedies in television history. Part 1 (Ten Best Episodes) is here.
"Unethical? Jesus, Larry. Don't start pulling at that thread; our whole world will unravel." -- Artie (Rip Torn)
by Edward Copeland
Unravel those threads did -- and often -- in the world of fictional late night talk show host Larry Sanders. On "The Larry Sanders Show," the brilliant and groundbreaking HBO comedy that paid attention to the men and women behind the curtain of Sanders' fictional show, the ethics of showbiz were hilariously skewered.
Marie writes: my art pal Siri Arnet sent me following - and holy cow! "Japanese artist Takanori Aiba has taken bonsai trees, food packaging, and even a tiny statue of the Michelin Man and constructed miniature metropolises around these objects, thus creating real-life Bottled Cities of Kandor. Explains Aiba of his artwork:"My source of creations are my early experience of bonsai making and maze illustration. These works make use of an aerial perspective, which like the diagram for a maze shows the whole from above (the macro view) while including minute details (the micro view). If you explore any small part of my works, you find amazing stories and some unique characters." ( click to enlarge.)
The Grand Poobah writes: Unless we find an angel, our television program will go off the air at the end of its current season. There. I've said it. Usually in television, people use evasive language. Not me. We'll be gone. I want to be honest about why this is. We can't afford to finance it any longer.
To read the full story, visit "The Chimes at midnight" on the Blog.
Lesson for the day: How to have fun while wasting time... Marie writes: welcome to DRAW A STICK MAN, a delightful Flash-based site prompting viewers to draw a simple stick figure which then comes to life! Ie: the program animates it. You're given instructions about what to draw and when, which your dude uses to interact with objects onscreen. Thanks go to club member Sandy Kahn who heard about it from her pal Lauren, in Portland Oregon.Note: here's a screen-cap of what I drew; I've named him Pumpkin Head.
Marie writes: I love photography, especially B/W and for often finding color a distraction. Take away the color and suddenly, there's so much more to see; the subtext able to rise now and sit closer to the surface - or so it seems to me. The following photograph is included in a gallery of nine images (color and B/W) under Photography: Celebrity Portraits at the Guardian."This is one of the last photographs of Orson before he died. He loved my camera - a gigantic Deardorff - and decided he had to direct me and tell me where to put the light. So even in his last days, he was performing his directorial role perfectly, and bossing me around. Which was precious." - Michael O'Neill
Orson Welles, by Michael O'Neill, 1985
Marie writes: the following moment of happiness is brought to you by the glorious Tilda Swinton, who recently sent the Grand Poobah a photo of herself taken on her farm in Scotland, holding a batch of English Springer puppies!
"I believe that if, at the end, according to our abilities, we have done something to make others a little happier, and something to make ourselves a little happier, that is about the best we can do. To make others less happy is a crime. To make ourselves unhappy is where all crime starts. We must try to contribute joy to the world. That is true no matter what our problems, our health, our circumstances. We must try. I didn't always know this, and am happy I lived long enough to find it out." - from LIFE ITSELF
(click image to enlarge)
Marie writes: Gone fishing...aka: in the past 48 hrs, Movable Type was down so I couldn't work, my friend Siri came over with belated birthday presents, and I built a custom mesh screen for my kitchen window in advance of expected hot weather. So this week's Newsletter is a bit lighter than usual.
Marie writes: Why a picture is often worth a thousand words...Production still of Harold Lloyd in "An Eastern Westerner" (1920)
From Jason Haggstrom (haggie), Reel 3:
The opening shot of Robert Altman's "The Player" establishes the film as a self-reflexive deconstruction of the Hollywood system and those who run it. With its prolonged shot length, the take is also designed as a means to introduce the bevy of players who work on the lot and to setup the film's general plot--or at least its tone--as a thriller/murder mystery.
The first image in this extended opening shot is of a film set--a painting of one, to be precise. We hear the sounds of a film crew before a clapper pops into the frame. The (off-screen) director shouts "And... action" informing the audience that the film should be viewed as a construct, a film. The camera tracks back to reveal its location on a Hollywood studio lot where movies are described not in accolades of quality, but of quantity with an oversized sign that reads, "Movies, now more than ever."
The lot is filled with commotion. Writers come and go (some invited, some not) as do executives, pages, and assistants. The political hierarchy is highlighted through dialog and interactions that expose the value system of Hollywood. The most powerful arrive by car; high-end models pervade the mise-en-scène in all of the take's exterior moments. An assistant is made to run (literally, and in high heels) for the mail, and then -- before she even has a chance to catch her breath -- to park an executive's car.
Marie writes: I love cinematography and worship at its altar; a great shot akin to a picture worth a thousand words. The best filmmakers know how to marry words and images. And as the industry gears up for the Golden Globes and then the Oscars, and the publicity machine starts to roll in earnest, covering the Earth with a daily blanket of freshly pressed hype, I find myself reaching past it and backwards to those who set the bar, and showed us what can be accomplished and achieved with light and a camera...
Cinematography by Robert Krasker - The Third Man (1949) (click to enlarge images)
TORONTO, Canada -- One week after the gross-out comedy "There's Something About Mary" reached No. 1 at the box office, here's Cameron Diaz back again in an even grosser movie - one that makes "Mary" look positively tasteful by comparison."Very Bad Things," which had its world premiere this weekend at the Toronto Film Festival, tests the limits of what a general-audience picture can contain. Although my review will wait until the movie opens, word will be quickly spreading from a capacity crowd that was urged by writer-director Peter Berg to shout at the screen: "Hit it back! It can take it!"Diaz has a supporting role, as a 27-year-old who is focusing obsessively on her upcoming marriage. Most of the movie involves a Las Vegas bachelor party and its aftermath, as her fiancee (Jon Favreau) is joined by his buddies (Christian Slater, Jeremy Piven, Daniel Stern and Leland Orser) in a wild booze-and-drugs orgy that ends with them burying bodies in the desert. And that's only the start of the very bad things.It's not the story that's startling, really, but the gruesome, violent tone. The events in "Very Bad Things" could occur in lots of different kinds of movies, but Berg seems intent not only on pushing the envelope but slashing and burning it.The question occurs: Is Hollywood going to get involved in a race to outgross itself? There were those who were offended by "There's Something About Mary," but at heart it was a romantic screwball comedy, and it got away with murder because it was really, truly funny. A movie doesn't climb to the top of the box-office charts in its eighth week unless the word of mouth is extraordinary: Moviegoers are obviously telling their friends about it, and taking them to see it at theaters that shake with laughter.If laughter can redeem borderline subject matter, one wonders how much laughter it will take to redeem "Very Bad Things," which involves mayhem so gruesome it upstages the previous record-holder, "Shallow Grave," especially in the vivisection and burial department. There are racial themes sure to make audiences uncomfortable (two of the victims are black and Asian; several of the heroes talk much of their Jewishness). And although the later stages of the movie relax into somewhat more conventional slapstick, the Vegas scenes seem inspired by gore and slasher movies more than by comedy.Will this mixture work at the box office? I heard a lot of laughter and some applause at theToronto premiere. But, less obviously to be sure, I sensed that many audience members were watching in thoughtful silence.What a contrast was "After Life," the new film by Japan's Hirokazu Kore-Eda, whose "Maborosi" was one of the best films of last year. The new film has a premise that sounds simplistic, but the film reaches surprising emotional insights.It's about a way-station between this world and the next, where the newly deceased are asked to choose one memory that they wish to preserve. The memory is then re-enacted and filmed by the way-station staff, and after viewing it the visitors move on to the next level of the afterlife, with only that one memory left to them.What will the newcomers choose? What will it mean? How will their choices affect the staff members? The movie takes its seemingly sentimental premise and uses it to examine how memory works selectively to interpret our loves to ourselves."I expect the total transformation of their lives the moment they get on the bus," declares a Manhattan tour bus guide named Timothy (Speed) Levitch, in a weirdly infectious new documentary by Bennett Miller named "The Cruise." Levitch clears about $200 a week improvising into the microphone as he conducts tours, or "cruises," informing and amazing his Gray Line passengers with such information as, "You are five blocks from where Dorothy Parker died of alcoholism and despair."Levitch is a cast-iron original, with his adenoidal voice, blinding sports coats, unruly mane of curly hair and flat-footed gait. He seems utterly confident about who he is and what he does, but an oddness creeps in, and we suspect there's more to the story. He seems to be projecting his entire psyche onto the city and the tour.Here he is on architecture: "I identify with the anger and inferiority that some of the smaller buildings feel." Louis Sullivan's terra cotta Manhattan skyscraper is, he feels, orgasmic, and he describes its sex life in detail. Of the Brooklyn Bridge, he says, "Eleven people have jumped off this bridge and survived. One of my cruising dreams would be to get those people together on a cruise."He became a tour guide, he explains, "to meet and seduce women." That's why he rebels at the requirement that he wear the Gray Line's official uniform, a red shirt: "You are not ever gonna get lucky in a red shirt."