*In observation of Memorial Day...no new posts til Nov. 12th
Saturday, November 10, 2007
HORRORFEST 2007...8 Films to die for!
The AFTER DARK HORRORFEST, a one-week annaul event, has become the largest commerical film festival in the world...and, it's underway this week in 350 Theatres around the Nation.
Billed as "8 Films to Die for", Festival Films slated for screening this year include...Borderland, Crazy Eights, the Deaths of Ian Stone, Lake Dead, Mulberry Street, Nightmare Man, Tooth and Nail, and Unearthed.
"Unearthed" tells an intriguing story of an invasion of creatures who begin to attack unsuspecting folks in a New Mexico town.
"Tooth and Nail" (starring Michael Madsen, Vinnie Jones, Rider Strong, Robert Carradine, and Rachel Miner) revolves around a group of people in a post-apocalyptic world fight to survive against a band of vicious cannibals.
The scintillating trailer states,
"Horror - a genre of motion picture intended to thrill viewers by provoking fear or revulsion through the depiction of grotesque, violent, or supernatural events."
Horrorfest became the first film festival in history to break into the top 10 at the National Box Office , grossing over $2.5 million on only a quarter of screens of any other film in the top 10 films that weekend.
Looks like folks like to have the bejesus scared out of 'em!
If you can't make the screenings this year, or prefer to revel in the guts and gore in the privacy of your own lair, no worries!
An "8 Films to Die For" DVD is being distrubuted through Lionsgate Films which has sold over 1.8 million copies.
After Dark Films notes tickets are available online or local theater box offices.
Info: http://www.horrorfestonline.com/
Grindhouse Film Festival...exploitation films at New Beverly Cinema!
There's good news for film buffs who savor the thrills and chills of exploitation films like the "Legend of 7 Golden Vampires" and the "Vampire Hookers".
The Grindhouse Film Festival - previously a once-a-month celebration of film at the New Beverly Cinema Art Film House - will be expanded to twice a month.
Coordinator, Brian J. Quinn, describes the bill-of-fare this way,
"These films are made with a lot of passion and not a lot of equipment or money and there's a certain raw energy to them you don't get today in a Hollywood environment."
Although the festival has been a mainstay for a couple of years - of late - the celluloid classics are causing a stir with younger film buffs new to the genre.
Quinn notes that the festival's visibility got a major lift when quirky filmmaker Quentin Tarantino served as a program director for two months prior to the release of "Grindhouse" early in 2007.
Die-hard followers attend monthly, but newbies to the kitschy films are picking up the step.
Actually, in recent days there appears to be an ongoing trend.
Filmgoers appear to be foregoing on jaunts to gargantuan cineplexes to seek out boutique film houses for a more intimate filmic adventure.
Quinn made an astute observation duly recorded in an LA Times interview lately.
"When we program crowd-pleasers, you can feel the electricity".
Info: www.newbevcinema.com
Hillary Clinton...offers me tasty sandwich; ham & cheese, please!
Hillary's headin' out on the campaign trail.
In her recent e-mail, she notes,
Dear Julian,
You're my secret weapon.
All the other campaigns are busy talking about me. But with your support, I'm staying focused on what's important in this race. I never forget what we're working for when I'm out on the campaign trail. That's why I'd like one of you to join me for a day.
Ah, Hill, there's only "one" of me - to my knowledge!
She goes on to ask,
"Will you help me win these first few primaries and caucuses by contributing today? You could join me out on the campaign trail. We'll take a few minutes to grab a sandwich and talk."
Yup, her handlers are inviting voters like me to drop by the stumpin' grounds to grab a sandwich when she alights in our Havens, Towns, big City dins - wherever!
Ham & cheese on rye, with a little Grey Poupon, please!
You know, the mustard the impeccably-dressed driver in the Rolls craves on a quick pass in the rarefied air of an enclave, somewhat beyond my reach. (video below)
Of course, you're goin' to have to cough up some dough for the privilege of dining alfresco with Hillary and her clan.
The recent gala on her 60th Birthday Bash taught us one Noble truth...if you want to mingle with the high and mighty, jockey for lobbying power - even toss a kiss from afar - you'll have to pay through the nose.
No lookie-loo's please, or photo ops on the house...just ask Hill.
In a recent e-mail invite, Clinton's team noted that for $15.00 (just click on the link to pay by debit, credit card, or pay pal) I'll get to chow down on a sandwich with her and have a chat - yeah, talk is not cheap, not in Hillary's camp.
Well now, should I spring the bucks for the snack with Hillary Clinton, or upload my photo for inclusion on Edwards' "mosaic"? (Post, John Edwards "Facebook"; 11/07/07)
I mean, times are tough - just how far will my budget stretch?
Maybe I should wait to see what Obama has to offer...
With all these clever, money-making maneuvers underfoot, some sweet slick offer should be heading out from his camp, soon.
I mean, the man is quick on the uptake, isn't he?
Film critics...a cry-baby points fingers!
Like any other animal, film critics stalk their territory in all stripes and colors.
Each reviewer has their own educational background, wide-range of eclectic tastes and aesthetic influences, prejudices.
It's a given...one writer may vote thumbs up on a blockbuster or Indy film, another down.
On occasion, a wide-release is such an obvious piece of **it, that it's panned all across the board.
On occasion, a reviewer may cite another critic - give them the nod as a matter of professional courtesy - because they've made an astute observation.
And, often quote a specific analysis - to contrast with their own opinion - just maybe, to give balance to the playing field.
This past week, a critic took a nasty swipe at his peers because the lot of 'em knocked a big-budget film he had fond musings about.
Heh man, there are myriad points of view - all valid, worthwhile takes on things; trying to silence a voice because it's not in accord with yours crying out from the wilderness - is unprofessional, in poor taste.
The film critic in question is a hypocrite in my opinion; go figure, the lad pens for a counter-culture newspaper that has become that which they once hated most.
What is the role of the film critic?
According to the Boston Globe,
"A film critic's manifesto takes directors down a peg, puts writers on top, and turns Hollywood on its head."
Obviously, the lament was made tongue-in-cheek!
Leading critic Clive Barnes noted from his perspective,
"One of the difficulties of criticism is that you are remote from the people you're criticizing for. You are probably more sophisticated than your average reader. You've certainly seen more than your average reader. Just the same as the ballet master or the choreographer doesn't represent the audience any more. So you do have to be very careful that you're not adopting too elitist a view, or be aware when you are adopting an elitist view."
In my opinion, a critique should be a thoughtful, intelligent analysis of the key elements of a film, to determine the aesthetic value on a multitude of artistic levels.
Ultimately, the film critic is a guiding light for the filmgoer...
Reviews spark lively debate, Sir - put a spotlight on a film - and on occasion have the potential to launch obscure little gems into mega-hit status.
Do filmgoers really listen to critics?
In recent months, a handful of major films garnered rave critiques, yet - they bombed at the box office.
The filmgoing public are prone to scan a review for a quick synopsis, a slant on the release, whatever.
But, it's generally the buzz or word-of-mouth that gets 'em into the movie houses.
If critics and producers could second-guess the movie-going public, less films would be taking a dive on opening weekend.
At this juncture, it's obvious you're out of your league, fella.
Poor baby!
Critic
Webster's definition
Main Entry: 1crit•ic
Pronunciation: 'kri-tik
Function: noun
Etymology: Latin criticus, from Greek kritikos, from kritikos able to discern or judge, from krinein
1 a : one who expresses a reasoned opinion on any matter especially involving a judgment of its value, truth, righteousness, beauty, or technique b : one who engages often professionally in the analysis, evaluation, or appreciation of works of art or artistic performances
2 : one given to harsh or captious judgment
Friday, November 9, 2007
Point Break...adapted for stage; Los Angeles production!
The Theater must be desperate for material or craving for nostalgic reminisces of B-movie stars.
"Point Break" - the cult feature which starred Keanu Reeves as an undercover FBI agent - was recently adapted for the stage.
By all accounts, it was a bizarre offering for the boards.
The producers were billing - Point Break LIVE! - in quite a unique way.
"The absurdist stage adaptation of the 1992 Keanu Reeves/Patrick Swayze extreme-sports blockbuster which returns to its roots: Los Angeles, "bank robbery capital of the world," where "a lot has changed in the last 20 years - the air got dirty and the sex got clean."
The odd-ball production revives faded memories of Johnny Utah (Keanu Reeves); Bodhi, the surfing philosopher (Patrick Swayze); and a handful of bank robbers (like the one played over-the-top by Gary Busey).
"Point Break LIVE!" first opened in Seattle - but has had runs in New York City and Minneapolis - if you can fathom it.
The stage show is sort-of an up-close in-your-face personal theatrical experience.
The oddity here?
Each show an acting newbie is plucked from the audience to stumble on the playing field and inhabit the Reeves "Utah" role.
The casting director noted tongue-in-cheek that the process ensured an FBI character - not unlike Reeves - who'll be wooden, grasping for lines, and looking for all-the-world like a deer caught in the thunderous path of a two-ton truck!
Yeah, they wanted a slow-talking, self-conscious, dude who struts like he has a stick up his butt (or somethin' like that).
During the auditions, unlikely wannabes take a shot at the big time by executing jumpin' jacks, showing-off a little tight a**, and rendering a cold-reading - ah - very cold!
"Keanu's role requires a special kind of acting," explained one demanding director.
"Essentially, in every scene, the actor looks like he's just been dropped into a room with no idea about what's going on."
At each performance, it helps that acting novices get to read from cue cards!
Undoubtedly, this nifty approach, will be sure to capture the rawness of a Keanu performance (even thespians who think themselves generally incapable of acting).
One night, a handful of fans at a Los Angeles gig, swear that a 5'5 blond guy with glasses eerily perfected the Keanu accent, making the entire show a success.
A film buff, in queue at that once-in-a-life-time theatrical event, was inclined to wonder aloud later.
"How do they handle a Keanu that totally blows?"
In a nutshell, "Point Break" is a tale about a rookie FBI agent, hoping to break a bank robbery ring, who infiltrates a colony of surfers in Southern California.
Keanu's character (FBI Agent) first bonds with Bodhi (bank robber Patrick Swayze).
Bodhi - unaware of his partner's secret agenda to bust his butt - pines away for him, nonetheless.
In the movie edition - filmgoers guffawed at stilted, quotable, camp dialogue - very Stallone-esque in style.
Difficult thought-provoking lines like "Whoa" and "I am an FBI agent" are revived in the stage production to the glee of "Point Break" officiandos.
Because "POINT BREAK" is executed in serious frat-boy style, it makes sense that there is usually plenty of cheap beer on tap, along with munchies, and what-have-you.
There's a lot of stumbling about in the stage version - the whole experience is not unlike a theatrical train wreck - with all the guys nearly ending up in an orgy of limbs in a jumble on the hard floor.
According to production notes from a couple of staged performances, the play "features copious amounts of fake blood, extended fight choreography, and an indoor monsoon."
For this reason, the savvy theatre buff usually springs for the brown sac offered up by the show's producers as a "Survival Kit" for $1 at the point of entry.
The lively action scenes - when choreographed by a competent director at the helm - are worth the price of admission.
In fact, in equity-waiver theatres, theater-goers often get caught up in the heavy-breathing, cross fire, flying shrapnel, and what-have-you.
The fighting sequences to date in most productions, have been long and drawn out, but no one's complained as of yet.
I mean, you want full value for the $20 admission fee, don't 'ya?
On occasion, ubiquitous cameras have captured all the magical moments on celluloid.
So, I expect there will be an on-line reality show - or webbie TV offering - in the near future.
"Point Break LIVE" has been described as an "obnoxious foray" into the ridiculous and a "perverse voyeuristic pleasure" that doesn't require much attention.
Some jarring moments on stage may snap you into a surreal kind of wake-up call at some juncture, though.
"The worse it gets, the better it gets. Sensationally idiotic," noted a delighted Seattle P-I Theatre critic.
You don't even need to have seen the movie "Point Break" to feel like an insider.
You do need to appreciate the brilliance of Keanu-isms, though.
Run the film - SPEED - a couple of times to get in the mood, if possible.
In the Los Angeles production, Agent Harp (played by Gary Busey in the film) was all jawbone, with a dash of spontaneous twitching thrown in for good measure, so they say.
Meanwhile, Bodhi (Swayze's character) had the surfer-zen persona down to a precise haiku poem.
Some swear it was the ribald gang of rag-tag homoerotic bank robbers who stole the show.
"Point Break" won a "Seattle P-I Best of Seattle 2004" award and has been garnering raves around the country.
To have courageously attended bestows on the theatre-goer a kind of theatrical chic.
Parking Meters...new-fangled money-grabbing devices! Solar-powered in West Hollywood...
Parking Meters are big business today.
Years ago, drivers simply plopped their quarters into the slot - roughly calculated what to pay - then trundled on down the street.
It was a common site to witness a business man excusing himself from an interview to hastily run outside to plug some coins into the slot before the meter maid careened outside to a screeching stop.
Yes, many of us had to rely on the honesty of the Sheriff, if we wanted to avoid a ticket.
I witnessed an amusing scene one day when I went into a courtroom to contest a downed sign in Malibu.
When an elderly man's name was called out by the Bailiff, he shuffled up to the podium.
By his posture, it was quite evident that he was ready to do battle with the Judge.
When he barked out that the meter had 3 minutes on it, the Judge surprised everyone with her sympathetic response.
"Sir, if you came all the way down here and say there were three minutes left on the meter, I believe you. Case dismissed."
Everyone in the courtroom was ecstatic.
Maybe the rest of us would luck out, too.
In the old days, a driver could cruise around the neighbourhood looking for a meter that had not expired, scoot right into the spot, and save a few pennies.
Not nowadays!
In recent years, City Officials have introduced a new-fangled meter that has the capacity to issue tickets for the whole block. So, instead of a number of unsightly meters blotting the landscape, there is just one aesthetically-pleasing meter with a computer that prints a ticket according to the time-frame specified.
Unfortunately, this means there are no more free rides.
Also, the ticketing process is a whole lot more efficient.
Citizens can no longer play fast and loose and hope that the Meter Maid may be on lunch break.
In fact, I understand that the nifty little machine emits a signal that indicates when the time has expired. Chances are, parkers will only have a precious second or two to dawdle with, before the parking attendant dashes up with ticket book in hand.
West Hollywood and Beverly Hills recently unveiled a new meter known as FlexPay.
The state-of-the-art meters incorporate cutting-edge technology that provide convenient solutions such as ease of payment with a credit card. The system uses the same encryption technology that is used by banks and other financial institutions.
And, the meters are solar-powered.
What will they think of next?
Parking signs that transmit their restrictions telephathically to the driver?
If you want to avoid all this money-grubbing business, take the bus!
Thursday, November 8, 2007
Myanmar...child soldiers; 10 yr olds forced into military!
News sources are reporting that the spirits of the Monks in Burma have not been broken, in spite of a brutal regime in power, which stomped hard on protesters in recent weeks, stormed sacred monastries, and arrested religious leaders en masse...
In the small town of Pakkoku, there have been signs that the Monks remain undaunted; in quiet desperation they chant and openly pray in the streets - signaling dissent, no matter how subtle.
Pakkoko is known as the heartbeat of the religious center...
Although the days are still bleak for many, there has been a bit of a respite for a few. On the heels of Ibrahim Gambari's four-day visit in early October, members of the National League for Democracy, along with monks and other protesters, have been freed from jail.
The UN failed to indicate if any significant action would be undertaken in the trouble spot to ensure rights are protected in the future, but it appears that U.S. sanctions have impacted the region.
Air Bagan, owned by a high-profile member of the corrupt regime, discontinued air service to Singapore after the bank stopped doing business with the carrier.
In spite of this headway, there is a shocking and disturbing practice underfoot in Mayanmar, which must be curtailed as swiftly as possible. Human Rights Watch, a lobby group, said that the junta is actively recruiting young boys for the military.
According to inside sources, the Burmese military have been forced to take this action in order to meet unrelenting demands for new recruits due to continued army expansion, high desertion rates, and a lack of willing volunteers. Apparently, morale is low due to poor living conditions and abuses by Senior NCOs and officers.
Children are being threatened into enlisting because of the need to replenish the ranks.
"Military recruiters and civilian brokers allegedly receive cash payments and other incentives for each new recruit, even if the recruit clearly violates minimum age or health standards," said Human Rights Watch.
A widespread desperation feeds on the mercenary behavior of recruiters who prey on the destitute men and boys who are easy targets. At the direction of high-ranking officials, sources allege that soldiers are urged to lurk at public meeting areas - such as train stations and cinemas - to apprehend vulnerable youths to coerce into the Burmese military, or Tatmadaw.
To this end, there is often a fabrication of facts on enlistment documents, especially in respect to age. Human Rights Watch says the lists may register the children as 18, the minimum legal age for service. In one case, they allege a boy was forcibly recruited at the age of 11, though he was only 4 feet, 3 inches tall and weighed less than 70 pounds.
Once inducted, the youngsters are rarely allowed to contact families.
Child soldiers are typically given 18 weeks of military training, then sent on to combat zones. Usually, the youths are posted in dangerous outposts in the hinterland.
The Boys are used to fight ethnic insurgents, burn villages, mete out punishment to civilians, destroy crops, and act as porters to support frontline troops.
"Those who attempt to escape or desert are beaten or imprisoned," said a spokesman for Human Watch.
Ye Htut, Deputy Director General of Myanmar's Information Ministry, said the charges were, "another example of biased reporting by news organizations, which based reports on the baseless accusations and exaggerated lies of insurgent groups on the border."
The junta has long been accused of other abuses, including brutal treatment of ethnic minority villagers caught up in counterinsurgency campaigns, and the use of forced labor in Myanmar.
"Myanmar's armed forces have had regulations in place since 1973 forbidding the recruitment of minors as well as others forced to enlist against their will," said the Information Ministry's Ye Htut, in response to a summary of the report.
Enforcement of the regulations was strengthened in 2004 with the establishment of a Committee for the Prevention of Recruiting Underaged Children from Military Recruitment, he reported to Associated Press.
"If the authorities find out that an applicant was recruited against his will or he is under 18 years, the responsible personnel will be tried according to the military law," Htut added.
Between 2004 and August 2007, some 141 minors were dismissed from the military and returned to their parents, and disciplinary action was taken against nearly 30 military personnel for violating recruitment rules, according to Information Ministry Office.
Human Rights Watch said the government committee has failed to effectively address the problem and has subsequently devoted most of its efforts to denouncing outside reports of child recruitment.
It is almost impossible to place a figure on how many children under 18 are in the Tatmadaw, but there are certainly thousands, informed sources say.
Despite strong official regulations within the Tatmadaw prohibiting the use of child soldiers and frequent promises to the United Nations that the SPDC is serious about curbing the practice, child soldiers in clandestine contact with the Human Watch note that the practice remains rampant.
The Tatmadaw fights large-scale conventional wars and brutal counter-insurgency operations against Communist and ethnic insurgents who were well armed and motivated. Almost all the soldiers and officers are volunteers and child soldiers were rare. They were common, however, in ethnic opposition forces, and over 30 non-state armed groups in Burma still use children in combat.
Recruitment of minors into the military bolster critics' claims that Burma’s deteriorating social and economic conditions have advanced the effort. Unemployment is high, corruption is endemic, poverty is the norm, and inflation, raging at over 30 percent, places even basic food items beyond the reach of many people.
In my mind's eye, there is a sinister underbelly to the recruitment...undoubtedly, the junta's secret agenda is to brainwash the youths, prep them for military stance - and ultimately - turn them into fighting, killer machines...
What troubles me is the loss of innocence at an impressionable age, the denial of a nurturing home life, and a basic right to be free - to pursue an education, a meaningful exchange of ideas with peers, and the opportunity to interact with others in a positive social climate.
Its been suggested that an arms embargo and additional financial sanctions may be needed to hamstring the military. Without hardware, equipment, and funding, it is theorized Myanmar will be unable to train a military populated by young, underaged boys.
Although Governments in the United Kingdom, as well as Security Council members, are pursuing the matter as a number one priority at their upcoming meeting on "Child Soldiers" to protect a generation of boys from the evil clutches of the Tatmadaw, is it not possible for a contingent of North American humanitarians to engage in the effort, too?
There is an urgent need, before the youths are scarred permanently, and unable to function mentally, emotionally, and rationally, in the civilized world.
Lions for Lambs...much ado about nothing. Movie review!
With much anticipation, I awaited the screening of the feature film, "Lions for Lambs"; after all, the buzz prior to its slated release hinted that it would be the cinematic event of the year.
After elbowing my way through the crush of excited filmgoers at Mann's Chinese Theatre, I slipped into my seat anxious for the silver screen to light up.
Within the first ten minutes, my hopes plummeted.
The opening scenes were awkward, talky, and amateurish in style.
For starters - the story devices the producers facilitated to weave three tales - failed to conjure up any intrigue, drama, or thrills.
Political potboiler?
Pooh!
The scripted messages embedded in this high-budget fiasco failed to strike a chord, too.
Meryl Streep plays a journalist invited to a Senator's office (Tom Cruise) for a hush-hush meeting to discuss one-on-one a bold-faced strike on Afghanistan.
The aim of the military action, according to the polished politician (outfitted in a striking starched-white neatly-pressed dress shirt and well-fitting designer suit) is to alter the unsavory image of the political machine on watch in Washington - and ultimately - restore confidence and faith to the American people.
The scenes set in the Senator's office have been crafted - if you can call it that - to throw out arguments in support of the "war".
Frankly, the scenario is not plausible.
For example - Streep's character is invited to Irving's lair with the promise of an exclusive on looming strike-action hatched by the powers-that-be in Washington - which they surmise will give the military leverage, cure all ills, and put America back on track as a superpower.
In the process, Irving boldly asserts that the sagging image of the United States, will summarily be rehabilitated on the world stage.
In fact - Cruise's character laments at one juncture - that he'll do "whatever it takes" for the scheme to work.
For starters, it's highly unlikely that a journalist would be invited to a clandestine meeting of this nature, at a Senator's office. It further stretches one's credulity to imagine that any politician would ever confide in a reporter about such highly-sensitive military maneuvers.
More startling - the filmgoer is expected to believe a professional reporter would compromise their journalist ethics - and turn in a news item guided by the hand of a politician with unsavory motives.
Another problem at issue is Cruise.
In this movie, I imagine the script called for the Irving character to be something of a sleazy snake-oil-salesman, pitching tough sells, to be passed on to the unsuspecting American public through the media.
Cruise's acting - or lack of it - poses a dilemma.
He postures, struts, and leans over a desk - at one point the finnicky actor crisply stretches the suit jacket over the back of a chair - but all the mannerisms and affectations are at a loss to conceal the fact he lacks the acting chops and the depth and maturity to pull the characterization off.
In this role, he mirrors all his other shallow, on-camera stints.
When he's all bluster and externalized gestures - Cruise should be internalizing and emoting - from the inside out.
He's unconvincing.
A handful of actors on the A-roster list would have sunk their teeth into this role and turned out a multi-faceted performance worthy of mention come Oscar-time.
When Streep notes to her boss - "he's trying to lubricate his way into the white house" - it's a bold-faced reference to the character's slickness.
Well, there needs to be some spit and shove to make it happen.
By the way, the message the screenwriter has him spinning is lame and convoluted.Someone's propaganda, but who's pointing fingers?
The speeches about Americans - the Iraq war and how it's perceived - fall flat.
What a puppet show.
The at-times cliche material has been well-travelled and rings hollow - and so - amounts to much ado about nothing in the final analysis.
In fact, when Streep responds in confusion - and hesitates at a loss for words in one scene - the filmgoer has to seriously wonder if that is her actual response for real.
Undoubtedly, Ms. Streep has a clue this drivel will not fly in the theatres.
When Streep steps outside to hail a cab there is a telling ironic moment.
The vehicle says "Yellow Cab" on the side-door; however, it's actually painted orange and black.
This one image says it all.
"Lions for Lambs" claims to be one thing, but is actually something else.
If you just open your eyes - and steer clear of the smoke and mirrors - you won't be fooled.
See "Lions for Lambs" for what it is - a vehicle for Redford to expound his political views - and play the wise old owl.
Yeah, the Oscar-winning Director is under the mistaken impression, that he's shedding light in dark corners where Americans have not boldly ventured before.
Does he think filmgoers are stupid?
In his role as a Professor of Political Science, his screen time amounts to about forty minutes of precious celluloid - boring, stagy moments - which intercut back and forth between other two plot lines.During the duration, his character attempts to cast a spell on a young student, with the ultimate aim of convincing the foggy-headed lad to stick it out in his Political Science class.
Redford should have relaxed into this role like a comfortable old shoe.
The slow pacing of his dialogue, the exacting - and what I expect he believes are thoughtful, meaningful pauses - somehow don't work, however.
At one point, the student says, "if you can't do..."
Yeah, we know, teach!
All flawed stale moments.
Notwithstanding, the interaction between the characters is dumb, and pointless.
When Professor Malley finally gets up out of the chair he's been glued to and gestures to a photograph of himself among fellow classmates from a bygone era - it's glaringly obvious that the ghostly image has been pasted on.
Gosh, what a bad patch job.
It's the details that hint at what a push-over Redford thought the audience would be.
Just hit 'em with some fast talk about the war - throw in a couple of high-profile stars - and get 'em all stirred up with some thought-provoking promotional teasers.
Yeah, we'll get 'em into the theatres.
In sum, it's a weak, silly excuse for a feature film.
Redford's assumption that his musings were the best take on the war (worthy of a big-screen foray into the subject matter) was a a costly mistake - not only for him as a director at the helm - but for the studio who pumped millions into this piece of crap.
Curiously - due to his own inept staging of the scenes - the audience ends up scrutinizing his face more closely.Then, it dawns on the ticket-holder, just how old Redford's gotten and how out-of-touch he is with the very idea of filmmaking.
How could this maverick who started up Sundance - and provided a dynamic forum for innovate young filmmakers on the leading edge of the cinema - end up so bogged down in his own indulgent excesses?
Granted - some of the military scenes in the third sub-plot are brimming with action and backed up with good acting, intense combat, and horrific special effects.
So, the trip to the theatre is not all lost.
Yeah, just settle back for the pyrotechnics and forget about the - er - message!
In these sequences, there is perverse entertainment value, if you like war movies.
Also, one scene in which Streep's character and her boss have it out - is a stand-out - theatrically-speaking.
Forget about the unreal dialogue their spouting, though; just focus on the amazing characterizations both are crafting before your eyes with professional ease.
There's something to marvel at.
Then - poof - the film abruptly ends without a solution!
Does Redford think it's a job well done?
In sum, I'd surmise he's under the mistaken impression that he's spun out some thought-provoking ideas, put out an ominous spin on the Iraq War worth fathoming - and in the process - effectively tossed into filmgoers' laps puzzle pieces to solidly snap together.
Got the message?
The promos say "Lions for Lambs" is a wake up call for America.
The audience needed one, they were falling asleep in the theatre.
"Lions for Lambs" didn't go out with a roar, it departed with a whimper!
Eve & the Fire Horse...charming Independent film from Asian Community!
Occasionally, a film happens along and touches you in a magical way.
"Eve & the Fire horse" is just such an offering.
In the opening scenes - screened at the Fine Arts Theatre in recent weeks - the filmmakers introduce the audience to two innocents - sisters - being raised in a humble Chinese household where the rituals of Buddhism are practiced fervently and auspicious signs are ushered in the door with great reverence and thanks.
One day, two young men in black suits knock on the door, and offer up a gift of the Holy Scriptures.
Suddenly, young Eve (the narrator) finds her world turned upside down.
The conflicts between Buddhism and Christianity most assuredly arise.
In a quandary about the path to embark on, their Mother concedes that - "two Gods are better than one" - so - a crucifix with Christ on its face is placed on the mantle in an honored place next to a smiling Buddha.
The nurturing mother explains to her quizzical daughters:
"Buddha and Christ both taught people to be good, so they can be friends."
That night - Eve slips downstairs and spies Christ and Buddha dancing in the flesh in the dining-room - in one of the most visually-stunning poignant moments in the film.
However, when misfortune befalls the family, the young girls make a pact to save souls and do good deeds to curry favor with God.
In one amusing scene, Eve tries to convert a Sikh.
In another, she almost drowns in a bathtub Baptism; in the near-death experience, she suddenly perceives the light of an eternal presence.
Although the writer has focused on the rituals of organized religion - and its follies a tad too much - the playful digs at zealots are not off-putting at all.
The tale resonates at its spellbinding best, though, when there is no evidence of a human hand pulling the strings.
In one potent scene, for instance, the legend of the fire horse hits its mark without effort - and in the process - captivates, uplifts, and inspires - in a meaningful mystical way.
The sierra tones the cinematographer used to brush the canvas succeed in capturing a bygone era of faded memories which appear to flicker yet with a kernel of truth.
All the performances of the actors ring true, as well.
The movie is a bit lengthily, though.
A cut of fifteen minutes may be what the project needs to tighten up a lagging script, and likewise, secure a distribution deal the producers are seeking.
Wednesday, November 7, 2007
Dreams...Clinton scandal on horizon?
I awoke with a start...
Disturbing images from the night before were still vivid in my mind and they troubled me. After all, I'm not one to take such matters lightly.
In a dream years ago, I recalled falling back against a wall. As I slumped to the cold pavement, I glanced upward, and spied a man firing a pistol straight at me.
When I was riveted back into consciousness, there was a nagging impression in my mind that someone famous was going to be murdered in the street; unfortunately, I was unable to catch a glimpse of their face in the dream sequence.
A couple of days later, John Lennon was shot!
In one segment of the surreal montage the other night, a chauffeur was driving me to the airport where I was expected to catch a plane to journey on to Washington to receive an Honor at the White House.
The driver, an Afro-American male, turned and smiled through the open glass partition.
Then, for some inexplicable reason, he handed me a brand new copy of Bill Clinton's book on "Giving"...
I glanced down at the white cover; suddenly, the outside flap turned pitch black!
The two of us reacted in shock...
The livery service employee quickly noted that there was a bookstore down the street. At this point in the surreal dream, he scrambled out of the vehicle purring at the curb, and dashed up the bustling city street to pick up a fresh copy of the book so the Clinton's wouldn't be upset.
As soon as he departed, I glanced down in wonder at the publication resting in my shaking hands. At that precise moment, the outer jacket transformed back into its original shade of pristine white. Then, I woke up, perplexed.
The next night, I was savoring an invigorating shower. Suddenly - as the steaming-hot jet of crystal-clear water shot forth from the nozzle all over my naked flesh - a dark, muddy pool of liquid began to flow into the basin at my feet.
A voice in my mind said, "Don't drink it. It's contaminated!"
As I wrestled myself from the deep, hypnotic state, I bolted upright in my bed trying to fathom the symbols.
In my estimation, both nightmares were prophetic dreams.
First, it should be noted that dreams never speak to you in a language that you do not understand.
If you're afraid of swimming, for instance, then such an image in a dream sequence may be a warning - a message to pay heed to. If a snake represents evil, the appearance of one is in reference to that.
Both Sigmund Freud and Carl Jung - two leading dream analysts - identified dreams as a dramatic interaction between the unconscious and the conscious minds.
Basically, there are three types of dreams...
First, there is the purely prophetic kind, which essentially peer into the future.
In Biblical times, Joseph was inclined to have profound dreams, which often foretold of cataclysmic events.
In one, he noted to his brothers...
"...behold, we were binding sheaves in the field, and lo [behold], my sheaf rose up and also stood erect; and behold, your sheaves gathered around and bowed down to my sheaf."
In another, the sun and the moon and eleven stars bowed to him.
God often used him as an instrument to forewarn about events on the horizon to pay heed to. Forebodings such as these are not easy to interpret.
The idea of "prophetic dreaming" becomes compelling when déjà vu is experienced.
After all, déjà vu generally conjures up a feeling of having previously seen or experienced something which may be attributed to having been dreamt about in a similar situation or place, and forgetting about it, until one seems to be mysteriously reminded of the situation or place while awake...
The second kind of dreams arise and spring from daily tension and anxiety.
During waking hours, sentient beings are prone to toil at work, watch television, and listen to the radio...so, cries from the subconscious are often blocked out.
At night, the lower levels of the psyche try to communicate what is amiss, or offer up clues as to what may be irking us, with the ultimate aim of calming our fears and attaining peace of mind.
Some argue that dreams cleanse unhealthy thoughts from the mind during sleep.
On occasion, such a process may be interrupted due to "dream incorporation". This occurrence takes place when an external stimulus - usually an auditory one - becomes a part of a dream, eventually awakening the dreamer.
"Dream Incorporation" is used in research to examining the degree to which preceding daytime events become elements of dreams. Studies have determined that events the day preceding and those about a week before have the most influence.
The third dream state pertains to the individual on a deeply personal level and is connected to personality traits, changes in the offing, and unique aspects of the person's life - not inconsequential, at all.
According to Carl Jung, there is a collective unconscious which a person taps into, at a basic level of the mind, which is common to all races and cultures.
Jung theorized archetypal symbols reside in the universal, myth-making part of the mind, and that myths and dreams stem from the same profound imaginings.
This argument supports the idea that individuals across the "board" are capable of having relatively similar dreams, especially in respect to universal truths. This may account for the ability of a handful to experience prophetic glimpses into the future and discern events that may affect all mankind.
Call it a kind-of primal instinct in the lower reaches of the mind.
The celebrated psychologist doubted that the images were solely related to the subject's personal experience.
To Jung, a fairly insightful, open-minded doctor - symbols of dreams were an efficient language, comparable to poetry, uniquely capable of revealing hidden, underlying personality traits.
Fritz Perls, who coined the phrase "Gestalt Therapy", expanded upon this point of view to say that even inanimate objects represented aspects of the dreamer. For this reason, a subject was often asked to imagine an object in the dream and describe it in order to bring an awareness of the characteristics that corresponded to the dreamer's personality.
Houses, on the other hand, usually refer to the "house" or temple of the individual, or their soul. If the structure is white, then the person may be experiencing a period of cleansing, since white represents purity.
Meanwhile, Sigmund Freud - a leading analyst in the field - conjectured that all human experience was subject to cause and effect.
In his opinion, dreams sprung forth as an aspect of the unconscious mind.
Through a technique known as free association, he surmised he could interpret dreams.
For instance, in a therapy session, subjects were asked to articulate sequences of spontaneous and random connections, using dreams as their starting points.
In his book, "Interpreting Dreams", he further theorized the mind operated on two levels - the primary and the secondary.
The id consisted of the primordial, inherited instincts; while the EGO, was focused on morality, rationality, and logic.
In the dreaming mind (primary process) unconcious desire and fears were turned into symbols; in the waking mind (secondary process) impulses and symbols were repressed through the operation of reason and conscience.
Id acted as a wish-fulfillment, couching them in symbolic form, so that they did not become urgent yearnings; hence, the symbolic musings did not disturb the dreamer.
Dream symbolism was facilitated by the complex mind to permit sleep, he theorized, by allowing the id to express the animalistic desires of the individual without forcing them into consciousness.
He further asserted that dreams functioned on two levels - consisting of manifest content (what dreams seem to mean) and latent content (what they actually mean).
The manifest content disguised the latent by dream sequences such as condensation (multiple dream meanings condensed into one symbol) and displacement (visual metaphor).
Using free association, he felt he was able to make connections that patients made between the symbols, to reveal a dream's content and arrive at a true interpretation
Freud formulated many theories about sexual urges and the id, but others who followed in his footsteps, challenged those ideas vigorously.
Some concluded that far from manifesting the power of some inner demon, dreams were a continuation of and a response to, waking states and events - as I noted earlier.
Not to be left behind, Freud proceeded to make a distinction, too, between those dreams prompted by id and those arising from day-to-day mundane matters.
In contrast, Jung felt dream work was an essential tool for psychoanalysis because dream symbols represented common humanity.
In this capacity, Jung noted they had a religious function; each one led to a path of self-discovery and spiritual enlightenment.
In view of the foregoing, the dream images of the limousine driver and the book transformations, conjure up many intriguing clues - but no cigar, yet!
Maybe there is a "black" scandal on the horizon for Clinton pertaining to issues of "giving", as suggested by the book imagery.
But what of the Afro-American limo driver?
The water sequence drew a blank until this past week when it was announced that Bush vetoed the Water Bill(s).
Ah, the water!
Something about the water.
Don't drink it!
John Edwards...join the "facebook" & clean political machine!
"All across this country tens of thousands of Americans are joining John Edwards in fighting for One America," according to National Campaign Manager, David Bonior.
In view of this, John Edwards and his handlers have come up with a novel idea along the lines of, "Facebook"...
John's team is crafting a "mosaic" of faces from around America..."of people who, like John Edwards, are committed to changing the system in Washington which is rigged against those who make our country great - working and middle class families."
Bold, ballsy statements, don't you think?
Bonior invited me to upload my face (scary thought to begin with) to add to the mosaic...which is a patchwork of genuine, down-to-earth folks - regular Americans - who are asking John Edwards to end the D.C. money game.
At this juncture, John Edwards offers up a reminder...
Yeah, he doesn't accept contributions from well-heeled federal lobbyists, special interest groups, or political action committees.
In fact, John's campaign depends on common Joes, who are anxious to create a powerful force for change.
According to Edwards, he's the one capable of spearheading the movement.
In closing, he notes that with my personal contribution of $15.00, the machinery for his campaign for President can run cleanly.
Would that make my contribution - "green" money?
I've got a fistful of that...except for a few odd ten dollar bills that look like they were dipped in tea.
I often wondered...was the currency tinted a sand brown color on a handful of U.S. notes due to the influence of desert money? A surge of oil cash?
Or, was it all just a coincidence?
Well, looks like John's greenbacks will be free of taint, environmentally-sound, and without ties to any Corporate Giants in Washington, D.C.
I'm all for that!
The $15 contribution entitles me to post my photo on the website, become part of the tapestry - a sort-of magic carpet - that John intends to fly about Washington on in his fight to "take back" America.
Maybe, "Magic Carpet Ride", should become his theme song.
By the way, is it me, or does that mosaic of John above look a little fuzzy?
Miss Navajo...the plight of the Native American Indian!
A short while ago, I attended a screening of "Miss Navajo", sponsored by the local organization named Project: Involve.
In fact, "Project: Involve", has showcased a handful of films crafted by talented filmmakers of color at various festivals over the past year.
In the documentary film - "Miss Navajo" - filmmaker Billy Luther follows a Native American Indian woman as she prepares to compete for a pageant that was first created in 1952 by the tribe as part of a "modernization" process.
Unlike the USA pageant - where glitz and glamour is the order of the day - the judges & contestants alike met for their annual event in humble environs at the local Days Inn not far from the reservation.
For a Navajo teen, the title of Miss Navajo is an honor.
As a one of the contestants noted, the winner will essentially be an Ambassador for the Navajo Nation, enlightening the masses around the globe about their matriarchal society, where home and family are key.
"With this film we look at what is beauty, and what beauty means to the Navajo people, and we do that in a pretty fun way through the beauty pageant," Luther said.
While a Miss America contestant may have to model a bathing suit - or exhibit some talent, like singing or public speaking - the contestants here face a rigorous test in homemaking skills such as cooking.
In addition, the young ladies must establish to the elders that they have the ability to not only converse in the Navajo language, but - more shocking (and disgusting) perhaps - demonstrate an ability to butcher a sheep!
Whoa!That was a tough one to watch.
In one touching scene, the young native women struggle to converse with the panel of Judges in their native tongue.
At this juncture the documentary takes a heart-wrenching turn.
The director reveals archival photos of young children of the tribe who were once housed in Boarding Schools on the reservation where they were forced to speak English. If any young one spoke their native tongue, their mouths were washed out with soap, or they were forced to scrub the floors with their toothbrushes.
A former Miss Navajo noted that if a language disappears in a twenty-year period, the culture itself may vanish shortly thereafter.
The documentary then switched gears to focus on the efforts of the tribal leaders to preserve their language and culture in the modern day.
I was captivated when one young lady spoke of some of their legends; in particular, the one about a Lady Prophet who cast a handful of sunbeams and moonlight which magically painted the landscape and bestowed all the wonders of nature on the Navajo people.
Billy Luther, a Native American Indian himself (his mother was a former Miss Navajo) has weaved a beautiful narrative, utilizing haunting music and dynamic images of the great desert expanse to its greatest effect.
The short documentary is a must-see.
Presidential candidates...a thought to consider!
I am the leader of men -
When I am the servant of mankind...
Tuesday, November 6, 2007
American Film Institute...power to inspire philanthropy & giving!
To kick off the TALK/SHOW conversations at this year's AFI FESTIVAL, at the breathtaking rooftop Loft Village in Hollywood proper, organizers at the Philanthropy Project invited special industry guests to talk openly about:
"The Power of Film to Inspire Philanthropy"
In recent months, there appears to have been a concerted effort on the part of film artists and power brokers, to educate Americans about global warming, health care, and hunger.
With that in mind - a panel was formed for a discussion on the topic - which consisted of Kevin Wall (LIVE EARTH producer); Crystal Chappel (Actress, Guiding light); Nigel Lithgoe (American Idol producer); and Steve Golin, filmmaker (Rendition).
The question put to the panel by moderator, Michael Guillen, was this:
Can film move beyond education and enlightenment to promulgate a culture of generosity, instill ingenuity, and ultimately bring about change in society?
At the conclusion of the conversation, the answer was obviously a resounding yes!
The first speaker up was Nigel Lithgoe.
The down-to-earth producer noted that because American audiences so generously supported "IDOL", he and his colleagues were inspired to generously "give back" to the community in some manner, shape, or form.
So, the FOX team conjured up the idea for - "Idol Gives Back" - which was geared to "raise awareness of the effects of poverty on children and young people in the US and Africa."
To get the ball rolling, Scholastic, Inc. created a website for teachers and students.
Then, the following evening, several celebrities appeared on the Fox Network to promote, "Idol Gives Back."
Americans were invited to call a toll-free number or go online to make a donation to CPEF, which would turn the money over to UNICEF, Save the Children, and several other groups.
Right off the bat, Mr. Lithgoe lamented that when he and partner Simon Cowell proceeded to organize the charity event, the duo faced a lot of resistance from Fox and others.
The reluctance was understandable.
Because of American Idol's unprecedented success in the ratings, the Fox Network leapt forward from 4th in the ranks, to No. 1 network on the airwaves.
So, the powers-that-be at Fox were reluctant to tinker with their success, much less beg the American public for money, with the ultimate aim of feeding and providing shelter for the poor in underdeveloped Nations around the globe.
In fact, sponsors like COKE and FORD balked too, according to Mr. Lithgoe.
He admitted the sponsors were nervous about the images.
"Would Americans feel comfortable viewing photographs of the impoverished, starving in the slums of third world countries, while they sat comfortably in their homes?"
No, they didn't think so.
From the get-go, the two impresarios had to push and cajole to get the charitable cause launched at Fox.
At the early inception of the project, Lithgoe understood that if the American people saw how their hard-earned dollars could make a difference, they might be inclined to support the timely concept of "giving back".
With this foremost in his mind, "Idol Gives Back" produced a touching, heart-wrenching clip, to educate audiences about the facts.
For example, Lithgoe enlightened viewers to the fact a contribution of two dollars was capable of providing medicine for four needy patients; while ten dollars was capable of securing netting to ensure mosquitoes were unable to infest shelters - and hence - prevent deadly infections of Malaria.
Talk about ingenuity: it worked!
As this juncture, the panelists agreed that providing the opportunity to give was not enough; in reality, it was vital that Americans saw the fruits of their generosity, as well.
Therefore, in a follow-up segment, the activists and volunteers sensitively revealed how the recipients not only prospered from the charitable acts, but experienced a healing in the process.
Undoubtedly, due to the caring, sensitive manner in which the segments were presented, Americans were inspired to dig deeper into their pockets.
In fact, Mr. Lithgoe recalled young children dialing in, offering up anywhere from twenty-five cents to fifty cents of their allowance, so touched were they by the plight of the less-fortunate.
The panel discussions then segued into concepts about charity and philanthropy.
Panelists agreed that through charity, individuals were afforded the chance to give on the spot and bask in a glow of satisfaction, knowing their selfless acts significantly impacted.
The panel agreed that in respect to philanthropy, there was a commitment - an act of giving - that extended over time requiring full participation.
As moderator Guillen put it succinctly,
"Philanthropy is a passionate, innovative, and long-term commitment of time, talents and treasure to pressing causes. Prime examples of this are America's 68,000 foundations, which for more than a century have been quietly but profoundly improving our nation's quality of life."
The conversation now focused on the bold-faced effort by actors at "Guiding Light" (the long-running Television Soap Opera) to "give back" in another way.
The producers of "Light" teamed up with the innovative volunteer group - "Hands on Network" - in a year-long effort to encourage volunteerism across the country.
Although Proctor & Gamble was reticent at first - like COKE and FORD at American Idol - the successful Corporate Giant eventually came on board and never looked back.
The first constructive effort included a visit to the region devastated by Hurricane Katrina, where "Light" cast and crew members helped to rebuild homes, get victims out of FEMA trailers so they'd feel comfortable in their skin again, and take part in other volunteer activities which related to day-to-day essentials.
Thereafter, the "Light team" visited a different City each month, to exhort community members to volunteer.
Ricky Paull Goldin, who plays FBI agent Gus Aitoro, noted during one interview:
"The show was created by Irna Phillips in 1937. The theme of the show was the brotherhood of man and what you can give to the world. Fans let us into their homes for 70 years. Now, this is our way of giving back."
Ms. Chappel, an articulate woman, spoke about the "Guiding light" project with great pride, as well.
"There is a hands-on involvement," she beamed.
Guiding light fathomed a way to get fans involved, too; at the Guiding Light site volunteers may sign up to be a part of each upcoming "giving back" project.
Info at: www.guidinglight.net
Some of the volunteer tasks include - house-painting, cleaning, the tidying up neighborhoods - you name it.
What the selfless actions amount to is a donation of time, plain skills, and an act of giving from the heart.
"You don't need money to give," Chappel emphasized quite eloquently.
At this juncture, Guillen summed the idea up quite nicely,
"All that is required is a desire to give the three "T's" - time, talent, and treasure."
"All have value," Chappel concluded.
Then, the panel zeroed in on one great phenomenon, which unfolded last July.
Of course, I am referring to the the Global Event - LIVE EARTH - produced by Ken Wall.
When pestered to reveal how he became involved with Al Gore and environmental issues, he chuckled.
"Well," he laughed, "I was invited to his infamous slide show. It was boring, so I walked out of the presentation, unimpressed."
He recalled that six months later he attended the screening of Al Gore's documentary, "An Inconvenient Truth", as well.
"The same slide show," he shrugged, in disgust.
But then, his eyes sparkled a little.
"Between the credits at the end, however, tips were offered up, suggesting how an individual could make a difference."
That little episode got him to thinking, though.
What can I do?
Well, the answer was obvious to Wall.
"I can do what I do best, throw an event."
When he approached a handful of environmental groups - he got caught in a swirl of politics and turf wars - though.
You see, a number of the non-profit organizations didn't like each other!
He struggled at first to get his bearings.
One day it dawned on him that he needed to team up with Al Gore, so a meeting was set up, and the ball got rolling.
With little ado, or much convincing, the BBC offered Wall two networks to broadcast his event: BBI and BB2.
In another Executive's office, he managed to land a commitment for seven networks.
Each promised 22 hours of airtime for LIVE EARTH concerts.
At that juncture, he envisioned a "group hug".
An auspicious date was set for the event: 07 07 07
In addition to raising awareness of global warming that day - LIVE EARTH - also hatched the concept:
"Live Earth Call to Action"
During the concerts, supporters were asked to agree to a seven-point pledge - which included demands to countries to join an International Treaty - to take personal action to help solve the climate crisis.
Using the global reach of music to engage people on a mass scale to combat the climate crisis - was pure genius - in a nutshell.
And, because Wall was an effective communicator with vision, he was able to pull it off.
The last panelist, Mr. Golin, has been focused on "messages" films with the ultimate aim of enlightening the masses about social, economic, and political issues.
But - "projects such as these" - are a hard sell, he emphasized with a touch of sadness in his voice.
"Rendition" - a strong message film he produced about the questionable treatment of terrorists in captivity - ended up bombing at the box-office, for instance.
He opined that many Americans today are squeamish about films that focus on torture - especially when their Government is to blame - and that images that depict America in a negative brutal way may be a turn-off these days.
Although documentaries were cited as a way to enlighten an audience about serious topics - with the aim of educating the public at large - it was noted that a survey recently revealed that only eight documentaries have made over a million dollars, ever.
In film, that is not always the case, one panelist was inclined to point out.
"It's A Wonderful Life" - a James Stuart vehicle - not only made money at the box office, but delivered up a profound message about giving, as well.
How a project is packaged, marketed, and presented, may be the key.
In response to one guest's thoughtful question about humor in film as a cure for life's suffering and ills, all panelists agreed that it was a great genre in which to serve up a message, as well.
In the final analysis - it was obvious that dreamers, on-camera artists, and behind the scenes producers - have not only found ingenuous ways to reach out and touch in meaningful - and at times charitable ways - but also give back to a loyal public for their support with thanks.
In sum, true to the Christian tradition, it appears that there is a lot of tithing going on in America, today.
According to Acts, 20:35,
"It is more blessed to give than to receive."
Smashing Pumpkins
Metro Rail...pink line for West Hollywood?
Metro Rail announced that the spanking-new subway extension may shift course and drift over from Wilshire Boulevard to journey along Santa Monica Boulevard out to the Beach Cities.
Old-timers may recall that a trolley-on-rails followed the same route around the turn-of-the-century.
In fact, in Beverly Hills, there are still vestiges of the old line just off the edge of the flats.
City planners must have taken a nostalgic glance at the past and opined it was the best way to go.
Although one City Official noted that West Hollywood welcomes the subway, can anyone overlook the turmoil such a project will cause in Boys Town?
I recall the mess on Vermont which lasted for an unsettling couple of years; huge trucks thundering in and out the neighborhood, a perpetual din of gathering dust, torn up pavement which caused the occasional flat tire, and a noisy barrage of jack hammers piercing the early dawn!
If there is a green light for the line, some residents have threatened to sublet their apartments and residing elsewhere until the rail is completed.
On the other hand, many are excited about the subway project; after all, it would be a boon to the west side.
Already, the bus lines on Santa Monica Boulevard (No. 4 and No. 704) are crowded to capacity.
In fact, bus drivers often zip right by pedestrians at the curb, because there's no space left on the carriers.
Double-sized buses - fashioned at the center with a sort-of accordian-style attachment to allow for cramped turns - have been trying to meet the demands of a public hungry for cheap accessible transportation.
But, some complain when they board a bus, there's rarely a seat for white folks; the metro buses appear to be packed to the rafters with Latinos - day-workers, gardeners, and maids - heading off to work in Beverly Hills and beyond.
Well, if immigrant workers are denied Driver's Licenses, and are paid a paltry minimum wage, what other option is there but public transport?
Others feeling the pinch financially due to high gas prices are taking the Metro, too.
It's a vicious cycle which requires some review.
In the meantime, West Hollywood residents wait patiently for a decision on the subway extension.
Will Metro Rail crown it the pink line?
Monday, November 5, 2007
The Big Lebowski...fans storm theatre, time for a sequel?
When "The Big Lebowski" screened at the "Insomniac Cinema" not too long ago, there was a big turn out at the midnight show in West Hollywood.
Frankly, I don't recall encountering such a boisterous rambunctious crowd of filmgoers descending on a movie house with such fan frenzy, in recent days.
"The Big Lebowski" topped the "Rocky Horror Show" - for all-out enthusiasm - in my estimation.
In fact, at one point, the over-anxious crowd of young hipsters stormed the Theatre.
Yeah, when the usher's back was turned - off refilling the popcorn machine, I guess - the gang of merry pranksters surged forward in a bold-faced effort to snap up the best seats in the house.
What rollicking fun - in spite of the fact I was nearly trampled in the long cramped hallway - on the way to Theatre No. 2.
Of course, "The Big Lebowski" is a Coen Brothers' offering!
The hilarious comedy is the off-beat tale about a laid back, down-and-out guy, who goes by the moniker of "Dude"
His pals are a motley crew keen on bowling - so much so - they're in a bona fide rag-tag league.
On the heels of a case of mistaken identity, the Dudereno (Jeff Bridges) gets mixed up in an intriguing scenario with a millionaire's wife, a subsequent kidnapping, and a gang of wacko characters who spill out of the woodwork and pound on him without warning.
There's a whole posse of zany characters in this movie - a gang of loser nihilists, a high-brow conceptual artist and her hired hands, and some white-trash thugs a little slow on the uptake.
The one-liners are real zingers; in fact, the best COEN gems to come down the pike in a long time.
In fact, they're so choice and so memorable, that the filmgoers (who've obviously caught an infectious bug of some kind which compels them to take in each and every screening when it rolls around) are inclined to scream out the dialogue verbatim with wicked glee.
Dude, there appears to be a cult following for "The Big Lebowski".
In fact, the film has spawned a book, with a forward by Jeff Bridges.
The hefty tome is rife with trivia, interviews with fellow achievers (Patton Oswalt, Tony Hawk, Powerpuff Girls creator Craig McCracken), tips on Dude-ifying your life, a Little Larry flipbook, a guide to the film's locations, Lebowski Fest Highlights, and a lot of what-have-you.
And - did you know? - there's a "Big Lebowski" Film Festival on schedule every year.
Check out the dudes below in Louisville, KY, at their annual event.
Dudelicious!
As I sat there in the theatre, I wondered.
Why hasn't there been a sequel?
At the end of the film, when the mysterious cowboy noted there was a little Lebowski in the oven, it hit me like a bolt of lightning.
How about a sequel featuring the "young dude"?
For continuity's sake - how about a plot line centering around the cultivation of Medical Marijuana - or something topical like that?
There are endless ingenious scenarios to consider.
Are the COEN brothers up to it?
Heck, I just might be inclined to throw a script together, myself!
After all, late-night midnight shows and doobie-laced Film Fests appeal to me.
And, I just love muscle cars and bowlin' on Friday Nights.
Later, Dude!
http://www.julianayrs.com
Guiding Light...gives back! Power of philanthropy...
To kick off the TALK/SHOW conversations at this year's AFI FESTIVAL, at the breathtaking rooftop Loft Village in Hollywood proper, organizers at the Philanthropy Project invited special industry guests to talk openly about:
"The Power of Film to Inspire Philanthropy"
In recent months, there appears to have been a concerted effort on the part of film artists and power brokers, to educate Americans about global warming, health care, and hunger.
With that in mind - a panel was formed for a discussion on the topic - which consisted of Kevin Wall (LIVE EARTH producer); Crystal Chappel (Actress, Guiding light); Nigel Lithgoe (American Idol producer); and Steve Golin, filmmaker (Rendition).
The question put to the panel by moderator, Michael Guillen, was this:
Can film move beyond education and enlightenment to promulgate a culture of generosity, instill ingenuity, and ultimately bring about change in society?
At the conclusion of the conversation, the answer was obviously a resounding yes!
The first speaker up was Nigel Lithgoe.
The down-to-earth producer noted that because American audiences so generously supported "IDOL", he and his colleagues were inspired to generously "give back" to the community in some manner, shape, or form.
So, the FOX team conjured up the idea for - "Idol Gives Back" - which was geared to "raise awareness of the effects of poverty on children and young people in the US and Africa."
To get the ball rolling, Scholastic, Inc. created a website for teachers and students.
Then, the following evening, several celebrities appeared on the Fox Network to promote, "Idol Gives Back."
Americans were invited to call a toll-free number or go online to make a donation to CPEF, which would turn the money over to UNICEF, Save the Children, and several other groups.
Right off the bat, Mr. Lithgoe lamented that when he and partner Simon Cowell proceeded to organize the charity event, the duo faced a lot of resistance from Fox and others.
The reluctance was understandable.
Because of American Idol's unprecedented success in the ratings, the Fox Network leapt forward from 4th in the ranks, to No. 1 network on the airwaves.
So, the powers-that-be at Fox were reluctant to tinker with their success, much less beg the American public for money, with the ultimate aim of feeding and providing shelter for the poor in underdeveloped Nations around the globe.
In fact, sponsors like COKE and FORD balked too, according to Mr. Lithgoe.
He admitted the sponsors were nervous about the images.
"Would Americans feel comfortable viewing photographs of the impoverished, starving in the slums of third world countries, while they sat comfortably in their homes?"
No, they didn't think so.
From the get-go, the two impresarios had to push and cajole to get the charitable cause launched at Fox.
At the early inception of the project, Lithgoe understood that if the American people saw how their hard-earned dollars could make a difference, they might be inclined to support the timely concept of "giving back".
With this foremost in his mind, "Idol Gives Back" produced a touching, heart-wrenching clip, to educate audiences about the facts.
For example, Lithgoe enlightened viewers to the fact a contribution of two dollars was capable of providing medicine for four needy patients; while ten dollars was capable of securing netting to ensure mosquitoes were unable to infest shelters - and hence - prevent deadly infections of Malaria.
Talk about ingenuity: it worked!
As this juncture, the panelists agreed that providing the opportunity to give was not enough; in reality, it was vital that Americans saw the fruits of their generosity, as well.
Therefore, in a follow-up segment, the activists and volunteers sensitively revealed how the recipients not only prospered from the charitable acts, but experienced a healing in the process.
Undoubtedly, due to the caring, sensitive manner in which the segments were presented, Americans were inspired to dig deeper into their pockets.
In fact, Mr. Lithgoe recalled young children dialing in, offering up anywhere from twenty-five cents to fifty cents of their allowance, so touched were they by the plight of the less-fortunate.
The panel discussions then segued into concepts about charity and philanthropy.
Panelists agreed that through charity, individuals were afforded the chance to give on the spot and bask in a glow of satisfaction, knowing their selfless acts significantly impacted.
The panel agreed that in respect to philanthropy, there was a commitment - an act of giving - that extended over time requiring full participation.
As moderator Guillen put it succinctly,
"Philanthropy is a passionate, innovative, and long-term commitment of time, talents and treasure to pressing causes. Prime examples of this are America's 68,000 foundations, which for more than a century have been quietly but profoundly improving our nation's quality of life."
The conversation now focused on the bold-faced effort by actors at "Guiding Light" (the long-running Television Soap Opera) to "give back" in another way.
The producers of "Light" teamed up with the innovative volunteer group - "Hands on Network" - in a year-long effort to encourage volunteerism across the country.
Although Proctor & Gamble was reticent at first - like COKE and FORD at American Idol - the successful Corporate Giant eventually came on board and never looked back.
The first constructive effort included a visit to the region devastated by Hurricane Katrina, where "Light" cast and crew members helped to rebuild homes, get victims out of FEMA trailers so they'd feel comfortable in their skin again, and take part in other volunteer activities which related to day-to-day essentials.
Thereafter, the "Light team" visited a different City each month, to exhort community members to volunteer.
Ricky Paull Goldin, who plays FBI agent Gus Aitoro, noted during one interview:
"The show was created by Irna Phillips in 1937. The theme of the show was the brotherhood of man and what you can give to the world. Fans let us into their homes for 70 years. Now, this is our way of giving back."
Ms. Chappel, an articulate woman, spoke about the "Guiding light" project with great pride, as well.
"There is a hands-on involvement," she beamed.
Guiding light fathomed a way to get fans involved, too; at the Guiding Light site volunteers may sign up to be a part of each upcoming "giving back" project.
Info at: www.guidinglight.net
Some of the volunteer tasks include - house-painting, cleaning, the tidying up neighborhoods - you name it.
What the selfless actions amount to is a donation of time, plain skills, and an act of giving from the heart.
"You don't need money to give," Chappel emphasized quite eloquently.
At this juncture, Guillen summed the idea up quite nicely,
"All that is required is a desire to give the three "T's" - time, talent, and treasure."
"All have value," Chappel concluded.
Then, the panel zeroed in on one great phenomenon, which unfolded last July.
Of course, I am referring to the the Global Event - LIVE EARTH - produced by Ken Wall.
When pestered to reveal how he became involved with Al Gore and environmental issues, he chuckled.
"Well," he laughed, "I was invited to his infamous slide show. It was boring, so I walked out of the presentation, unimpressed."
He recalled that six months later he attended the screening of Al Gore's documentary, "An Inconvenient Truth", as well.
"The same slide show," he shrugged, in disgust.
But then, his eyes sparkled a little.
"Between the credits at the end, however, tips were offered up, suggesting how an individual could make a difference."
That little episode got him to thinking, though.
What can I do?
Well, the answer was obvious to Wall.
"I can do what I do best, throw an event."
When he approached a handful of environmental groups - he got caught in a swirl of politics and turf wars - though.
You see, a number of the non-profit organizations didn't like each other!
He struggled at first to get his bearings.
One day it dawned on him that he needed to team up with Al Gore, so a meeting was set up, and the ball got rolling.
With little ado, or much convincing, the BBC offered Wall two networks to broadcast his event: BBI and BB2.
In another Executive's office, he managed to land a commitment for seven networks.
Each promised 22 hours of airtime for LIVE EARTH concerts.
At that juncture, he envisioned a "group hug".
An auspicious date was set for the event: 07 07 07
In addition to raising awareness of global warming that day - LIVE EARTH - also hatched the concept:
"Live Earth Call to Action"
During the concerts, supporters were asked to agree to a seven-point pledge - which included demands to countries to join an International Treaty - to take personal action to help solve the climate crisis.
Using the global reach of music to engage people on a mass scale to combat the climate crisis - was pure genius - in a nutshell.
And, because Wall was an effective communicator with vision, he was able to pull it off.
The last panelist, Mr. Golin, has been focused on "messages" films with the ultimate aim of enlightening the masses about social, economic, and political issues.
But - "projects such as these" - are a hard sell, he emphasized with a touch of sadness in his voice.
"Rendition" - a strong message film he produced about the questionable treatment of terrorists in captivity - ended up bombing at the box-office, for instance.
He opined that many Americans today are squeamish about films that focus on torture - especially when their Government is to blame - and that images that depict America in a negative brutal way may be a turn-off these days.
Although documentaries were cited as a way to enlighten an audience about serious topics - with the aim of educating the public at large - it was noted that a survey recently revealed that only eight documentaries have made over a million dollars, ever.
In film, that is not always the case, one panelist was inclined to point out.
"It's A Wonderful Life" - a James Stuart vehicle - not only made money at the box office, but delivered up a profound message about giving, as well.
How a project is packaged, marketed, and presented, may be the key.
In response to one guest's thoughtful question about humor in film as a cure for life's suffering and ills, all panelists agreed that it was a great genre in which to serve up a message, as well.
In the final analysis - it was obvious that dreamers, on-camera artists, and behind the scenes producers - have not only found ingenuous ways to reach out and touch in meaningful - and at times charitable ways - but also give back to a loyal public for their support with thanks.
In sum, true to the Christian tradition, it appears that there is a lot of tithing going on in America, today.
According to Acts, 20:35,
"It is more blessed to give than to receive."
Smashing Pumpkins
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