The End of the World Has Never Looked Better

Mamet Owns Piven

ZACH:

I'll keep this short and sweet. Jeremy Piven left the Broadway show "Speed-the-Plow" written by David Mamet because of an unusually high level of Mercury in his body. With this comes a great response from Mamet.

"I talked to Jeremy on the phone, and he told me that he discovered that he had a very high level of mercury," Mamet said. "So my understanding is that he is leaving show business to pursue a career as a thermometer."

Offensive?

It wasn't all just Amy Poheler leaving or Kanye being flatter than your first girlfriend on SNL this week. Seems the show has drawn a bit of controversy for the following depiction of NY Gov. Patterson.



The skit has been decried by Patterson who called it a "third-grade depiction of people and the way they look" that could lead others to believe that "disability goes hand-in-hand with an inability to run a government or business." Similarly the National Federation for the Blind has said that the skit was an attack on blind people.

I'm as PC as the next liberal, but brew ha ha over this seems to be a bit reaching. The blindness is used, perhaps distastefully, but only for a couple moments. The real target is Patterson himself, who becomes the butt of a few warranted cocaine jokes and questions about his seeming unpreparedness for the post. Both, I would argue, have more to do with his personality. Of course, as the saying goes, "no body hates my little brother, but me." And in an increasingly sensative time, it's hard to say what's offensive or not. But the "controversy" over this seems to underscore a hard fact about doing comedy these days -- someone's gonna take it the wrong way.

So, what do you think?

Luke Wilson: True Story

Pierce Hammerstein.




Long time buddy Matt Steadman has always has had a wide and somewhat bizarre friend network(Kinky Friedman apparently in there somewhere).
One night in his Atlanta apartment one of Matts friend, a T-Mobile worker, revealed that he had discovered he had the ability to look into T-Mobile users accounts(including celebrities but was hesitant to do it.
Matt asked if he could get him some numbers, his replied he thought he could only look at two without ending up on the radar, but agreed to the request. Matt's answer to this was:
I want Luke Wilson....and Ryan Phillipe.
The numbers were soon accuired yet several weeks passed by with no action.
Ryan Phillipes number was tried but as it turned out was an old account and no longer existed.
Finally at 3am on a Tuesday, a drunken friend of Matt's was talking to him from another room. When he heard no reply he walked into the living room and saw an innebriated Matt
slouched on the sofa, holding his cell phone, he brought the phone to hear and what followed was this:

Phone Rings several times

Voice: Hm, hello?

Matt:...Is this Luke?

Voice: Yeah.

Matt: Luke Wilson?

Luke Wilson: ...It is.

Matt: Luke, I just want to say,God Bless You.

Luke Wilson: (silence)

Luke Wilson: God Bless You too man.


True Story.

"Charlie Rose" by Samuel Beckett

The name speaks for itself.

Jean Claude Van Douche

Turns out Jean Claude Van Damme has a new movie coming out. Who knew? Anyway, if your last encounter with a woman turned out weird, try Mr. Classy's latest interview with a member of Newsweek.

Newsweek reporter is in bold.

I really opened myself up in "JCVD." I peeled back the skin of the fruit, cut the pulp and then took that very hard seed. In this film I cut that hard seed, and inside that seed was a kind of liquid cream substance of the man I am, or the woman you are.

OK --
It was like being naked--I would love to be naked in front of you.

Well, I --
Not being naked being naked. I say such things in Hong Kong and they thought I was being a crazy Frenchman. Being naked of protection.

So you ' ve no regrets at all?
Believe me--I've done very good stuff and very crazy stuff, and I don't regret the crazy stuff. So are you in New York?

Yes, I am.
And are you 27, or 32?

I ' m 22.
Oh, f---. That is very young. Will you come to the premiere?

I don ' t know. When is it?
I don't know. You will wear all black, a black dress and high heels?

Uh --
You can come find me, I will be the one with the very broad shoulders, dark hair and a simple suit. We can have some champagne, you and me.

MUTO - Animated Graffiti

RY:

Just watch this.


MUTO a wall-painted animation by BLU from blu on Vimeo.

Bill Maher New Rules

Maher, say what you will about him, hits shit right on way too often. Check out these great "New Rules" from his last episode.



"If [Obama] puts a moon roof in the Presidential limo. He's not naming himself fuhrer. He's trying to get the smell of stupidity out of the seats."

Countdown with Ben Affleck

OK, so John McCain may have stolen the show the other night on SNL, but Ben Affleck was surprisingly good as well. Take a look at this lengthy lampooning of MSNBC's Keith Olbermann - he gets a little tripped up with the speed and intensity at times, but all things considered, this is about as good an impersonation as you'll see on SNL (not counting Tina Fey, of course).

RIP: Bill Cosby's Sanity

ZACH THAT:

Well...just watch:

Don Draper's Guide to Picking Up Women

All things considered, last night's episode of SNL (hosted by Mad Men's John Hamm) was pretty good, even without an appearance by Tina Fey or any other decreasingly surprising political stunt casting. The best bit of the night went to Hamm, who's perfect delivery carried the otherwise fairly obvious "Don Draper's Guide to Picking Up Women" (including such gems as "blow people away every time you say anything").

Remember These Guys?

RY:

In 2000, the "Wassssssuuuuuuuup?!?!" Super Bowl commercial quickly became one of the most successful (and overplayed - "Wa-sabi!") advertising campaigns in television history.

Eight years later, they're back. And this time, they're going political.



I gotta say...pretty clever.

Lost Season 5 Trailer

ZACH:

I've never once typed OMG. But...OMG!:

After some careful research of this trailer...there is a quick flash of light with the words The Dharma Initiative on it...here is the screencap.  No idea what it means...but it will save you 20 mins if you caught the weird cut like I did.

FRINGE/madlibs

Pierce Hammerstein

Ahem, Fringe? Your Formula is showing....

The Best Show You Don't Watch

ZACH:

All I'm going to say is please watch The Life & Times of Tim on HBO...it's genius. Here's a taste:

HBO Sunday's 11PM

Dexter...5 Years Old?

ZACH:

Showtime has announced today that Dexter will get an order of two more seasons. I'm not sure how they can keep the show from becoming repetitive...cough (looking at you third season).

Thoughts on what they can do for the next two seasons?

Wahlberg/Palin Revenge! (sort of)

PIERCE HOWEVER.



After several go-rounds with Tina Fey's now famous Palin impression, she finally stepped aside and let Palin have her turn in the cameo she was announced to appear in Saturday. But MORE interestingly they allowed the skit allowed the oppurtunity to continue the Mark E mark warpath saga by having him inexplicably show-up mid-skit, ready and raring for a Sanberg beat-down. Everyone does a pretty good job lampooning themselves including Baldwin, playing up his own psychopathic political tendancies.

We Found A Real Ewok

ZACH THAT:

Ladies and gentleman, Lucas is not imaginative...he just loves dogs:

Even does the head movement.

Mark Wahlberg Strikes Back (again)

RY RITCHIE:

I've gotta give Mr. Wahlberg credit - he's milking this whole pissed-off-at-Andy Samberg thing for all it's worth. Here he is last night on Jimmy Kimmel:



Anyone else think this whole feud is just a bogus way to promote both SNL and Max Payne? I'm calling it now - Andy Samberg will run another Mark Wahlberg sketch this weekend on SNL, which will be interrupted by Mark Wahlberg himself, who will beat the shit out of Samberg before telling him to say hi to his mother for him.

David Duchovny Separates from Tea Leoni, Joins Motley Crue Cover Band

RY RITCHIE:

Yes, that meth-addled rock star looking fella is really Californication's David Duchovny, freshly separated from wife Tea Leoni (although she claims that they've actually been separated for months).

Screw the sex addiction therapy - do something about that crazy vagina neck!

THIS JUST IN: MICHAEL MOORE IS A HOBO

ANDY:

I know Michael Moore has never really cared about his physical appearance, but COME ON...



I am imagining a bottle of Popov behind that plant.

Has anyone downloaded and watched Slacker Uprising?

Religulous Review

Let me say this before I start. I like Bill Maher. And, I have a vested (academic) interest in documentaries of this nature which deal with how and what people believe. That out of the way, you should know that I was really excited for the film to come out. Maher's dealings with religion are brutally honest, sometimes smug, sometimes genuine, but always entertaining. Unlike other religious critics like Richard Dawkins, Maher's criticism manages to make sense on a common sense level rather than Dawkin's snobbish put down of religion and religious people. Maher may be smug, but he at least attempts a dialogue. And of course, we all remember that last movie Larry Charles did where someone went into places and attempted to talk to people...

Sitting in the theater, my inital fear was that this was going to be a drawn out "Real Time with Bill Maher." Thankfully, the film manages to escape that through clever editing, interspursing costume-drama religious films throughout the movie. Besides providing a ready respite to a movie that is essentially about Maher talking to people, these montages have the effect of correlating religious beliefs with some sort of Hollywood hocus-pocus. It's classic Maher comedy, pointing out the utter ridiculousness in what we think by turning common sense on its head. A tactic that most religious folks take offense to. And there's a lot of that in this movie.

Charles, having attacked the ridiculousness of rabid American nationalism in Borat, turns his directorial eye to the ridiculousness of fundamentalist faiths. Only, this time there's not a character to hide Maher behind and on more than one occasion, Maher is recognized and cast out for his prior deeds and anti-religious stances. And, whereas Borat had Cohen's search for Pam Anderson, Maher's search in Religulous is rather, well, aimless. He travels from the halls of the Senate to the site of Armegeddon to Holland to a Trucker's Chapel and everywhere inbetween.

Each of these interviews is punctuated with Maher's sarcastic comments filmed while travelling. What Maher is trying to bring to believers is doubt and he manages to set folks on their heels, without ever convincing them of everything. It's a rather insumountable problem that translates over to the audience as well. Walking out of this film, you can't help but feel that like most of the other folks there, you agree (at least moderately) with what Maher says, but those who don't believe what he says probably aren't going to see it.

Oddly, some of the best parts of this movie are rather overlooked like Maher's conversations with his mother and sister about his own religious upbringing or Maher's flirtations with religion throughout his life. These poignant and rather probing moments of one of the worlds strongest advocates of doubt are practically overlooked for a larger political stance that, when Maher makes it at the end of the film, seems overblown, overdramatic, and non-personal. Sure, religion is a destructive force and represents a serious threat to our lifestyle, esp. when extremitsts like Bin Laden advocate getting a nuke to back up their faith. But, when we get to this dramatic end, it seems full of itself and detached from the actual believers. Maher's attack is the religious beliefs, but you can't help but wonder if he's forgotten about the people who believe what they do.

7.0

The Worst Trailer of the Year

ZACH:

I'm not sure how this film found its way onto Apple's Trailers page, but it did...and it is awful. Starring Daddy Yankee, yeah, you read right, the trailer embraces every cliche possible...booty dancing, drag racing, slow motion shots of people holding guns...will they shoot or not!?!?!, etc. The best part is that a single critic compared it to City of God. Ok. Moving on.

Listen, it looks like the story of a man who wants to be a famous musician but can't because he lives in a life of crime. Guess what, it's been done before, and really really well done. The film is called "The Harder They Come" with Jimmy Cliff. Do yourself a favour and rent it instead of seeing this mess.

Talento Del Barrio


The Harder They Come

Mark Wahlberg vs SNL

ZACH:

A week ago, fellow We Watch For You blogger Ryan posted a video of Andy Samberg playing Wahlberg and talking to animals. Now, the star of Shooter speaks out:

"Someone showed it to me on YouTube. It wasn't like Tina Fey doing Sarah Palin, that's for sure. And "Saturday Night Live" hasn't been funny for a long time. They've asked me to do the show a ton of times. I used to watch it when Eddie Murphy was there and Joe Piscopo and Bill Murray. I don't even know who's on the show now"

I have to agree with Wahlberg, SNL, even with the Palin stuff, really just misses the mark when it comes to comedy. I never thought I would say this, but I feel SNL has become MAD TV...you know that bad sketch show with a skit once a year worth watching. I'll catch it on youtube.

Pure Genius - Toy Story 2 vs The Dark Knight

ZACH:

There have been a million trailer mashups and I would say 1% of them actually work. This mashup is too perfect for words...so I guess it's good there is a video to do all the speaking for me:

Welcome Back, Andy Samberg

RY RITCHIE:

All Sarah Palin impersonations aside, this spot-on send-up of Mark Wahlberg is my pick for the funniest bit on SNL this week, and the end to a brutal cold streak for Mr. Samberg. Watch for yourself below:

She's Baaaaacccckkkk!

Tina Fey's role as Sarah Palin on SNL recently has, easily, been one of the funniest things on TV. And since the rise of the Daily Show and The Colbert Report, as reinstalled SNL as a America's premiere place for political mockery. If you were out last night and missed it, take a gander on us.

"THE DARK BAILOUT"

PIERCE HAMMERSTEIN

MUST SEE VIMEO HD VIDEOS

ZACH:

Glen Marshall - "Metamorphosis"


Metamorphosis from Glenn Marshall on Vimeo.

Phillip Scott Johnson - Women in Film


Women In Film from Philip Scott Johnson on Vimeo.

Sean Pecknold - "White Winter Hymnal" (Fleet Foxes)


White Winter Hymnal from Grandchildren on Vimeo.

The New TOP CHEF Cast...

RY RITCHIE:

Though a premiere date hasn't been scheduled yet, Bravo has announced the cast for its fifth season of Top Chef, set in New York. No word yet on who the token douchebag will be, but my money's on this guy. ---->

You can check the newest "cheftestants" out for yourself here.

PICKPOCKET

Pierce Hammerstein.

Criterion spotlights another personal favorite.This one is Robert Bressons 1959 highbrow take on the ways of pick-pocketing. The main character Michel, looks more  churchgoer than ready grifter,his doe-eyed girlfriend Jeanne(Marika Green who for all the world looks EXACTLY like Natalie Portman here)who tries to look the other way.

The sleeper pace and deadpan tone make you wonder if this is truly the first indie film made(at least in spirit.). Leonce-Henri Burel's cause-and-effect cinematography is absolutely beautiful, and the pickpocketing scenes themselves are about as nerve-racking as you could ask.

9.0

PAULY SHORE 2.0

PIERCE HAMMERSTEIN



-London England

At a press conference today, scientists made the exciting announcement of their newest model of Pauly Shore which until now was considered by most outdated and totally obsolete.
"We asure you despite the updates, which include a british accent and new attire this new model will be as more talentless and annoying than ever. Scientists went on to add they installed some state-of-the-art features that will certainly grate even the most passive viewers; among them are eyeliner, fake sibilant s' and unbuttoned shirts.
This new model called the Russell Brand (named lovingly after founding researcher Joseph Brand) has already been installed in MTV television shows, commercials and i in several Romantic comedies.
"We were concerned at first" one scientist admits, "We had to cut an interview short with the Late Late show when our Beta Russell brand made a joke, by accident. We've made the proper adjustments since and after featuring him on both the MTV awards and David Letterman we can safely assert that this model is-if anything- less amusing and less watchable than his 1980's predecessor." Russell's company stocks finally hit an all time high after suffering a crippling blow in 2007 by Perez Hilton Industries.

The reporters at We Watch maintain total ambivalence on these type entertainment products,
decide for yourself with an official demonstration:

http://www.youtube.com/watch?v=BQlvqWW3tGc

SNL/MICE AND MEN

PIERCE HAMMERSTEIN





SNLs "Alternate Ending" to of Mice and Men.
Not bad.

Watch Dexter and Californication

ZACH THAT:

Showtime is great. Not only do they host two of my favorite shows, Dexter and Californication, they are allowing everyone to watch them free online. On top of that, you can watch it right now instead of waiting until Sept 28th when they actually premiere. Enjoy.

VIP INSIDER

*the password is Lady Killer

True Blood Review

KRISTIN PARKER-STONE:

I admit it.

That show about the liar/murderer/drug-dealer/mob boss/total douche-monkey who is inexplicably likable?

I love that shit. I eat that shit up. I like my male protagonists felonious and cruel, like the escapist version of that asshole boyfriend you know better then to have in real life, even though he's dangerous and manipulative and exciting.

And Alan Ball's True Blood promised a world full of people who by their very nature (undead) are the types your psychiatrist strongly suggests keeping a safe distance from.

So it's really too bad that most of them are unlikable.

True Blood takes place in an alternative version of New Orleans, two years after the world's Vampires have decided to "come out of the coffin" and just start hanging out in bars and shit like it’s no big thing. The action mostly revolves around Sookie Stackhouse (Anna Paquin), an unfortunately named waitress who also happens to be telepathic, and the events surrounding her first encounter with a Vampire, Bill Compton (Stephan Moyer, of Fuck, Where Do I Know That Guy From? Fame). The series is based on The Southern Vampire Mysteries by Charlaine Harris, and while I respect Alan Ball's intention to remain true to the source material, I respectfully assert that that was a big fucking mistake.

For a few months prior to True Blood's premiere, HBO aired a clever little advertising segment: a fictional broadcast news investigation of the events surrounding the initial emergence of the Vampires into the Human World. And it was a fascinating cross section: a Dana Perino-type Vampire rights lobbyist who remains reasonable, charming, and logic-bound in the face of her monstrous condition, a misguided young woman who expounds on the joys of sex with the undead, as well as the Japanese scientist responsible for accidentally inventing “TruBlood”, the blood replacement beverage responsible for bringing Vampires out of the shadows. And while these personalities were interesting, it was the tone that strung them together cohesively: This is the world we live in. Everything is the same, except that now, we have vampires. The Call Is Coming From Inside the House!

And I strongly believe that would have been the magic formula: give us interesting people from various places within the world we know, and make them potentially horrifically dangerous sometime in the near future. And they were so close.

Instead, none of the characters from this promo are significantly used, if used at all. True to the source material, we are stuck in a bayou world so insular, you wonder which door at the bar where Sookie works might turn out to be one of the sound stage’s exits. Anna Paquin’s accent is about as subtle as being fisted by a panda, and she is one of the better performances. The gay people are really gay. The red necks are racist and ignorant. Even Sookie’s sweet elderly grandmother, Adele, (Lois Smith) while charming in an ‘Oh, Old People!’ kind of way, seems detached from the vampire situation in a way that makes me wonder if she’s doing double duty on the Oxycontin.

As a result, what we have is a very limited and truly inaccessible view of this world. We have mountains of bad character behavior (including one successful murder, and another decent attempt), but it's random and thoughtless; the antagonists have all the depth of a Koopa Trooper. And the clincher is that Vampires are not responsible for ANY of violence that occurs in the pilot.

Despite all this, I’ll give it another shot on Sunday. There’s enough camp here where it makes me think they might just take the plunge and go for the humor, full out Ann Rice style, and True Blood could benefit from not taking itself so seriously. Anna Paquin, despite not being very good as Sookie, is strangely interesting playing herself. And despite dialogue that makes me close my eyes in embarrassment at points, I’m very interested to see where they take Stephen Moyer’s vampire, who is, despite a very crowded cast, the only vampire we have yet to meet. Albeit underused, he’s darkly charming in a way that makes me not want to blame him for the source material just yet. 

And also, it’s Alan Ball. There’s something to be said for brand loyalty, even if it means sitting through vampires randomly moving in double-time for no apparent reason.

Provisional Grade: C

True Blood airs on HBO on Sunday at 9/8 CST, and re-run throughout the week. Did not premiere as well as John from Cincinnati, and we all know how that went, so catch it now while you can.

JACK WHITE/ BOND THEME

PIERCE HAMMERSTEIN.

Here she is. That crazy Jack White Alicia Keys Bond theme lovechild I mentioned a ways back. This Coke Zero ad just popped up(even weirder) and it features the track, which-strangly-I feel puts Jack White in no cred jeopardy whatsoever. The song is full on J.W soundly almost inseparables from his signature messy rock territory(not counting the Bond horns in there.) I'm sure if he sings in this, or if its just Alicia.

100 Movies, 100 Quotes, 100 Numbers

PIERCE HAMMERSTEIN

WES ANDERSON

PIERCE HAMMERSTEIN.


Whoa.
Wes Anderson,known for having a "does everything himself" kind of style is apparently about to kick it fast and loose as screenwriter for someone elses movie. Though its actually been said he may end up directing it, there are a few things I'm already leary of.
1. Wes' script may not play as well without his aestethic bleeding into the whole production. His scripts are excellent,but theres a distinct visual narrative that has always fleshed out the minimalism of his dialogue.
2.Even if he chooses to direct, he;s still in a strange place. He's made a style out of cobbling various french and american film influences together and creates something completly unique in spite of it(note tongue in cheek Truffaut shoutout for Amex.) But as far coming into direct contact with remake territory seems odd.
3.Brian Grazer. Yeah, the guy who brought the world Austin Powers, Love Guru and that abonination of a Cat in the Hat film.He also looks like the free money guys brother...
But no matter what happens he's staying attached as producer.

No matter what happens it sounds like a major sea-change for Anderson. It might even signal some sort of style change, or at least "mode" change. Woody Allens been doing it for decades now and I'm not sure if that's an indicator of a good or bad thing ultamatly.

FOX's Fringe - Unexpect the Expected

RYAN:

Close your eyes for a second, and think back to the beginning of Lost. Sure, it looked cool, and sure, J.J. Abrams had a built-in Alias fan base, but was there really any hype? Did anyone have a clue of what to expect from such a risky, high concept show?

Of course not. ABC was rolling the dice, in desperate need of a new pair of shoes. Lucky for them, Lost came through big time, cleaning up with viewers and critics alike, taking home the Emmy for best drama, and changing the very landscape of television.

Now, fast-forward four years to Fringe. It’s FOX’s turn at the table, only this time, they’re convinced that J.J.’s dice are loaded, that there’s no way they can lose.

This is exactly what Fringe has going against it.

Nobody expected Lost to be the next big thing, but everyone’s expecting Fringe to be the next Lost. Viewers of Lost were set up for a pleasant surprise – viewers of Fringe, for disappointment.

That said, it’s not nearly as disappointing as it should be. In fact, it’s pretty good. Without all of the billboards and buildup, without the ninety-minute spectacle of a premiere, it might have sneaked up on us, and been one of this year’s pleasant surprises. But there’s nothing surprising about J.J. Abrams these days, not even how good he is, or how much he likes surprising us (or trying to, anyway – the show starts off with an in-flight disaster….sound familiar?)

Regardless, the show itself is decent, and certainly worth watching. It dives into the world of the paranormal with just as much spooky, icky glee as The X-Files, but still manages to root the weird stuff in enough psuedo-science and modern technology to keep you from rolling your eyes. The story has a few nice twists, and leaves the door wide open for die-hard fans to start crafting their own elaborate hypotheses as to who’s good, who’s bad, and what the hell "the pattern" is. It’s fun, which is a lot more than 90% of television programming can say.

But fun isn’t everything. The characters aren’t nearly as captivating as they could be, certainly not as much so as on Alias, or Lost. Anna Torv, for instance, who plays our heroine, is a little wooden at first (the material is more to blame than her performance.) Thankfully, by the end of the episode, with a couple of twists under her belt, we get the sense that she has enough to work with to take her character to new, more interesting levels. I only wish I could say the same for Joshua Jackson, who has all of the subtlety and nuance of, well, Joshua Jackson.

On the other side of the coin, though, there’s Lance Reddick, who fans of The Wire will be happy to watch in any role, as well as a near perfect turn by John Noble as a brilliant, mumbling, quite likely insane fringe scientist, a character who serves as the show’s much-needed sci-fi anchor.

All in all, Fringe is well-crafted entertainment, a dark, glossy, sci-fi serial that will leave you curious about where the hell it’s headed, which, in science fiction, is way more than half the battle. Try not to hold all of the hype against it, and you’ll enjoy it.

Grade: B

Fringe airs Tuesday nights at 8/7c on FOX, with an encore presentation of the pilot scheduled for this Sunday, September 14th at 8/7c.

Wes Anderson's The Fantastic Mr. Fox

ZACH:

The twice delayed Wes Anderson stop motion feature, The Fantastic Mr. Fox has officially hit post-production, which means it's finally on the slate for 2009. Here is what I know about the project.

Anderson teamed up again with one of my least favorite writers, Noah Baumbach, to pen the screenplay to Roald Dahl's novel. The synopsis goes a little something like this:

"Boggis and Bunce and Bean, One short, one fat, one lean. These horrible crooks, so different in looks, were nonetheless equally mean."

Mr. Fox, Mrs. Fox, and all their fox babies live under a hill under a tree, along with Badger, Rabbit, Weasel, and all of their families. To make ends meet, every night, Mr. Fox steals a meal from one of the three crooked farmers--Boggis, a chicken farmer, Bunce, who has a little bit of everything but only eats duck liver, and Bean, who farms turkeys and apples and subsists solely on apple cider. With his keen sense of smell, and the farmers' distinctive diets, Mr. Fox has no problem evading them.

After so much treatment, the greedy farmers band together to end Mr. Fox. They ambush him at the base of his hole in the hill, and while Mr. Fox survives, his tail does not. Thus begins an obsession on the part of the farmers. They first try to dig the foxes out, but they are outdug by eight sets of paws. Then, they move to starving them out. This is unfortunate, as no other creatures living under the hill (though now more of a valley; a bulldozer was involved at one point) can get out, either. Mr. Fox is not a very popular figure until he chances across the idea of digging under the farmhouses...

George Clooney and Cate Blanchett star as Mr. and Mrs. Fox and Anderson pulled out his reserves Bill Murray, Jason Schwartzman, and Anjelica Huston. This will officially be the first film that sees no mark of Owen Wilson anywhere behind or in front of the screen. Tear.

The film also sees the departure between Anderson and soul mate Robert Yeoman, who worked as the cinematographer for all of his films. Yeoman will be replaced by Tristan Oliver.

The up in the air release date is set right now for November 2009.

Look forward to updating this story as I learn more. Keep reading.

Diego Gravinese

"The Offering"
Oil on canvas, 1.40 x 1.10 mts, , 2008.

"Coloso"
Oil on canvas, 1.40 x 1.80 mts, 2008

















"Dyptich"

20 X 20 and 15 X 15 cms. oil, acrylic and enamel on canvas. 2005

Flickr.

David Mamet Opines. I mean Self-Promotes. I mean Opines

HANK:

David Mamet's got two revivals opening on Broadway this fall: Speed-the-Plow (staring Entourage's Jeremy Piven, famous for playing a Hollywood agent playing a Hollywood Agent) and American Buffalo (starring Cedric the Entertainer, John Leguizamo, and Haley Joel Osment). They're classic works from Mamet's theatrical hayday. Probing the questionable world of men and business, crooks and crooks with suits. Both plays are stark portraits of American greed, avarice, and unbridled lust (and possible mysogony). I've always been a big fan of Mamet. Less so the films than the plays. I like Spanish Prisoner and Wag the Dog. But, don't understand the fuss over State and Main. Compared to his plays, that movie in particular seems surfacy, one-note, and clever without being anything more than that.

But let's face it, there's not a stronger force in the theater-to-Hollywood biz (well, possibly Mel Brooks) than Mamet. He's always been crafty and knew when to drop starpower into his scripts - Madonna originated the role of "Karen" in Speed the Plow (we're left only with the one name, no doubt aiding those who accuse Mamet of mysogony given that both men in the play have first and last names). Given Mamet's prestige, it's no wonder that the New York Times gave Mamet a quarter page today to opine about democracy, capitalism, and the dilemma of putting butts in seats. And despite how much I love a lot of Mamet's writing, his piece in the paper was, well, vintage Mamet. Here's a taste:

" I wrote the play some 20 years ago, when I knew little of Hollywood. I lived in the East and would go out three times a year for a day or two, and sit in Hollywood with some director or producer or studio head, and talk about some project we would make or not make, and the thing was pretty clear: the movies were an industry, staffed by craven business types interested only in making a buck.

So I went home, back East, and wrote my play. Six years ago I moved to Hollywood. I spent and spend a larger amount of my time in the Councils of the Great, both looking for backing and mucking around with some of the folks with whom I have become friends. And I found that the movies (and television) are an industry, staffed by craven business types interested only in making a buck.

And I found further a) that I am one of them; and b) that it’s a grand idea that the industry is such.

But why such heresy? Well, if I want to write a play or a book, I, as an American, am free to do so, and I’ll do so, and neither I (nor you) need anyone’s support to do so. If, however, I want to have access to an industry capable of both producing and (theoretically) distributing my work to a worldwide market, I’m going to have to go into the world of those who (by whatever means) have got the corner office and convince them why it is a good idea to part with their organization’s bucks.

Is this a bad half-hour? You bet. The alternative, however, is public financing, Public Broadcasting, and after a lifetime of experience as a viewer and 40 years as a supplicant, I swear to you I’d rather deal with Commerce (Tool of Greed) than with Public Benevolence (Tool of the State).

Here’s why: There is a limit on greed. There is no limit on the hunger for power."

Mamet's always been an unabaseded capitalist. Even while chronicalling the darkness behind a buisinessman in Glengarry Glen Ross, there is a sort of respect and awe that Mamet crafts Roma and Shelly with. And he has a point about the artistic drought on PBS. But I can't help but feel that the reason that he can utilize the best of the capitalistic system is because he is DAVID FUCKING MAMET. And I'm sure that he would argue back that were I as crafty and wily as he is I could manipulate it to my advantage as well. After all, he takes a quarter page in the New York Times to essentially promote his own work.

"But what about High Art? I, personally, don’t think it is the lookout of drama. I believe that the business of America is business, and the aim of drama is to put tushies in the seats; and that the best way to do that is to write a ripping yarn, with a bunch of sex, some nifty plot twists and a lot of snappy dialogue.

If you are looking for such, I suggest 'Speed-the-Plow.'"

So what shall we do now? Read his plays as buisness not as art or High Art? I must say that as much as I admire Mamet's writing one thing that I don't enjoy is Mamet writing about his writing.

Here's the article.

2008 EMMY PICKS (DRAMA)

With the Emmys just a couple of weeks away (Sunday September 21st, 8/7c on ABC), I thought I'd offer my thoughts on each of the big races. This week: the contenders for drama. Who will win, who should win, and who was overlooked?

OUTSTANDING SUPPORTING ACTOR, DRAMA

William Shatner, Boston Legal

Ted Danson, Damages

Zeljko Ivanek, Damages

Michael Emerson, Lost

John Slattery, Mad Men

This is one of the closer races of the night. Danson and Ivanek were both big stand-outs this year for their critically-acclaimed roles on Damages, but many would argue that a win for Emerson has been long overdue considering his dependably spine-chilling work as Benjamin Linus on Lost. Then again, John Slattery could ride to victory in a potential avalanche of Mad Men wins, and don’t ever rule out William Shatner, who’s been an Emmy darling ever since reviving his career as Denny Crane on Boston Legal.

Who will win: As much as it pains me to say it, I’m going with the Shat. This wouldn’t be the first time he’s beaten out a more deserving field, and the fact that the category is so crowded with talent means that there’s no clear front-runner to challenge him.

Who should win: There’s a strong case for any of the other four, but my vote would go to Ted Danson, who went toe to toe with Glenn Close in some of the most gripping television of the year.

OUTSTANDING SUPPORTING ACTRESS, DRAMA

Candice Bergen, Boston Legal

Rachel Griffiths, Brothers & Sisters

Chandra Wilson, Grey’s Anatomy

Sandra Oh, Grey’s Anatomy

Dianne Wiest, In Treatment

Two-time Oscar winner Dianne Wiest is the only “new” nominee here, as Bergen, Griffiths, Wilson, and Oh are all repeat nominees from the last few years. None of the four of them have won, mind you, at least not for these performances (Bergen won five Emmys for Murphy Brown, but has lost twice for Boston Legal). Notably absent: last year’s winner Katherine Heigl of Grey’s Anatomy, who officially pulled herself out of Emmy consideration, publicly citing a lack of good material, a rather ungrateful “fuck you” to the very same writers who helped her get her Emmy in the first place.

Who will win: My pick is Dianne Wiest, the only one of the bunch who hasn’t lost an Emmy race for the role she’s nominated for. None of the other four had a strong enough year to break their Emmy cold streaks.

Who should win: Julie Benz of Dexter, who wasn’t even nominated. Her work as a serial killer’s unsuspecting yet underestimated girlfriend is subtle and brilliant but constantly overlooked.

OUTSTANDING ACTRESS, DRAMA

Sally Field, Brothers & Sisters

Kyra Sedgwick, The Closer

Glenn Close, Damages

Mariska Hargitay, Law & Order: Special Victims Unit

Holly Hunter, Saving Grace

Last year’s winner Sally Field gave us another consistent year as the lovably meddling matron of the Walker clan on Brothers & Sisters, but an unconvincing attempt to revitalize her character’s love life with guest stars like Danny Glover and Chevy Chase will probably hurt her chances of a repeat. Hargitay has proven she can triumph, but is probably a long shot for a second win, while Holly Hunter’s award is probably the nomination itself. The Closer’s Kyra Sedgwick has been a familiar face in this category but has never been able to, um, close the deal.

Who will win: Glenn Close. She was absolutely electrifying on Damages, and without much stiff competition, should have a clear path to Emmy victory.

Who should win: No one else came close to Glenn this year.

OUTSTANDING ACTOR, DRAMA

James Spader, Boston Legal

Bryan Cranston, Breaking Bad

Michael C. Hall, Dexter

Hugh Laurie, House

Gabriel Byrne, In Treatment

Jon Hamm, Mad Men

Take perennial spoiler James Spader out of there, and this is a dream category. Don’t get me wrong - his work on Boston Legal is guilty fun, but the other five are in an entirely different league. Cranston reinvented himself with the wonderfully addicting Breaking Bad, Hall was murder as serial killer/good guy Dexter, Laurie was his fantastic self on House despite a bobbled cast shake-up, Gabriel Byrne was brooding, understated perfection on In Treatment, and Jon Hamm came out of nowhere to breathe life into one of the most interesting characters on television right now, Mad Men’s Don Draper.

Who will win: Jon Hamm. Not even Spader can prevent the Emmy voters from getting this one right – Hamm was simply too good to ignore, ushering in the next great American drama.

Who should win: Jon Hamm. It’s a true testament to how good he is on Mad Men to say that he has a clear path to the Emmy over the likes of the overdue Laurie, the breathtaking Hall, and the ever-surprising Cranston.

OUTSTANDING SERIES, DRAMA

Boston Legal

Damages

Dexter

House

Lost

Mad Men

Glad to see Lost nominated after returning to form with a stellar fourth season. Likewise for Dexter, which accomplished something in its second season that I didn’t think it could: topping the quality of the first season (here’s to hoping they can pull a hat trick with season three, starting up in a few weeks). I’m also happy to see that Damages made the cut, but incredibly bummed (although not surprised) that Boston Legal and House both made it in over The Wire's final season.

What will win: Unless Lost pulls a surprise upset, this should be Mad Men’s night. It’s the only show this year that stepped up to the plate and showed that it could fill the void left by The Sopranos, and Emmy voters will be eager to say thanks.

What should win: Mad Men. Say hello to the newest Emmy dynasty, folks.


Agree? Disagree? Pissed that Friday Night Lights was shut out? Leave your thoughts in the comments, and stay tuned next week for my take on the comedy match-ups.

For a complete list of 2008 Emmy nominees, click here.

Aaron Sorkin writing Facebook Movie

ANDY:

If you didn't think it could get any worse than "Studio 60", think again.

Aaron Sorkin has announced (via FB of course) that he's "just agreed to write a movie for Sony and producer Scott Rudin about how Facebook was invented."

To prep for the script, he's set up a Facebook group to collect stories, get feedback and get an understanding of the FB culture. The most amusing part are some of the comments that people are writing on the group's wall. A taste:


Be Aaron's friend here

THIS JUST IN: VIN DIESEL'S BROTHER

This isn't made up. The other day I spoke with a colleague at work who was talking about one of his Wife's former work mates. It Turns out one them was not only the brother of Vin Diesel, but Vin's ALBINO, TWIN, FILM EDITING brother. I investigated and it was totally true. Truth is truly stranger than fiction. Check out those digs.I really have to say I think I like this guy alot more than his brother.
Get a load.

FAST AND FURIOUS

Pierce Hammerstein.

I was in the middle of in sitting Kingdom of the Crystal Skull when I thought "Speaking of Franchises, what happened to The Fast and the Furious?." Justin Lin must've been thinking the exact same thing. I just saw the trailer and I have to say my favorite thing of all time is that the movie is just called Fast and Furious. being that quite honestly that is what the dudes who see this movie will actually call it, no matter what it was named. Like when the last one came out, this didn't happen:

Dude 1: Man, I'm bored, what do you we do now?
Dude: You must have forgotten my friend that 2 Fast and 2 Furious sequel, Fast and the Furious:
Tokyo Drift comes out tonight. Don't worry I already bought tickets!

But went probably more like the following:
Dude 1: I wanna see Fast and Furious.
Dude2: Let's go.
So its nice to see a movie accomodate its key audience. Btw thats the wrong poster up top, but I thought about it and realized it doesnt matter.

NEWSFLASH! Woody Allen is Funny

HANK:

Woody Allen wrote a fantastic piece for the NY Times which appeared yesterday. It's called "Excerpts from the Spanish Diary" here's a couple of my favorite parts:

JUNE 15

Work finally under way. Shot a torrid love scene today between Scarlett and Javier. If this were a scant few years ago, I would have played Javier’s part. When I mentioned that to Scarlett, she said, “Uh-huh,” with an enigmatic intonation. Scarlett came late to the set. I lectured her rather sternly, explaining I do not tolerate tardiness from my cast. She listened respectfully, although as I spoke I thought I noticed her turning up her iPod.

JULY 15

Once again I had to help Javier with the lovemaking scenes. The sequence requires him to grab Penélope Cruz, tear off her clothes and ravish her in the bedroom. Oscar winner that he is, the man still needs me to show him how to play passion. I grabbed Penélope and with one motion tore her clothes off. As fate would have it she had not yet changed into costume, so it was her own expensive dress I mutilated. Undaunted I flung her down before the fireplace and dove on top of her. Minx that she is, she rolled away a split second before I landed causing me to fracture certain key teeth on the tile floor. Fine day’s work, and I should be able to eat solids by August.

For some reason, I've been a little hesitant about seeing Allen's movies recently. But this piece is making me want to go see Vicky Christina Barcelona.

Read the whole thing here.

AWKWARD

ZACH:

Ummm...maybe Nike should think about pulling this advertisement for the US Softball team. If you're not aware, they finished the Olympics with the silver medal in softball. Watch this Nike spot and, um, it's just too awkward for words:

What Makes the Olympics Great

HANK:
Phelps, Bolt, now USA basketball. Okay, it's great to see Olympic athletes compete. It even brings a swell of unironic patriotism to my eye to see us take the 4x400 relay. But, it's moments like Team USA's celebration early this morning that make the Olympics great. I won't recap the game. There are others out there who do that far better than I do. I'll just remind everyone of the times when Kobe looked like the most selfish person on the planet, that 'Mello looked like he couldn't win a 21 tournament, that they called Lebron "LeBronze" (which is pretty lame), and that Team USA looked like, well, a bunch of whiny losers sulking over a third place trophy. And, sure, who didn't expect them to win? But as one of my idols Tony Kornheiser always intones - "the toughest thing to do in sports is win when you're supposed to." It's a comment that's always kind of rubbed me the wrong way. Living up to expectations should be what atheletes do, but come on, Herm Edwards - "Hello! You play to win the game."

Okay, cliches aside. Because if there was one thing about this celebration, this win, it wasn't cliched. Or old hat. To see Kobe and D. Wade, two NBA finals winners, beam...and I mean BEAM...after downing Gasol and the Spaniards was phenomenal. The stoic visage of their NBA selves were down, and you could tell, their hearts were pounding in their chest. It was really wonderful to watch and in an age where emotion's been struck from professional sports (re: Tiger) it's been great to see world-class athletes like Phelps and Team USA exhilirated by pure emotion after accomplishing what they were meant to.

SEE THIS MOVIE: BRING ME THE HEAD OF ALFREDO GARCIA

Pierce Hammerstein.

The Dark Knights been toppled, the warring comedies are winding down and grab bag yard sale leftovers are about to his theaters to kill time till the late year Oscar bids start popping up. If you want to do yourself a massive favor, skip trying to enjoy Death Race on an ironic level, stay home and check out this little gem I just came across.
Bring Me the Head of Alfredo Garcia(1974) If Wes Anderson had art directed a script that was written by Quentin Tarentino and was helmed by say The Coen Brothers you'd have something that might vaguely resemble this messy, bleak-oddly poetic- and grandiosly arcane film.
In short, A Lounge pianist must hunt down and claim the bounty of a wanted man who-as it happens-is already dead. The concept alone deserves some sort of reward.
The film reeks of Spaggetti western , b flick glory, yet in inexplicably reaches for a more lyrical tone in the midst of severed heads, bounty hunters fully automatics and swinging machetes. It's a film that even reaching 40 still blows away any faux grindhouse film Rodriguez could attempt to conceave. I'm sure hell announce hes remaking it sometime soon though.Anyways, the ending might be jarring, even bleak but it aint about the destination, its about the gruesome blood stained drug addled journey.

Sam King Films

HANK:

Sam King's a painter whose process has been evolving over the years. He also co-runs my favorite painting blog MWCapacity. Tonight, he's premiering some new things in Fayetteville, AR. They're process films. Essentially, what Sam does is tape parts together and take a still image, then edit the stills together into small films with some vocal or musical accompaniment. They're pretty astonishing. Junk is the best expression of the process to date. Take a couple seconds and look them through. My image, voice, and words make an appearence in "Eternal Striver"

JUNK


Junk from Sam King on Vimeo.

ETERNAL STRIVER


Eternal Striver from Sam King on Vimeo.

ANDY'S DREAM


Andy's dream from Sam King on Vimeo.

5-3-08


5-3-08 from Sam King on Vimeo.