Thanks to Jaime Weinman for reminding me that South Park returns tonight to Comedy Central for the second half of its 12th season with the episode 'The China Probrem'. I can't remember when this ep will air up here in Canada, whether it's this Friday night or next Friday night. But no matter, I'll catch it online later this evening (which makes me wonder...since most US TV series are simulcast up here at the same time, including 'premium' shows from HBO and Showtime, why do we always have to wait a few days or a week to catch South Park on Canada's Comedy Network?).
Anyway, Weinman was somewhat underwhelmed by the first half of Season 12 which aired back in the spring...and upon reflection I suppose I have to agree. I feel kind of fortunate to have only discovered South Park and all of its yummy goodness in the past couple years, when the show has really been on a roll. But the whacked-out funny goodness of 'Super Fun Time' and 'Major Boobage' didn't make up for several one-note one joke episodes like 'Over Logging', 'Britney's New Look', and 'Canada On Strike'. And the show has set the bar pretty high with a lot of consistently brilliant episodes (not to mention lotsa relevant political, social, and cultural commentary) in Seasons 9-11....which Mr. Weinman also points out in this great article he wrote earlier this year.
Come to think it...who cares what I think. Go read Weinman, and find somewhere to watch 'The China Probrem' tonight. Even if it isn't an 'instant classic' ('Make Love Not Warcraft' or 'Le Petite Tourette' anyone?), South Park's less than stellar episodes are still better than most comedy series on air right now.
Sorry about being all linky and slutty, but that's how some days go.
Today Bill 'the Mad Pulp Bastard' Cunningham comes out swinging, then pulls off the gloves and tears apart some B-movie maker's lame poster and marketing campaign. Witness the carnage HERE...
Part of me has been sometimes tempted to post a really badly executed (read: shitty) synopsis or outline or screenplay I've been sent, just to point out what's not working (read: rip it a new asshole) in an effort to educate and inform...but I always jam out. Maybe it's because I'm just a nice guy. More like I'm just a pussy.
Not Bill.
But as tough as he is on these poor people's work (or peoples' poor work), there's a lot to be learned from their mistakes and his analysis.
Students...school is in session at Pulp 2.0. Go. Now.
Remember when I chatted up old pal Damian Kindler about his new web-only supernatural series 'Sanctuary'? Well after a relatively successful run on the internets, the show was picked up by Sci Fi Channel in the U.S. and then eventually Movie Network/Movie Central here in Canada (funny how so many of our Canadian nets only come in after our neighbours to the south get on board...hmmm) for a 13 episode television season.
The rejigged and rewritten reboot of the pilot premieres tonight, and although some reviews or other reviews or even other reviews haven't been glowing, with old colleagues like Damian and Sam Egan (Outer Limits) and Martin Wood (Earth: Final Conflict) at the helm, I'm still looking forward to it. I'm sure it was difficult to re-introduce the series again after you've already done it, but now with a whole new layer of input and expectations. And the news hasn't been all negative, especially with the Canadian Press. And here's a nice article where Wood discusses the in's and out's of directing a show set primarily against green screen.
Check out Sanctuary this evening....let's see where they take us.
Film and television acting is more of a science than an art, in my opinion.
Not to belittle the brilliance of the many talented performers who grace our movie screens and TV sets every year, but acting for 'the lens' requires lots of other very specific abilities. Of course it's about creating a voice and becoming the part to make the viewer believe you 'are' the character being portrayed, but it's also about finding your light and hitting marks and maintaining eye lines and understanding lenses and knowing edge of frame...I could so go on and on. Not to mention NOTHING is performed continuously top to bottom, but rather in little bits and pieces all filmed out of order.
Generating a performance is very important. Conveying that performance effectively to the audience within the parameters and constraints of the filmed medium...as if not more important. More math than method...again, in my opinion.
That's why the 'Acting In Film' series with Michael Caine is so money, and should be required viewing for every aspiring (and even established) thespian. Caine's all about less is more, craft not art, and in a straightforward and understandable way drops dozens of helpful hints to make the camera love you.
Here's a taste:
Michael Caine On Acting In Film...I own the book and DVD and recommend them to anybody, but you find find some of the best video bits HERE (parts 1-6)
LIFE is HOUSE but set on the streets instead of a hospital...unusual Bones-like crimes instead of obscure medical mysteries...both a form of procedural with a quirky British actor playing the American lead. I mean, Damian Lewis (Detective Crews) could be Hugh Laurie's brother for crying out loud...
C'mon!
But I still like Life...a lot.
Last night was the season two premiere, and although it wasn't a standout episode (so many new and returning shows this fall seem hung up on revisiting all the 'setup elements' of the series as if viewers have been away for years!) it was still a solid effort that effectively drew me back in. Life continued its two parallel storylines: solving new crimes in the present while zen-spouting Crews tries to find out why he was framed back in 1995. A nifty spin on the cop detective genre, Life feels oh so 'been there done that', and yet...somethingsdifferent.
And that's all a TV show really needs to do to fit in yet stand out in today's crowded television major network landscape. So what's different?
The characters mostly...smartly drawn and armed with clever dialogue, especially the seemingly mismatched partners Crews (Damian Lewis) and Reese (Sarah Shahi).
Good cop.
Bad cop.
Okay she's not that bad, but still, mmmmmm....bad cop.
"They say I'm crazy but I have a good time I'm just looking for clues at the scene of the crime Life's been good to me so far."
Check this show out. Like the Joe Walsh song, once it gets in your head you'll be humming it all day. If you like 'familiar TV' which is also smart, funny, and original in its own unique way, that's Life.
One other thing to know about the series is it's wonky schedule over the next couple weeks. To try to capitalize on Heroes as a lead in it'll air a new episode on Mondays and another new episode on Fridays before settling into its regular Friday evening slot on NBC.
Far Away Scriptwriter thinks I have great musical taste (sometimes), and so tagged me with the following meme:
Find a song that sums up what you think it means to be a writer and post the lyrics on your blog and why you've chosen it. NB: It doesn't have to be your favourite song, it just has to express how you feel about writing and/or being a writer. It can be literal, metaphorical, about a particular form or aspect of writing - whatever you want. Then tag 5 others to do the same.
Well this will be NSFW, but I have to go there. NIN. Trent Reznor. The dark auteur of industrial excellence. A song not surprisingly from his The Downward Spiral release, 'Closer'.
Closer
you let me violate you you let me desecrate you you let me penetrate you you let me complicate you
help me i broke apart my insides help me i've got no soul to sell help me the only thing that works for me help me get away from myself i want to fuck you like an animal i want to feel you from the inside i want to fuck you like an animal my whole existence is flawed you get me closer to god
you can have my isolation you can have the hate that it brings you can have my absence of faith you can have my everything
help me you tear down my reason help me it's your sex i can smell help me you make me perfect help me become somebody else i want to fuck you like an animal i want to feel you from the inside i want to fuck you like an animal my whole existence is flawed you get me closer to god
all through every forest above the trees within my stomach scraped off my knees i drink the honey inside your hive you are the reason i stay alive
Reznor’s 1994 album The Downward Spiral told the story of one man’s descent to near self-destruction. He describes this album as having “a brutality and an iciness that is a way to prevent you from getting inside. It’s an armor.” This reflection on the artist and the album from BlogCritics Jaime Nichols is well worth reading, and I liked this bit:
By the end of the last song, on The Downward Spiral, one had the unmistakable sense of teetering on the brink of the nihilist void with Reznor's narrative "i", now reduced to a stripped down, elemental consciousness that had eviscerated itself of moral and emotional certainty, but whose mind was still terrifyingly and unflinchingly engaged. It was a dreadful prospect, but one which felt like a kind of extreme, if uneasy, virtue.
'Closer', with all its ferocious intensity, was the highpoint of The Downward Spiral. And for me it's less a song about raw uninhibited sex, and more about achieving purity through sin, freedom through expression, unbridled passion through purging. Letting it all out and holding nothing back, as painful and soul-baring as it will be, can allow for 'pure' creativity. Giving yourself wholly and completely will make it an experience unlike any other...usually resulting in what we call 'writing in the zone'.
You are the reason I stay alive....that more or less says to me all there is to say about writing or being a writer.
Most people hate getting tagged, but I'll tap the shoulders of fellow Canucks Henshaw, McGrath, Epstein, Trevor, and Brandon and see if they respond.
Friday Fun! Jon Stewart smacks a line drive home run with this faux bank loan interview last night, enhanced by props...big glasses! Watch and enjoy HERE. Colbert Report and The Daily Show...best TV all week.
Please consider this letter my small token of appreciation for your new cdDear Science. Your original blend of funk, soul, jazz, and new wave/punk rock is a juxtaposition worth listening to, not to mention it makes me wanna dance.
I heard some of the new release HERE, and more of it OVER HERE...and then I purchased the cd when it hit the stores yesterday. Plus you put out trippyWebisodes like THIS, and a new video for 'Golden Age' on the Youtubes.
Mmmm. Cool musical goodness.
We have some history together. You got my attention with 'Wolf Like Me' from Return To Cookie Mountain. You sunk your hooks deeper into me with 'Staring At The Sun' off Desperate Youth, Blood Thirsty Babes. And you hail from Brooklyn...my brother lives in Brooklyn.
Your bizarre sonic stylings inspired by diverse musical influences seems like it shouldn't work, but it does. I am, once again, impressed and entranced.
Some day I'm going to start to act my age...put away the music that my eldest daughter listens to and wants to tell me about but then is almost disappointed when she learns I'm already all over it --- and start being all about the classical and opera.
But until that day comes, I still want my TV on the Radio.
"What made you want to be a TV writer? Was there a defining moment? Was it an awakening? Did you always know?"
And not wanting to be a poop, here's what I can say...
I enjoy writing, but since I'm not much of a journalist, a really lousy novelist, a mediocre blogger, a bad playwright, an 'only occasionally' feature film writer, and a lame poet (not to mention a rather slow 'plinkplink' typist), where does that leave me?
I still like to tell stories, even seem to have a bit of a knack for it...so why TV? Well, in the immortal words of Zack Mayo (Richard Gere) in An Officer And A Gentlemen...
So much is being made of how the pilot for the new Fox series Fringe wasn't very original. Or that it didn't blow the competition out of the water ratings-wise. Or that it isn't Lost. Or that it ripped off Lost because the teaser was set on a airliner. Or that the two leads (Anna Torv and Joshua Jackson) seemed a little wooden.
Get over it, people...it's the friggin pilot for crying out loud! Go back and watch the pilots of Buffy or The X Files or Alias even if you want to witness some less than stellar plotlines or actors still finding the comfort zone of their characters.
In fact, I did just that.
Little green men, alien abductions, and government conspiracy proliferated the beginning of The X Files TV series...in fact, it almost became a little repetitive. And David Duchovny and Gillian Anderson weren't embarrassing but definitely struggled to find the voices of Mulder and Scully. And then 'Squeeze' aired...a dark unnerving story about a hibernating man-boy creature who awoke every 30 years to extract and eat livers from five random targets. And the kicker was this...he could squuuuueeeeze through any small opening to get at his victims.
Cool. And creepy. I was hooked.
But my point is this...the first X Files I watched was entitled 'Fire', episode 11 of Season One. I just happened upon it...didn't love it, but enjoyed it enough to continue watching. Then Fox reran the pilot and the first couple of eps that I'd missed, and it was then that I saw 'Squeeze' (ep 3). So this was like halfway through Season One, and nobody else I knew was watching.
But that's because 'The X Files' didn't really hit its stride and start to approach what might be considered a hit until the end of the second season. Think about that...40+ shows to get your formula working and stories cooking and your actors and crew firing on all cylinders? Seems unthinkable now.
I feel sorry for TV producers and showrunners today (even if they are JJ Abrams). Though the networks so desperately want another X Files or Buffy or Alias, they won't allow audiences the time to find or discover them for themselves as it were. There is such relenting pressure to deliver 'a hit' right out of the gate...but as we've recently seen with Back To You or Bionic Woman or even already with 90210, expecting hit ot touting something a hit before it airs is usually a surefire way to strip it of all its potential 'hitness'.
House was solid out of the gate, but grew into a hit. Same can be said for Criminal Minds. In genre turf similar to Fringe, both Supernatural and Smallville were allowed to play in the sand for a bit before settling into their groove. And people still found them. And stuck with them.
Don't get me wrong, I had some complaints about Fringe...I didn't quite buy Joshua Jackson's 'sweetheart' take on the character of Peter - he's no Mulder/Duchovny. And the 3D titles establishing location were a cool at first, but they quickly became a tiresome and intrusive gimmick, taking me out of the story and reminding me I was only watching a TV show (with a big budget).
Another common complaint was that the pace of the pilot was sluggish, but I'd actually prefer if it all slows down even more. Because that creates tension. Tension and suspense is good. Ick factor is also good. We could use a show on air now that makes us wanna look away from the screen and go "ewwwww"...and in a scripted show, as opposed to a Wipeout or being part of a Survivor challenge. Not mention it's really hard (and expensive) to make an bang up action 'rock video-like' TV series every week. When are networks going to get this through their heads...? fasta pace lotsa action all-the-time does not keep people (much less 'the kids') watching the tee-vee. Good drama and intriguing engaging characters combined with suspense, tension, and some cool twists, punctuated with some running and jumping....that's what keeps 'em coming back for more.
But overall, I liked the Fringe pilot a lot. It unfolded well, had some good twists, and most importantly, effectively set up the characters and the world of the show. From that, I really like the arena and the potential for stories in the series. I'm looking forward to episode 3.
Here's hoping the networks' 'out of the gate' expectations for the series weren't too high, so they, and we, can eventually reap the benefits of Fringe.
Fringe airs Tuesdays (tonight) after House on Fox.
(and unlike other 'fancy' blogs...Fox didn't send me any Fringe screeners to convince me to bat for their team)
I'll wrap up 'plug week' with a shout-out for a post...a MONSTER post over at Henshaw's house. The Big Jim doesn't exactly support the Harper governments' recent cuts to Canadian arts and culture programs, but he doesn't exactly knock the notion of cuts either. Instead, he uses them as a springboard to do what we ALL need to start doing...seriously question whether our over-subsidized, under-nourished entertainment industry is really working.
Just a taste:
Folks, our subsidy system is broken because it serves neither the artists of the country nor the audience while allowing and encouraging the money to be siphoned off by those who are mostly hanging around for the wine and cheese party.
We need to start considering a system that works for the rest of us. Because if we don't, things are only going to get worse.
In the 1990's, I had the opportunity of shooting a couple of films in Hungary, shortly after the fall of the Communist system. There had been a strong, state-funded Arts system there and we had a number of very talented local artists working on the films. But working with them wasn't that easy. A system that had looked after all their needs had also robbed them of all initiative and accountability. Many sleep-walked through their tasks, their artistic flame smothered by living too long in a welfare state.
And you can see the same thing happening in this country. The more Government has subsidized (and thereby controlled) our ventures, the less we produce in terms of both final production numbers and work that inspires our audience. Our television drama is a shadow of what it was 20 years ago and our feature film industry has gone from one of the busiest in the world to one of the least productive.
Telefilm spends hundreds of thousands of dollars developing scripts no local production company even deigns to read. Writers, directors and actors stick with series none of them would be caught dead watching because it pays the rent. And the phrases you most hear at industry soirees are "what're you gonna do" and "it's what they're making".
It makes you wonder if what we've got is really worth preserving. Surely there must be some way to kick-start a new financing formula that would attract venture capital or reward private contribution instead of hanging on to one that isn't creating anything we're really proud of.
Read all of it HERE. And I mean read it...with attention. And then think about it. And then start talking about it and discussing it with your colleagues.
I wish we could all have a town hall meeting afterwards...
This is turning into 'plug week' for some of my old friends and colleagues.
I've known filmmaker Brian Stockton for about 25 years. We met in film school at UofR, and while there scratched each others back several times, so to speak...him acting in my graduating project "Heartline", and me acting in at least one of his videos ("9 1/2 Minutes" I think). Then we went in different directions...me choosing to pursue the more commercial and mainstream world of television, whereas Brian wanted to keep it personal yet go bigger...you know, make feature films.
His collaboration with Gerald Saul resulted in the darkly amusing post-apocalypse road movie "Wheat Soup", critically acclaimed and regarded by many as Saskatchewan's first indigenous independent feature. Brian followed up that effort with "The 24 Store" (I think I had a role in it...it all kinda blurs together after a while), a precursor of sorts to Kevin Smith's "Clerks" about the proprietors of an old convenience store coping with a new 7/11 setting up shop across the street.
And then...?
Well, as we all know, it's a bitch to finance and produce theatrical features in this country. And so while Brian toiled to try to get his next longform movie off the ground, he ended up making a bit of a name for himself with several successful short films...most notably "The Blob Thing" and "The Weight of the World" (the latter produced during his stint at the CFC).
That led to The Saskatchewan Trilogy... three short 35mm films tracking his childhood growing up on the prairies and in Regina... all very personal and done with a unique blend of documentary, drama, and animation (think the opening scenes of Annie Hall and Alfie remembering his youth).
I've always enjoyed Brian's sensibility and unique take on things...sort of a Woody Allen meets Guy Madden, if that's even possible. And so I am pleased to direct you to screenings of his latest effort, "Whitmore Park".
It's playing this week at TIFF (that's the Toronto International Film Festival y'all) as part of the Short Cuts Canada Program, and is the fourth and latest installment in what he ultimately hopes to be a 8 part series of short films entitled The Epic Story Of My Life.
Here's the where and when (in Toronto of course):
September 10, 7PM - Jackman Hall - AGO September 11, 5PM - AMC 3
And if you are at the fest and finding it difficult to get into one of the 'gala screenings', go check out "Whitmore Park"...I know it'll be short, but sweet.
I know McGrath posted about this the other day, but felt it was worth another mention.
Producer/director/writer Larry Raskin is an old pal....from swinging clubs in the old old days in the Atlantis golf tourney at the Banff TV Festival, to the not so old days, burning the late night oil churning out final season Psi Factor's on next to zero budget and six day shooting schedules...and his latest effort is Make Or Break TV. He gave me a screener episode a couple months ago which went behind the scenes of the short-lived series Blade, and it was pretty swell.
There was some confusion about when exactly Make Or Break TV airs...the following release should clear things up.
The premiere episode of this insightful, encyclopedic look at the process of television production, will air on Monday, September 8th at 9:00 pm ET/PT on TVtropolis.
Hear the back-story of various television series as told by the writers, actors, directors and studio executives that were involved in their development, trajectory and demise.
Each television series featured in MAKE OR BREAK TV has had an impact on the pop culture landscape - Max Headroom, EZ Streets, Blade: The Series, Quark, Lonesome Dove: The Outlaw Years and Grosse Pointe. MAKE OR BREAK TV features interviews with such award-winning actors as Eric McCormack, Kurtwood Smith and Joe Pantoliano, as well as candid commentary from some of television’s greatest players including Paul Haggis, Chris Carter, Darren Star and David Frankel.
MAKE OR BREAK TV will premiere Mondays at 9:00 pm with encore presentations on Thursdays at 6:00 pm and 8:00 pm and Sundays at 7:30 pm. (NOTE: ALL TIMES ET/PT)
So tonight at 9pm (ET) here in Canada...check it out.
The American fall TV season kicks into gear this week, and Bones begins Season 4 on Wednesday night with a 'very special' two hour episode set over in the UK. The following is just a cut and paste of an email exchange me and old pal/Bones showrunner Hart Hanson had over the weekend, so don't take it all too seriously.
WD: So big Brit two part season opener this week, how did it turn out?
HH: It turned out very well. It was a bear to shoot, lots of budget considerations to take into account, not to mention cultural differences with crews, etc., but I think it might have been the most fun I’ve had on a shoot. It didn’t hurt that the hotel was great.
WD: Did you write a story that ended up being a two-parter, or did it have to be at least two eps to make it worthwhile to even go over there?
HH: It’s a seamless two hour extravaganza with a gigantic seam in the middle that should be invisible. HAHAHAHA! We were given an impossible task. The network wanted a seamless two hour movie version that could nonetheless be split into two separate episodes. Insane! We did a pretty good job, I think. You’ll tell me after you see it. Tonight it’s showing at the IMAX. I may slip down and see how a crowd in a theatre likes what we did.
WD: How did you get Bones gang over there, story-wise. Does it track or at end of the day, was it just a stunt move? (man, what a dickish question!)
HH: Nah, that’s not a dickish question. That’s a question involving reality. The whole gang didn’t go over, just Booth and Brennan. The squints stayed home and worked on the lab stuff – we gave up trying to adjust to the time change REAL fast. Also, there’s a huge story for the squints, biggest we’ve ever had. I expect to hear hollering on the level of when Zack turned out to be the Gormogon’s apprentice.
WD: Are the cast all behaving after the 'demise'(sort of) of Zack last season? Or have they gotten paranoid and bothersome? Or all wanting to direct now?
HH: The cast is mostly behaving. I would prefer that they simply blindly do what I ask them to do but if they did that then they wouldn’t be actors. Though David Boreanaz will be directing this season – most likely episode 11.
WD: And what are the message boards saying...are you still on probation?
HH: On the Zack thing? The fans have not calmed down. I think I’m definitely on probation. We just finished shooting an episode in which Zack is featured again. Here's a pic from a scene where Zack and Hodgins confab at the loony bin. It's from the third episode of the new season called "Pieces in the Purple Pond" or something.
It was lovely to see him for the actors and for the crew. Millegan is a sweetie-pie. It’s possible that some of the fans may rethink their ire as Zack’s story unfolds but the fact is he’s not a regular on the show any more. Zack was some peoples’ favourite character and they will never forgive me.
WD: Do you still like writing for the cast, or is the 'thrill gone'? And is the network happy with how the stories and relationships are playing out, or are they constantly asking you to spice it up?
HH: I like writing for them still, a lot. And for the rest of the ensemble. And John Francis Daley is new to the cast and we have these new interns to write for and they've been a blast. The tricky thing is not to move too fast on Booth and Brennan's relationship but not to let it grow stale. The network tends to want to rush things too much. ADD as a corporation. But it's actually a good dynamic: they push for stuff, I resist, and we find equilibrium.
I think.
We should be getting reviews on the season opener any minute and then we'll know whether Bones still has it or not.
WD: Fourth seasons always seem to be a bitch and can be the beginning of the end for a lot of shows. You know, coming up with new stories...remaining familiar but not predictable --- any plans for how Bones will combat the 4th season curse?
HH: I’ve already had one tantrum in the writer’s room. I was waving two scripts in my hands. Both were good. Unfortunately, both were stories that were far too familiar. I actually hollered. Since then, the room has been more careful about generating stories that I might find too similar to earlier stories. Alas for everyone (especially me) it means that I have to be involved in story generation earlier in the process than I’d like.
We face all the typical problems of Season IV, which I, in my simplistic way, always think of as the "Desire to Be Sympathetic". I don’t know what it is exactly, but on every series I’ve ever worked on around Seasons III or IV everybody wants the audience to love them even more so they resist everything that might make them less sympathetic.
WD: Any spoiler scoops for the upcoming season? Or is all the good stuff already out there on the internets...
HH: Booth and Brennan will be in bed together naked. One of Angela’s ex-lovers, a woman, returns to complicate her love life with Hodgins. How’s that? Not exactly scoops because I said these things at Comic-Con. Lemme think of something no one else knows...how about we are currently working on a story revisiting “The Gravedigger” serial-kidnapper. He comes after one of our own. Also, we are looking for someone to play Booth’s brother.
WD: Any more behind the scenes pics you can share?
Here's David, me, and Emily in front of the monitors. We are at Greenwich England, pretending to be at the side of Buckingham Palace, a scene where Booth and Brennan confront one of the Queen's Guard.
WD: Are you really listening to Emily, or just wondering what's for lunch? And is Boreanaz texting??
HH: Hmmm, good question. I know that later in the day I got ice-cream for the crew and it cost a fortune. This was a fairly simple scene so I very much doubt there was any meaningful discussion. The dark haired woman next to Emily is Indira Varma, who played "Inspector Cate Pritchard" ... she was INCREDIBLE. Very beautiful and talented woman.
Lunch was something called a "Banksey Chop" -- that's phonetic. And I'm sure my bladder is full of tea. Oh, and David and Emily are both WILD texters between scenes.
WD: You're starting to look old. I recently touched on the issue of ageism in the TV/move biz... what's your take?
HH: I think it’s massively complicated. Yes, ageism exists. But then so do entitled writers who need an excuse to explain a career dip. As someone who thinks real writers peak in their fifties, I think TV is all too anxious to turn to writers in their twenties. Also, in the last couple years I’ve been privy to young writers being asked to run shows and being BROKEN by the experience. Also, again in my opinion only, there is this seething need by the networks to appeal to younger audiences and it ain’t happening. Perhaps TV isn’t a young person’s medium? Who knows? I certainly don’t. If I did, I’d offer to run a network. My own network seems fixated on bringing “film like” premises to TV when I personally think that TV should be as far from films as possible in conception. “Lost” would never be a film, for example, and it’s a lovely, lovely TV show. But what do I know? I’m old.
WD: You and me both. Speaking of old, will there be a Led Zeppelin reunion album?
HH: Jimmy Page played at the Olympics. He wore a ponytail. A PONYTAIL. Now, no offense Will, I remember when you had your wacky samurai type haircut, but I think that pretty much suggests that a Led Zeppelin reunion is only weeks away, if you follow my reasoning.
WD: I do...sort of (what was wrong with my tail??). So what new music is 'must listen' on your cd player/ipod(?) these days?
HH: I’m not sure what counts as “new” these days. I’m listening to Madrugada, Jim White, Pedestrian, Bonnie Prince Charlie, Phutureprimitive, Alejandro Escovedo, Patrick Wolf, Antony and the Johnsons, Bardo Pond, VAST, Tomasz Stanko, Smog, Skalpel, Pedestrian, the New Mastersounds, Jazzhole...is that enough?
WD: Man, I feel so mainstream and uncool now. Okay, what new TV series do you hear good things/bad things? about for this fall? Are you looking forward to anything in particular?
HH: I’m woefully out of touch. One of my writers, Noah Hawley, got a series pickup off his pilot “The Unusuals” so I’m pulling hard for that one and it has good buzz. Another bud, Dave Hemmingson, has an hourlong in limbo, untitled. “Fringe” looks massive. I’m a Joss Whedon fan so “Dollhouse” looks good in the winter though I’ve seen and heard nothing. But let’s face it, the guy’s a genius. But I’m really not paying attention so your guess is better than mine.
WD: Okay, and most importantly...when's the House/Bones crossover?
HH: David Shore and I talk about this once a week. So far, it’s much more to "Bones" advantage than it is to “House’s” -- although we are now beating “House” in reruns. Like anyone cares. Aside from us.
Ugh...what a bunch of lame questions, but thanks to Hart for playing.
Bones Season 4 premieres Wednesday September 3 on Fox.
Ok, I'm being lazy and stealing from my last post. Tiger Woods has a new golf game on the shelves, and this Advertising Age article talks about one viral-marketing video that was created to promote it. It's an okay spot, but I like the second one they did better...
Kids heading back to school today, and I'm always amazed at how frazzled they get. You know, running around making sure their hair is washed and 'just right'...that their new clothes look 'just right'...that they have all their 'supplies', and definitely absolutely want to get to class early.
Because maybe this time it will be different.
I suppose it's not unlike starting a new gig on a TV series. There's a nervous excitement...you'll try to look more presentable, perhaps brush the teeth and comb the hair after donning a new shirt. And you pack the computer bag with new notebooks and a package of your favourite pens. And you definitely absolutely try to get in early.
But before long you're dragging your sorry tired ass in as late as possible, maybe even wearing the same top you wore the night before. You know, after you realize its just another 8 month gig (like another school year), and you make a few friends but the jerks are still jerks, and it's really just about grinding out the scripts (homework)...getting there early and all the 'appearances' stuff seems kinda irrelevant.
I guess you could say going to school prepares you for working in TV.
I had several things this morning I wanted to link to and comment on, but got busy and one thing led to...well, you know how it is.
So keeping it short and sweet, go check out THIS POST at Just Thinking... by Earl Pomerantz, a terrific TV writer with a long track record primarily in American sit-coms. He talks about the ageism settlement that a group of writers recently won (as also reported by Nikki Finke) against the ICM Talent Agency, and whether discrimination was really at play here.
Why are agencies and the studios and networks discriminating against older writers? Do they despise them? Are older writers perceived as being genetically inferior? That can’t be true. Their genes haven’t altered from when they were young writers, and fully employed. What’s the reason older writers are discriminated against? Is it “Wrinkle Envy”? What?
Older writers are not hired because they are perceived as being unable to provide material that will deliver the younger audience advertisers require the networks to attract. Agencies are dropping them, because they can’t get them any work. In other words – an argument can be made – and probably has been – that that this has nothing to do with discrimination at all. It’s simply a matter of business.
It’s an argument that cannot be easily dismissed. Can you imagine a similar lawsuit being brought against Major League Baseball by a group of fifty year-old ballplayers?
He's got a good point there. And then Mr. Pomerantz neatly brings it around full circle:
In the article about the agism lawsuit, a writer named Larry Mintz was mentioned as one of the plaintiffs. Among his credits, it was reported, were Sanford and Son, The Nanny and Family Matters. These are estimable credits on successful sitcoms, but do those shows bear any resemblance to the half-hour comedies they’re making today? (This is no shot at Mr. Mintz. You can ask the same question using my credits.)
Can an older writer learn to write scripts consistent with contemporary tastes and standards? Some can, I imagine. I’m probably not be one of them. The structure’s not the problem – as I mentioned, a story’s a story – but the current sensibility, with its focus on the coarse, the blatantly sexual, the humiliating and the pain inducing…it’s not my natural terrain.
An older writer can try to “write young”, though their efforts may prove imitative rather than generic. The option of older writers’ exploring their current experiences for the enjoyment of their contemporaries is unavailable, since advertisers aren’t interested in the older audience, making their stooges, the networks, unwilling to program for them.
This seems like a mistake, since the only audience still loyal to the network television brand is that very same older audience. Someday, perhaps, the business people will wise up and program for who’s watching – the older audience – instead of who they wish were watching – the otherwise engaged younger audience – in which case, the older writers are back in business.
Nice.
I've written about this topic in other forums, like Ink Canada.
I still contest that the struggles we face to get hired (hell...or even meetings!) as we get older has sooooo much to do with what one will do for the gig when one is younger and starting out. You'll work for free, laugh at the asshole producer's lame jokes, do countless unpaid revisions, be asked to cut corners or screw colleagues...all in exchange for the supposed privilege of being allowed to maybe play in the big leagues. But then as you get older and wiser etc., and, yes, more experienced and probably better suited and prepared for the work, there's a reluctance to put up with the bullshit of the biz. And you can become known as 'difficult' or 'won't play by the rules'...or even 'too expensive' if you've had a decent but not meteoric run. Hence, it can just be cheaper and easier to go younger.
The cream of the crop will usually always rise to the top, regardless of the age. But when playing in the middle leagues, which is what most of us do, TV/movies has been and always will be primarily a young man/girls game.
But what I said isn't exactly discrimination either...rather a resistence to play the game, or not being good enough to rise above all the crap. So Pomerantz has got me going "Hmmmm...", how much merit was there in this lawsuit/settlement anyway?
Anyhow, his entire piece is well worth reading. Seriously, GO, before it becomes old news.
With the start of the new TV season nearly upon us, Alan Sepinwall of the Star Ledger lays a lot of it out in a nice primer HERE...and he says its been a strange one so far.
As much as the writers' strike disrupted last season by the end, it still had a normal start, with a big and varied group of new series that were ready to be shown well in advance of their premiere dates. The writers have been back at work for months, but the traditional development process was so badly disrupted that the networks picked up a far smaller crop of new shows than normal, most of them hedged bets that are remakes of either familiar American series ("Knight Rider," "Beverly Hills 90210") or adaptations of shows that succeeded in England or other countries ("Worst Week," "Eleventh Hour," "Life on Mars" and many more).
Meanwhile, many of these newbies are still being worked on, even though the official TV season begins less than a month from now, and even though a lot of series will premiere well in advance of that.
Now, I don't know if there is anything as 'the official TV season' anymore, not with shows premiering more or less all year round when you count the cable and premium pay networks. And unlike some of the more 'privileged and popular' bloggers out there who get screeners and preview copies of new shows, I'm like the rest of you and have to make my choices based on what I read or the commercials I see. But so far, there are a handful I will check out this fall.
Also from Sipenwall:
True Blood (HBO, Sundays at 9, Sept. 7) "Six Feet Under" creator Alan Ball adapts Charlaine Harris' series of novels about a world where vampires live openly and subsist on artificial blood, and where a Louisiana waitress (Anna Paquin) with the power to read minds falls for a handsome member of the undead (Stephen Moyer). Though the action can be exciting, it's also brief, and for the most part, the show is an overwrought Gothic romance with an unintentionally amusing mish-mash of Louisiana accents.
Fringe (Fox, Tuesdays at 9, Sept. 9) Super-producer J.J. Abrams ("Lost," "Alias") takes a swing at an "X-Files"-esque series about an FBI agent (Anna Torv) tasked to investigate crimes involving "fringe science" (teleportation, psychic phenomena, etc.) with the help of a brilliant but unstable professor (John Noble) and his son (Joshua Jackson). One of the better of the new shows I've seen - solid action and nice chemistry between the three leads - but it's only a good pilot, and with Abrams, you expect great.
Eleventh Hour (CBS, Thursdays at 10, Oct. 9) A scientist (Rufus Sewell) and his government agent partner (Marley Shelton) try to solve or prevent crimes involving abuses of science. The producers claim that, unlike "Fringe," their show deals only with science fact, not science fiction. Based on a British miniseries that starred Patrick Stewart.
My Own Worst Enemy (NBC, Mondays at 10, Oct. 13) Christian Slater stars in a Jekyll and Hyde riff about an average Joe who finds out that he's living a secret second life as a government agent. Has already been through many behind-the-scenes changes, in much the same way NBC's "Bionic Woman" did last year.
I guess I'm pretty predictable...still looking for my next X Files or Buffy the Vampire Slayer. Old habits seem to die hard.
And I'm not sure why the Christian Slater vehicle intrigues me, but you have to have one of those each season...and I'm pulling for it. (though the title My Own Worst Enemy really hurts more than helps, when you consider Slater's recent track record)
As for the returning programs, I am sooooo 'Meh'. Aside from House and Dexter, perhaps some Chuck but definitely some Life...pretty much everything else isn't really jazzing me anymore.
Continuing the musical theme of this week...a big concert was just announced (okay, big for Buttkick) - Neil Young... with opening act Death Cab For Cutie (which is okay, but eastern Canada gets Wilco as the warmup...grrr!)
I was never a hardcore Young fan, and suppose I was more about electric Neil than acoustic Neil...but I do like and admire him, and really enjoyed some phases of his long and varied career. Like his mid-70's album run of Tonights The Night, Zuma, and On The Beach, which introduced me to the dark side of folk rock music. And then his 1980-ish run of Rust Never Sleeps, Reactor, and Live Rust, which made me start to think about issues and stuff yet still wanna bang my head at the same time.
He's an interesting cat...a musical artist who's managed to not only be a folk/hippie icon, but the Godfather of Grunge as well. There's a fantastic Charlie Rose interview with Young from last month...very insightful and entertaining....watch it HERE.
Anyway, my point today is how the concert going experience has changed since the the internets became part of everyday life. Way back when, like when I saw Cheap Trick in '78, or The Stones in 81, or Bowie in '83, or Iggy Pop in '84, or Waits in '87, or Jackson Browne in '93...there was a giddy excitement that always accompanied the outing. No, it wasn't from inhaling something illegal (I know what you're thinking), but from... 1) actually 'seeing' the band perform, and... 2) having no idea what songs they were going to play. That was always an exciting and nerve wracking surprise.... either for better or for worse.
But now, with the internets and the YouTubes, surprise is pretty much taken out of the equation. When the Young concert was announced, I immediately checked online to see if he's presently on tour. He is, over in Europe. A search for current set lists revealed the lineup of songs he played two nights ago in Berlin, Germany. A good mix of tunes...mostly electric...very nice --- presumably that's what he'll play this fall. Then a quick peruse of Youtube revealed a video of nearly every song from said set list, professionally filmed at Rock in Rio in Madrid about a month ago.
I watched a few clips (I could've watched the whole concert if I wanted...which kinda diminishes the 'seeing' a band/artist thrill)...and concluded that even at the age of 62, Young still has a lot of the "Hey Hey My My" in him...so today tickets were ordered (online) for the show when they went on sale.
Now, don't get me wrong...I'm looking forward to the concert (hell, Young's on Q Magazine's list of 50 Bands You Need To See Before You Die for crying out loud!). But the 'surprise' element won't really be a factor. I suppose I could exercise some discipline and not look up all this information we have at our internet fingertips...but like knowing your Xmas presents are hidden in your parents bedroom closet when you're a kid, it's really hard not to take a little peek.
And we all know when you do that, you still receive something at the end of the day...but you also kinda lose out on getting the most out of 'the experience'.
No, Steve Earle hasn't gone anywhere...but 'Goodbye' is one of the saddest yet most beautiful songs he's ever written. And most connoisseurs of Earle tend to hold up this duet with Emmylou Harris as the 'definitive' performance of the tune.
Sweet.
But I say that version has some competition now...a new performance of 'Goodbye' done in Montreal earlier this year, and captured on video in what has to go down as a classic concert moment. Apparently, there was a power outage during the show, but instead of just waiting it out or even leaving the stage, Earle grabbed a flashlight and moved up to the edge of the front row. There he performed several numbers, with no amplification and flashlight as spotlight, including 'Goodbye' which he concluded just as the lights came back on.
Why is it that sad songs like this can make me teary and bring me down yet lift me up and make me feel good all at the same time? Weird.
In other random music news, I'm loving the NPR (National Public Radio) website right now...there's audio concert after concert in their archives, including a solo acoustic Steve Earle performance recorded a couple of weeks ago at the Newport Folk Festival in Rhode Island - find it HERE (3rd one down from the top).
And if you want some cool factor, listen to this My Morning Jacket show from a couple years ago, with my latest crush Kathleen Edwards in tow...HERE.
But if you want to be blown away, take a listen to this acoustic performance by Jim James from My Morning Jacket recorded back in June. The bands latest release continues to grow on me, and James' performance HERE is simply mesmerizing.
It's shaping up to be a music week here at Uninflected Images...today's treat is a recent print interview with Mr. Tom Waits courtesy Robin Wilson at NPR.
Some tasty tidbits:
Q: What's hard for you? A: Mostly I straddle reality and the imagination. My reality needs imagination like a bulb needs a socket. My imagination needs reality like a blind man needs a cane. Math is hard. Reading a map. Following orders. Carpentry. Electronics. Plumbing. Remembering things correctly. Straight lines. Sheet rock. Finding a safety pin. Patience with others. Ordering in Chinese. Stereo instructions in German.
Q: What's wrong with the world? A: We are buried beneath the weight of information, which is being confused with knowledge; quantity is being confused with abundance and wealth with happiness. Leona Helmsley's dog made $12 million last year... and Dean McLaine, a farmer in Ohio, made $30,000. It's just a gigantic version of the madness that grows in every one of our brains. We are monkeys with money and guns.
Q: Your most thrilling musical experience? A: My most thrilling musical experience was in Times Square, over thirty years ago. There was a rehearsal hall around the Brill Building where all the rooms were divided into tiny spaces with just enough room to open the door. Inside was a spinet piano -- cigarette burns, missing keys, old paint and no pedals. You go in and close the door and it's so loud from other rehearsals you can't really work, so you stop and listen. The goulash of music was thrilling. Scales on a clarinet, tango, light opera, sour string quartet, voice lessons, someone belting out "Everything's Coming Up Roses," garage bands, and piano lessons. The floor was pulsing, the walls were thin. As if ten radios were on at the same time, in the same room. It was a train station of music with all the sounds milling around... for me it was heavenly.
Read it all HERE...as well as hear an interview with Waits discussing his influences and songwriting style HERE...very entertaining stuff.
Then there's a 'press conference' Waits endured to launch his latest tour...stick around for the punchline at the end of the clip.
And to cap it off, also courtesy NPR, a two and half hour concert recorded last month at the Fox Theatre in Atlanta.
I saw Waits play at Massey Hall in 1987 on his Frank's Wild Years tour...it was definitely one of the highlights of my many concert-going experiences. And as much as his material with his band sparkled, it was the unplugged 'mini-set' in the middle of his show that absolutely slayed. Enjoy.
Took a daylong road trip over the weekend, and even though I'd purchased the new Beck and The Hold Steady cd's, it was the 'jingle jangle' songing that came a following me.
It's not like the new Beck and H Steady were embarrassing, but they fell victim to sounding too much like someone else or like from some other era...so instead, out came:
Bob Dylan's Modern Times, a disc that had remained unopened for like over a year beside my stereo...what a shame.
The journey home began with Tom Waits Frank's Wild Years...a brilliant snapshot of Waits at the height of his powers.
And closing out the highway drive was Tom Petty's Greatest Hits 2008 (which was kind of a stupid buy since I already own his boxset Playback, but whateva...)...stop dragging my heart around!
This is what you call a post with no point...what was playing in your car this weekend?
No, not Indiana Jones...but riffing off my last post and referencing this list of the 50 greatest Independent films as decided by Empire Magazine, Friday Fun is the trailers of some of my fav indie flicks from the past 30 years or so...
So after Repo Man, next would be the Coen brothers debut Blood Simple...
...because it made the homemade Steadicam cool.
Christopher Nolan's Momento...
...because it made messing with time cool.
Jon Favreau'sSwingers...
...because it made 'money' cool.
Kevin Smith's debut Clerks...
...because it made black and white not cheap but cool.
Tarantino'sReservoir Dogs...
..because it made Steelers Wheel cool.
And from us Canucks, VincenzoNatali'sCube...
...because it made 'set all in one room' very cool.
Some links and quick thoughts about low budget feature film making...Repo Man was one of the cult classics that me and my film school circle of friends held up on high. Indie, cool, hip, edgy, weird, fun, entertaining...inherently quotable....shot for peanuts but got seen and earned more than a dime...the film was one of those that made 'the dream' (of making the low budget feature) actually seem attainable.
Starring a young Emilio Estevez and an aging Harry Dean Stanton, Repo Man was an action adventure comedy that told the story of a young punk hoodwinked into working for a seedy repossession company, and is thrust headlong into the wacky world of flying saucer enthusiasts, wayward nuclear scientists, exotic women, and ruthless intelligence agents.
And now via Simply Scripts linking to the website of writer/director Alex Cox, you can find not only a PDF of the screenplay, but the last 20 pages of the document contains the original investment proposal, production schedule, and budget summary.
Very cool. Yes, it's 25 years old, but I say to the kids...it's still worth perusing.
