BYOB Monday 101711
David Poland, your wife gave birth to a child 21 months ago. What are you going to do?
I’m going to Disneyland!
(wondering if I bill Disney for the $50k or if they just send a check…)
May 3, 2024
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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?
So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.
And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.
There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.
I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.
So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.
But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”
My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher
“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.
~ David Simon
Not to be a smart-ass, but actually it’s 101711.
Had an especially satisfying movie day yesterday–and in the comfort of my bedroom, no less.
Watched “Melancholia” on PPV (a flat-out masterpiece and Dunst is spectacular), and Scorsese’s 4-hour George Harrison (nearly as great as “No Direction Home”) that I’d recorded on my DVR.
It was almost like being at the NYFF, lol.
That shoulda been: “George Harrison doc.”
enjoyed THE THING, while not as good as the Carpenter film had a lot of the same energy …. and ended with the beginning of Carpenter’s film
Hmm, I don’t think Sandra Oh is from Texas…
From PaidContent:
“Actress Sues Amazon For Publishing Her Age
It’s no secret that Hollywood can be cruel to aging talent. Now, a 40-year-old Texas actress who lost acting gigs is taking Amazon (NSDQ: AMZN) to court, saying the company used confidential credit-card details to publish her real age in its online movie database.
In a “Jane Doe” complaint filed in Seattle federal court, the actress says that Amazon added her birth date to her professional profile on its Internet Movie Database, a popular site for movie buffs and those in the film industry. The actress claims that she did not list her age on her profile but that IMDb, which is wholly owned by Amazon, added it all the same. She claims the company discovered her age by intercepting her credit-card information without permission when she purchased an “industry insider” upgrade in the hopes of getting more work.
The actress, who uses an Americanized stage name to avoid the “cultural disadvantage” of her real Asian name, says that the credit-card interception is the only way the company could have learned her real age. She says IMDb refuses to remove her birth date from her profile and that she has since lost work because “lesser-known 40-year-old actresses are not in demand in the movie business.””
http://paidcontent.org/article/419-actress-sues-amazon-for-publishing-her-age/#keep_reading
hey berg: SPOILER ALERT
learn it.
it doesn’t matter that it is a direct prequel.
keep it to yourself.
(by the way— if you were going to spoil the film for those who aren’t well-acquainted with the original… couldn’t you have at least said something interesting while you were at it?)
a spoiler is something along the lines of … Brolin dies at the beginning of the third act of NCFOM or in The Beaver, Mel cuts his arm off …. not something as obvious as “direct prequel” .. .whatever
@berg: I think the spoiler part of what you wrote – and to which margaret want food was referring – was that the prequel ends with the beginning of Carpenter’s film. That is a spoiler for those who’ve seen Carpenter’s film, which is a lot of the people who would be interested in the prequel. So, no “spoiler” is not merely big events/twists, especially when it comes to the end of a movie. And “whatever”? Are you 15?
I tend to believe that no one is owed a perfectly virginal experience of a movie. Plus all the unexamined assumptions that go into that sort of “spoiler” policing are pretty lame and tiresome. It’s like one step above grammar police.
Maybe, but at least then berg should have said something insightful to go with it.
Berg’s “spoiler” actually has me interested in seeing this now, just to see how they blend the seem between the two.
Not sure who I hate more: Tony Sparano for not having Reggie Bush return ALL KICKS’ the Dolphins WRs dropping passes like they have boogers on them; Mike Nolans soft, pass-rush deficient defense; stupid red zone play calling; or myself for watching this crap year after year. So frustrated and depressed.
On a related topic, watched HUman Centipede 2 on VOD. Gross and lame, like Miami Dolphins football, but with equal amount of poop on my tv screen.
The new THING and the new FOOTLOOSE are both pretty fantastic (I realize that’s a minority opinion in the former, which I praised in another thread here)…
Question though: When people (usually on message boards) do this tired rant about “NO MORE REMAKES” and “GIVE US SOME NEW STORIES, HOLLYWOOD!” — Doesn’t that kind of cut to the bone of how some people “watch” movies?
For me, movies are all about emotion and visuals– being blunt, I could usually take or leave “rote plot points” or “story” as the chief enticement, which is why I’m never that offended by remakes… Howard Hawks would remake himself all the time, Carpenter and Hill have even copped to making the same basic movie over and over, under the theory that “If it works once…”
So what’s the GREAT TRANSGRESSION in remaking “The Thing” (itself sort of a remake) or fucking “Footloose”? Why not try to pump them up for a new generation? I just don’t get why that’s SO BLASPHEMOUS to begin with (the old Shakespeard argument), but more to the point, what’s with TELL US SOME NEW STORIES, HOLLYWOOD, as if the workaday message board dumb-ass or theatergoer is sitting there just ITCHING to get BOWLED OVER by some totally unique STORY about lint in a laundry trap or some Charlie Kaufman meta-deal? Is it somehow MORE ORIGINAL if they just make the 10 zillionth dance movie but call it something else, or an alien on the loose horror movie but call it THE MYSTERIOUS CREATURE?
It’s like the root of this argument is “I already saw it, I know how it ends.” I guess that A-B-C kind of STRAIGHT PLOT AND STORY is how 90% of people watch movies, but I think it should be more about how it’s done, the style, the look, the emotion, the actors. Nothing should be that sacrosanct that it can’t be reinterpreted, and nothing should be written off ENTIRELY just because “I saw it the first time when…”
Lex, I’m with you on the lack of need for literal A-B-C heavy-duty plotting. I’ve felt for a long time that the idea that “story should come first” simply isn’t true for many movies. I mean, if you have a GREAT story, sure. But great stories are not where most movies (or books or TV shows) are really operating. I feel like for a lot of “regular” moviegoers, a good story means there was some kind of ridiculous twist.
THAT SAID: endless eighties remakes do bore me. I liked the Footloose remake well enough (haven’t seen the original), and disliked The Thing without seeing the old movie first (I actually watched it immediately after, and was struck by how good it was, how much more sense it made despite being basically the same story). So the idea of watching the new version of some eighties movie done by some third-tier studio hack because it’s a brand-name and this generation needs its OWN Footloose… it’s all just a little dispiriting to me, the idea of seeing new versions of these movies that sounded pretty fucking boring to me to begin with. At the same time, if you scratch the third-tier director thing, the idea of Nolan or Fincher or Michael Mann or Spielberg or whoever wasting time remaking some older movie when they’ve SHOWN how awesome their non-remake movies are… also dispiriting.
Footloose is kind of a middle ground; I have no affection for the original and I like Craig Brewer. But is it really that awesome to see Craig Brewer make a slightly better-seeming version of Footloose? After Black Snake Moan, which was really cool and sexy and interesting?
I want a John Stockwell remake of SECRET OF MY SUCCESS starring Anton Yelchin.
Make this happen.
i remember these syndicated long form commercials they’d run for movies back in the 1980’s on UHF networks. Fifteen minute promos about some movie coming out. They used to run this one for The Secret of My Success religiously. And the end always featured this music video for the theme song from Night Ranger.
http://www.youtube.com/watch?v=SLv6RjnyvVc
God bless You Tube. 25 hours a day…..
AWESOME. Hadn’t heard that in 20-plus years.
I remember one of those long-form commercials for RUSSKIES that’d always play at night. (Speaking of movies nobody rewatches anymore.)
some new comedy ..worthy of being on a tv show or movie ?
Arielle has 100 videos … most are under 10 minutes ..
http://www.youtube.com/user/ArielleIsHamming
Nora Ephron on Jobs was funny & scathing at the same time.
She brought the laughter, despite your unfair headline.
Mr. Pride will have to speak to that, Disa.
Disa Bused, the Ephron piece lacked for the eager laughter of her lunch compatriots.
just watched the newDP/30: Martha Marcy May Marlene dp/30 ..
i liked the first one better …the second one seems more formal and has fancy chairs .. it does get a bit silly at times ..wasn’t expecting the sillyness from Sarah Paulson…
Olsen ..somehow her famous sisters didn’t get brought up .. interesting.
the end of the year is coming and still haven’t seen at 100 actors who haven’t done a dp/30 …
if your an actor and you aren’t busy just do a dp/30 . DP put out some cake and balloons and maybe the actors will drop by
i also want a 10 minute behind the scenes of a dp/30 .. this hasn’t been done before.
Ali is getting more work than Lindsay these days .
strange but true.
Ali Lohan, 17, Signs Multi-Year Modeling Contract
http://www.usmagazine.com/stylebeauty/news/ali-lohan-17-signs-multi-year-modeling-contract-201198
Noticed the notices about Anonymous. Something I’ve been thinking about for a while now that the absurd, DaVinci Code-esque academic conspiracy theory that Shakespeare was a fraud has gone public with the new movie… Why do academics NEED to prove that Shakespeare wasn’t the author?
Why do academics need so very badly for Shakespeare to be an intellectual elite?
(funny how academics are intellectual elites and want Shakespeare to be just like them).
Shakespeare was a Wayans brother, he wrote a lot of dick and fart jokes and a lot of cross dressing BS. It was all the more funny because it was all being done by boys pretending to be girls pretending to be boys (etc blah blah blah).
But when you over determine Shakespeare to show that he was really just rewriting/referencing Ariosto, Milton, Ovid etc because he believed himself to be part of a grand literary tradition everything gets stupid. It creates an enormous self-reinforcing culture of supremacy; it begins to make Shakespeare look like some sort of literary savant, to encode all these hidden meanings that no one ever noticed (in 400 years and millions of readings!) before some selection bias gifted academic went looking for a connection and miraculously found it!
The Key problem with Anonymous is that OUR CULTURE the here and now of how Shakespeare is received in the modern first world of today imbues Shakespeare with enormous weight, gravitas, importance, significance etc. Even the comedies are weighty and untouchable.
But in 1600 Shakespeare was VULGAR.
You don’t need a conspiracy to make Shakespeare an extremely educated intellectual who sequestered himself for decades reading the ancients in order to write masterpieces that only the ages would understand. Shakespeare was Vulgar. That’s the long and the short of it. it is WE, the modern day, that has created the idea of Shakespeare the Genius. And Shakespeare the Vulgar is a square peg for the round hole of Shakespeare the Genius. And because of that cognitive dissonance we get the whole fucking absurd song and dance Dan Brown Conspiracy theory nonsense trying to remake Shakespeare more into the image of what the academics fantasize about: Shakespeare wasn’t one of THEM, he’s one of US.
Shakespeare, to play along with the idea that he wrote the plays himself, spanned everything from the vulgar to the sublime. Trying to label him a vulgar everyman is as one-dimensional and absurd as trying to name him the highest brow that ever lived.
LA Times … a newspaper i never read .. has 100 actor photos .
the picture size should be higher considering the effort
they made
they could print these out and sell them in local theatres … i figured out a way to save the newspaper industry.
spend 5 minutes and check them all out …
http://www.latimes.com/entertainment/news/la-ca-2011-celebrities_pictures,0,2884044.photogallery
Potentially ignorant question from somebody on the outside of the Biz:
How do VOD revenues figure in to a films final gross, if at all? Example: I watched…er…endured Human Centipede 2. Also recently watched Tucker & Dale, and many other “same day as theater” titles. When all is said and done is revenue from these “rentals” added in with actual box office gross, or are the numbers separate? Curious because I wonder how much of a financial boon these can be for small pictures that those of us in corn country (hour from Chicago) would normally have to travel to see.
I am not bothered at all by remakes/prequels/reimaginings anymore. I ignore the ones that don’t interest me just like I would any other movie. The horror crowd can be particularly annoying about this, automatically decrying any and all of them while eagerly salivating the next Saw sequel, as if a lazy sequel is far more artistic and worthy than a remake. I absolutely love Carpenter’s The Thing and will watch it (again) Halloween weekend, but I look forward to seeing the prequel.
Speaking of horror, Jason Zinoman’s book, Shock Value: How a Few Eccentric Outsiders Gave Us Nightmares, ConqueredHollywood, and Invented Modern Horror, is fascinating and awesome. I just read about Friedkin’s battles with William Peter Blatty over The Exorcist. Hadn’t heard about that before. Great stuff.
Watched The Walking Dead’s season 2 opener last night. After being meh on season 1, I found it to be a really strong episode.
SPOILERS
The tension is almost unbearable at times. The walkers strolling along the freeway in a huge group. Tearing open the walker’s stomach to see if the little girl’s remains are in there. The little boy walking towards the deer (you know something bad is going to happen). I could have used a little less talking to Jesus (after all that’s happened, would people be more or less likely to turn to Jesus for help?), but overall a great start to the season.
Read Zinoman’s book, too. The Friedkin/Blatty stuff was great, but even moreso I was surprised how much Dan O’Bannon hated John Carpenter after Dark Star. Carpenter is my favorite director hands down, but I know he’s very cold, careerist and unrepentant. But that section was riveting. O’Bannon, who I also love (Return of the Living Dead is pure class) seemed like kind of a prick, too.
The stuff on Polanski and Rosemary’s Baby was also stellar. Really good read. William Castle getting the shaft was heartbreaking.
Yeah O’Bannon saying that Carpenter looked at him like a toaster was interesting. So far it’s all been riveting, Carpenter, Polanski, Friedkin, etc.
Did Castle produce many movies between 1968 and 1980, because that is what Zinoman is focusing on. Castle doesn’t seem to fit with the book’s main themes. I had no idea he optioned Rosemary’s Baby.
watched green latern 2011 .. about 30 minutes too long ..
last 10 minutes was pretty stupid but well done .
but the fish guy was cool.
these comic book movies – xmen / thor / green latern need to be on free cable tv faster ..they can rerun them forever .
Castle did produce and direct until the mid 70s, I think, and I agree it doesn’t really fit with the theme. Maybe it does in that William Castle’s Rosemary’s Baby would have been way different (to put it mildly) from what we got after it had been wrestled away. A lot of cache is given to RB for setting horror so firmly in modern reality, which in theory led to the other films. So maybe that’s where it fits. But it was poignant in that Castle saw it as his shot at respectability and had it taken from him (wisely so).
Oh, and the section on Vincent Price, especially his Mike Douglas show appearance, was really well done. God, I miss Vincent Price.
Yeah the bit about Castle looking for awards and respectability with Rosemary’s Baby was extremely poignant. I need to see that recent documentary about him. I hear it’s good. Do you remember the title?
Spine Tingler: The William Castle Story http://www.youtube.com/watch?v=oJZ_h6wEtsM
Ah yes. Thank you. Have you seen it?
how come you old movie critics can’t force regular movie people to small indie movies since you all think its so much better ?
movie critics should occupy movie theatres and force people in line to watch indie movies .
every city has a movie critic leader that sticks around till
everybody watches the indie movie. and if they don’t like the indie movie…the critic gives out real cash to watch whatever hollywood blockbuster is out in that day.
yeah try that for a week. i gots all the good ideas
I tried that sanj but the cops were called. They said I couldn’t physically force people to see Meek’s Cutoff as opposed to Arthur 2011 or Soul Surfer. I cried out “But Meek’s Cutoff is indie and so much better than those wretched Hollywood films,” to no avail.
“For me, movies are all about emotion and visuals– being blunt, I could usually take or leave “rote plot points” or “story” as the chief enticement, which is why I’m never that offended by remakes… Howard Hawks would remake himself all the time, Carpenter and Hill have even copped to making the same basic movie over and over, under the theory that “If it works once…””
I have to co-sign this. Paul Schrader is another guy who’s essentially written and/or directed the same loner guy, SEARCHERS-inspired movie over and over (THE YAKUZA, ROLLING THUNDER, TAXI DRIVER, HARDCORE…) Not to sound too pretentious but movies (and books and TV shows and plays) aren’t about what they’re about but HOW they’re about it. I think plot is, by far, the least interesting element in story telling, and something that only works along that line rarely demands more than one viewing or any additional thought. A few of this year’s great movies like DRIVE, WARRIOR, or HANNA are fine examples of this, in that it’s their aesthetic and emotional qualities that give them worth, not simply what happens.
PaulMD, I felt the same way about this season’s THE WALKING DEAD opener. It was like I could barely breathe for sixty minutes, and there were also a lot of nice character moments and beats too. I’m quite excited to see where it leads.
The Lasseter story in the NYT reads like a fucking press release. What an embarrassment.
Shakespeare’s plays are mostly remakes. But it’s how he remade them.
i want a live music performance from a movie soundtrack for a dp/30 …that hasn’t happened before.
also i’m staying clear from that drive lawsuit discussion. i’m just too stupid to understand it.
i learned something new on youtube .yay.
every Kayne West sample ever ..
it’s a look back at music history and remixing it.
http://www.youtube.com/watch?v=4XaDeC2LEdA
it might cost a few million but let Kayne do the dp/30 theme song …DP get on that.
JKill: A plot is merely a construction of invented facts. And as E.M. Forster once said, “A fact is: The queen died and the king died. A story is: The queen died and the king died of a broken heart.” Good filmmakers devise plots. Great filmmakers tell stories.
Lex, I watched Red State tonight (it’s on Netflix streaming now) and pretty much understood what you meant about it feeling decidedly small-scale for some unknown reason, but I thought it was by far Smith’s most interesting and engaging movie. Unfortunate that he hasn’t branched out further more often (or earlier in his career). Overall I was pretty impressed with how engaging it was, and how incredibly, utterly depraved it was. Structurally, I was impressed, and the way seemingly major characters came and went was really surprising.
Does anyone watch LOUIE?
I’ve never seen it EVER, but saw some random episode where Louie has some black guys get him into THE CLUB… Some of the funniest and most relatable shit I’ve ever seen ever… of course he can’t pick up anyone and ends up going to some rathole comedy club and bombing…
Is this show ALWAYS this funny and pretty much EXACTLY up my alley, or is it usually bullshit and I just caught a good one?
Yeah, “Louie” is the real deal, Lex. You definitely need to check it out.
The second season was a tad spotty, but moments of palpable genius kept me watching week after week. (Favorite “Louie” ever? The airport episode from season one.)
Watched “Red State” last nite and was very pleasantly surprised considering my general loathing of most recent Kevin Smith movies. It’s the first time that all of the characters don’t merely sound like director mouthpieces (talking stream-of-consciousness, pop culture-referencing smack.). It might also be the best “directed” Smith film yet. My major beef–and maybe it was a budgetary thing–is that it felt unfinished somehow. Is there a longer cut that fills in some of the narrative gaps? It’s the first KS movie since “Jay and Silent Bob Strike Back” that I actually wish had been longer. I could have easily sat through another 30-40 minutes.
“Louie” is incredible, and it’s the most experimental sitcom I’ve ever seen. One thing I really love about it is the way the episodes don’t play out like normal television, and instead go off on surprising, hilarious, and sometimes oddly moving and involving, tangents.
I too watched RED STATE last night, and I would agree it felt on the short side, although I’m not sure quite why. Its protagonist and genre switching were pretty fascinating, and it’s certainly a movie with plenty of ideas and moments to chew on. Parks is great as advertised (I was mixed on the long sermon, to be honest. I thought parts of it were electrifying and scary, while other segments found my attention waning.), but I really loved John Goodman and the way Smith handles that character.
RED STATE is also, without question, Smith’s most visual and dynamic movie. It’s suspensful and disturbing, funny and depressing. I don’t want to go into too much depth, because it’s a movie you want to go into as cold as possible, but it’s a fairly fascinating piece of exploitation-arthouse cinema.
Lex, I would agree (if I’m remembering your assesment of RS accurately) that the actress who plays Cheyenne is also a standout, and if you liked her, make sure to see Ed Burns’s NICE GUY JOHNNY, where she is wonderful and simply enchanting. She was very much on my radar after that, so I was glad she was in (and very good in) RED STATE.
Joe, that’s a great quote.
Paul MD (Stella’s Boy): I have seen Spine Tingler, and it’s nicely done. It’s on Netflix, if that’s your thing (not streaming).
And I back up the LOUIE praise. His stand-up is fearless, and the show is just fucking epic. The masturbation episode this past season was one of the funniest 30 minutes of TV I’ve ever seen.
I love movies based on emotion and visuals…but for me what makes a movie great a lot of times is character. The problem with a lot of visually stunning movies is they have no one interesting at the center, and sometimes that gets boring. Which is why I like tv shows so much, they’re character based.
Red State’s shortness is made all the more surprising by the fact that there’s easily half an hour of loose ends that could be addressed, not to mention the complete implosion of the town that could follow. As it is, it’s 88 minutes with a quickie psychological wrap up at the end that just sort of says, hey, there you have it.
Lex: Don’t deprive yourself of LOUIE, the best thing on TV for two seasons now. As others have suggested, the show is much more experimental and ambitious that the average TV comedy. It can be hilarious, vulgar, sad, profound, silly, wistful, angry — sometimes all in the same episode. You may not love every minute, but I’d be shocked if you found the one episode you’ve seen and liked to be an anomaly.
Yeah, the rush to (abruptly) finish “Red State” was more than a little surprising coming from Smith who’s never been particularly shy about gilding the lily in some previous films.
Considering the subject matter–and his, uh, well-known feelings about religion–I was kind of hoping for another “Dogma.” (At least when I first heard a plot synopsis.)
Instead, it’s just a (very well-made) genre film…with attitude.
All things considered, there’s nothing terribly wrong with that.
..and yes, Michael Parks is frigging awesome.
If “RS” and Smith had the cachet of, say, Tarantino, I could definitely see him getting some Best Supporting Actor traction.
My favorite “Louie” ep of Season Two was the one where he and his daughters visited the old lady in the woods.
Like “Louie” at its best, it was appalling and brilliant at the same time.
Louie did an amazing thing – he made Dane Cook and Joan Rivers likable.
now Lindsay is in jail she’ll never get a dp/30 … DP break her out ..
Lohan Taken Into Custody
3 minute video
http://www.youtube.com/watch?v=oAUtTi5cVSM
Lindsay sees dead people for real.
According to the conditions of her probation, Lohan was placed on house arrest and ordered to perform 480 hours of community service, which included working at a Los Angeles Women’s Center and the Los Angeles County morgue.
Somehow I missed the Dane Cook episode of Louie. Shoot.
1980’s remakes we won’t get:
Amazing Grace & Chuck
Mac & Me
A Fine Mess
Private Resort
A Night in the Life of Jimmy Reardon
1980’s remakes I can see happening:
Spies Like Us (Ryan Reynolds/Jonah Hill?)
Three Amigos
Coming to America
White Nights
Weekend at Bernie’s
Why doesn’t Jay Pharoah get more airtime on SNL?
Krillian: I recently read Jay Mohr’s memoir of his SNL days. If the show is still run the same way, unless Pharoah presents great ideas or has a champion among the writing staff, it’s difficult for him to get airtime. Super competitive atmosphere.
It also seems possible that Pharoah isn’t that funny. He’s done some killer impressions, but most of them were in sketches there were pretty much: “here’s Jay Pharoah’s killer impression!”… and his non-impression stuff seriously seems to be based mainly on him making weird noises with his mouth.
pretty happy for being such a serious actress. can’t get these types of interviews for a dp/30 ..
Carey Mulligan on Craig Ferguson
http://www.youtube.com/watch?v=cmTV7f6MITk
Actually, we have a bunch of Carey DP/30s… just not on YouTube… fixing that presently
DP – meant how actors can do different types of interviews – the late night shows vs the view vs cnn vs you …
Colbert is the best interviewer ever …
it sucks that some actors / directors only do 1 dp/30 a year … no updates ..
DP/30 on tv 5 days a week … you’ll get way more people
i listen to a lot of cover songs from youtubers .. this would really suck for them ..cause a lot of them are really good singers ..
Free Bieber: campaign to kill proposed law that would send you to prison for 5 years for singing copyrighted music on YouTube
http://boingboing.net/2011/10/19/free-bieber-campaign-to-kill-proposed-law-that-would-send-you-to-prison-for-5-years-for-singing-copyrighted-music-on-youtube.html
where is the Gadhafi dp/30 ? could had a world exclusive for movies he liked and his oscar pics .
I want a remake of Lethal Weapon with the exact same cast.
the old people on cnn kinda suck with this whole Gadhafi news…. they don’t go into his history and stuff he did and didn’t do for the country he was running ..
plus all this history stuff should be on the history channel or discovery channel but not going to happen
cause they got too many reality shows ..
history ain’t that important is it unless anything major happens in the USA … then the news networks just can’t shut up about it ..
as always the bestest coverage will be daily show and Colbert report.
it’ll take a year to make a documentary on this dude or a movie. if some important director makes it then they’ll get a dp/30 out of it .
you all care about this story ? i’m 25/100 . …