#but like 30% of hollywood instead of the former 90%

[mukuharakazui]

i still can’t believe gerard way saying talking about “ways to affect change in non-performative ways” like what the fuck does he think he’s been writing and/or giving thumbs ups to send to publishers on in the comics he’s written. obviously there’s all of killjoys which people have talked about already but what on earth was issue 5 of the umbrella academy dallas in particular. he has been directly profiting off of racism for decades.

i’m not going to try to “cancel” him but will never understand why having a gender crisis or something got gerard way renowned as an Icon among baby gays who turn around and call elton john “some rich and famous white guy”

[introvertguide]

Influential Directors of the Silent Film Era

Upon hearing that I am a fan of silent era film, people will ask if I have a favorite actor or movie from the time period. However, when I am asked about my favorites from other fans of silent film, it tends to involve my favorite director. This is because silent film actors had to over gesticulate and performed in an unrealistic way and could not use their tone or words to convey emotion. The directors also did not have a way to review as they shot and would have to use editing skills and strategic cover shots to make sure that everything was done properly and come out the way they imagined it. It was up to the director to be creative and they were forced to be innovative and create ways to convey their vision. Luckily for many average or poor directors of the time, audiences were easily impressed. However, today's more demanding and sophisticated audiences can look back at some of the genius behind the films of silent era Hollywood.

Alice Guy-Blache: Matrimony's Speed Limit (1913) and The Fairy of the Cabbages (1896)

Art director of the film studio The Solax Company, the largest pre-Hollywood movie studio, and camera operator for the France based Gaumont Studio headed up by Louis Lemiere, this woman was a director before any kind of gender expectations were even established. She was a pioneer of the use of audio recordings in conjunction with images and the first filmmaker to systematically develop narrative filming. Guy-Blanche didn't just record an image but used editing and juxtaposition to reveal a story behind the moving pictures. In 1914, when Hollywood studios hired almost exclusively upper class white men as directors, she famously said that there was nothing involved in the staging of a movie that a woman could not do just as easily as a man.

Charlie Chaplin: The Kid (1921), The Gold Rush (1923), City Lights (1931), Modern Times (1936), and The Great Dictator (1940)

It is unfortunate that many people today think of Chaplin as silly or for screwball comedy when, in fact, he was a great satirist of the time. He created his comedy through the eyes of the lower economic class that suffered indignities over which they had no control. He traversed the world as his "Tramp" character who found his fortune by being amiable and lucky. The idea that a good attitude and a turn of luck could result in happiness was all that many Americans had during the World Wars and the Great Depression. He played the part of the sad clown and he was eventually kicked out of the country for poking fun at American society. Today he is beloved for his work, but he was more infamous than famous during a large part of his life.

Buster Keaton: Sherlock Jr. (1924), The General (1926), and The Cameraman (1928).

That man that performed the most dangerous of stunts with a deadpan expression, Buster Keaton was a great actor, athlete, stuntman, writer, producer, and director. It is amazing that you could get so much emotion out of a silent actor who does not emote, but Keaton managed to do it. He was also never afraid to go big, often putting his own well being at risk to capture a good shot. Not as well known for his cinematography or editing as many of the other directors of the time, he instead captured performances that were amazing no matter how they were filmed. Famous stunts include the side of a house falling down around him, standing on the front of a moving train, sitting on the side rail of a moving train, and grabbing on to a speeding car with one hand to hitch a ride. If you like films by Jackie Chan, know that he models his films after the work of Buster Keaton: high action and high comedy.

Cecil B. Demille: The Cheat (1915), Male and Female (1919), and The Ten Commandments (1923)

Known as the father of the Hollywood motion picture industry, Demille was the first director to make a real box office hit. He is likely best known for making The Ten Commandments in 1923 and then remaking it again in 1956. If not that, he was also known for his scandalous dramas that depicted women in the nude. This was pre-Code silent film so the rules about what could be shown had not been established. Demille made 30 large production successful films in the silent era and was the most famous director of the time which gave him a lot of freedom. His trademarks were Roman orgies, battles with large wild animals, and large bath scenes. His films are not what most modern film watchers think of when they are considering silent films. That famous quote from the movie Sunset Boulevard in 1950 in which the fading silent actress says "All right, Mr. Demille. I'm ready for my close-up," is referring to this director.

D.W. Griffith: Birth of a Nation (1915) and Intolerance (1916)

Griffith started making films in 1908 and put out just about everything that he recorded. He made 482 films between 1908 and 1914, although most of these were shorts. His most famous film today is absolutely Birth of a Nation and it is one of the most outlandishly racist films of the time. The depiction of black Americans as evil and the Klu Klux Klan as heroes who are protecting the nation didn't even really go over well at that time. Some believe that his follow up the next year called Intolerance was an apology, but the film actually addresses religious and class intolerance and avoids the topic of racism. At the time, Griffith films were known for the massive sets and casts of thousands of extras, but today he is known for his racist social commentary.

Sergei Eisenstein: Battleship Potemkin (1925)

This eccentric Russian director was a pioneer of film theory and the use of montage to show the passage of time. His reputation at the time would probably be similar to Tim Burton or maybe David Lynch. He had a very specific strange style that made his films different from any others. The film Battleship Potemkin is considered to be one of the best movies of all time as rated by Sight and Sound, and generally considered as a great experimental film that found fame in Hollywood as well as Russia.

F.W. Murnau: Nosferatu (1922), Faust (1926), and Sunrise: A Song of Two Humans (1927)

I think that most people would know the bald-headed long-nailed vampire Nosferatu that was a silent era phenomena. It was so iconic that the German film studio that produced the movie was sued by the estate of Bram Stoker and had to close. Faust was his last big budget German film and has an iconic shot of the demon Mephisto raining plague down on a town that was the inspiration for the Demon Mountain in Fantasia (1940). Also, Sunrise is considered one of the best movies of all time by the AFI and by Sight and Sound as well as my favorite silent film. Fun facts: 1) more of Murnau's films have been lost then are still watchable and 2) he died in a car wreck at only 40 when he hired a car to drive up the California coast and the driver was only 14.

Erich von Stroheim: Greed (1924)

Maker of very strange German Expressionist films, Stroheim films are often listed as Horror or Mystery even though he considered himself a dramatic film maker. His most famous movie Greed was supposed to be amazing with an 8 hour run time but it was cut drastically to the point that it makes no sense and was both critically and publicly panned when an extremely abridged version was released in the U.S. Over half the film was lost and a complete version no longer exists. Besides this film, Stroheim was even better known for being the butler in the film Sunset Boulevard as a former director who retired to be with an aging silent film star. He also made a movie called Between Two Women (1937) that told the story of a female burn victim that was inspired by the story of his wife being burned in an explosion in a shop on the actual Sunset Boulevard.

Victor Fleming: The Wizard of Oz (1939) and Gone With the Wind (1939)

Although not known for his silent films, Fleming did get his start during the silent era. He was a cinematographer for D.W. Griffith and then Fleming directed his first film in 1919. Most of his silent films were swashbuckling action movies with Douglas Fairbanks or formulaic westerns. He is the only director to have two films on the AFI top 10 and they happened to have come out the same year.

Hal Roach: Lonesome Luke films starring Harold Lloyd, Our Gang shorts, Laurel and Hardy shorts, and Of Mice and Men (1939)

It is not really fair to put Hal Roach in the silent era directors because he was influential at the time but he had a 75 year career. He was a producer and film studio head and even had a studio named after himself. His biggest contribution to the silent era was his production of Harold Lloyd short comedies and he continued to produce films in the early talkies including Laurel and Hardy shorts, Our Gang shorts, and Wil Rogers films. Roach was the inspiration for the film Sullivan's Travels, in which a famous director who only did frivolous comedies goes out into the world to find inspiration to find a serious drama. Roach did direct a single serious drama, Of Mice and Men, but it came out in 1939 and was buried underneath the works of Victor Fleming. The wealthy cigar smoking studio head that many people think of when they picture a film studio suit is based on this guy. The man would not quit and stayed in the business into his 90s and lived to the ripe old age of 100.

[lastsonlost]

Oh gasps, I'm shocked.

Who would have thunk it?

The story:

Updated with Sunday figures: In the wake of Terminator: Dark Fate’s failure at the B.O., and Paramount’s recent decision to make Beverly Cops 4 for Netflix, we have the further breakdown of cinema IP in Sony’s Charlie’s Angels reboot, which is tanking with a God-awful $8.6M domestic opening, $27.9M worldwide (from 26 markets), 3 Stars on Screen Engine-Comscore’s PostTrak, and a B+ Cinemascore.

The Elizabeth Banks-directed-written and produced pic is also opening in 27 offshore markets,

China being one where it’s also bombing,

with a $7.8M 3-day take in third place behind No. 1 local title Somewhere Winter ($13.1M).

All of this is primed to further spur a WTF reaction and anxiety among film development executives in town in regards to what the hell exactly works in this have-and-have-not era of the theatrical marketplace. Many will make the hasty generalization that old, dusty IP doesn’t work, or is now deemed too risky when it’s not a superhero project. However, moviemaking is an art, not a science, and annoying as it might sound, good movies float to the top, and this Charlie’s Angels reboot didn’t have the goods going back to its script.

<Maybe somebody should have been working on a good story instead of pushing an agenda.

We’re going to break down for you what went wrong in another graph, but we don’t want to bury the success of Disney’s release of Fox’s James Mangold-directed Ford v Ferrari, which looks to be coming in at $31.5M, well ahead of the $20M+ many were seeing, with an awesome A+ CinemaScore and 4 1/2 stars and a 68% definite recommend on Screen Engine/Comscore’s PostTrak. After a franchise-laden summer which buried originals, now an original pic is sticking it to the IP.

When it comes to the bombing of Charlie’s Angels, the takeaway is this is what happens when you have IP, but there’s no reason for telling the story.

In the walk-up to developing Jumanji: Welcome to the Jungle, and in the wake of its near $1 billion success, a fever broke out at the Culver City lot in the post-Amy Pascal era to reboot former Sony franchises or extend them, i.e. Zombieland: Double Tap (well over $103M at the global B.O. now), the upcoming Bad Boys 3, and, of course, Spider-Man, the latter electrified by Disney’s Marvel. Development studio executives define their being by getting films greenlit, and whenever that happens, it’s 90% of the job.

And the pressure is on to fill a 10-12 picture annual slate in a world where Disney vacuums up all the best IP. A third Charlie’s Angels with McG directing and Drew Barrymore, Cameron Diaz and Lucy Liu starring, wasn’t made immediately after the second chapter, 2003’s Full Throttle, as the sequel turned out to be 29% more expensive than the 2000 original at $120M, and also made less worldwide, $259.1M to $264.1M. With Elizabeth Banks coming off her hot feature directorial debut with Universal’s Pitch Perfect 2 (which over-indexed in its stateside opening at the B.O., going from $50M projections to $69.2M, and finaled global at $287.1M); after she expressed interest in September 2015 in taking on a Charlie’s Angels reboot with a modern feminist spin, there was no question in Sony’s mind that the project should move forward.

<Yeah Sony, how's that working out for you? You think they would have learned their lesson...

Guess not.

Back to the story.....

However, there were script problems, I hear, that could never be resolved. A few months after Banks boarded, Evan Spiliotopoulos came on to write. By the time cast was assembled in July 2018, Banks had penned the latest draft off a script by Jay Basu (The Girl in the Spider’s Web), and earlier drafts by Craig Mazin and Semi Chellas. Andrea Giannetti oversaw the project on the lot. However, I hear that the script for Charlie’s Angels didn’t really attract top talent, i.e. Jennifer Lawrence, Emma Stone and Margot Robbie (a trio that would have potentially jazzed up business). Hence, why the production opted to go with largely a fresh face cast outside of Kristen Stewart. While we overwrite that stars mean nothing at the box office, they do, sometimes, when it comes to propping IP, and unfortunately and arguably, no one in Middle America knows who British actress Ella Balinska is, and they’ve only became recently acquainted with Naomi Scott from Disney’s Aladdin and Lionsgate’s Power Rangers. Stewart, who is hysterical in the movie and even needed more funny bits, is in a different place in her career professionally, publicly, and privately. It’s unfair to think that she could delver her Twilight fans now.

Had she done Charlie’s Angels promptly in the swell of the Twilight whirlwind (like Snow White and the Huntsmen) then maybe it would have popped.

But she has largely been dormant from popcorn wide releases for the last seven years since 2012’s Twilight: Breaking Dawn – Part 2, busy excelling and wowing in specialty awards season and festival fare like Clouds of Sils Maria, Still Alice, and this year’s Seberg, to name a few. Stewart needed to be paired with equal or bigger-name actresses.

was a one quadrant movie, eyed at women 13-39, especially given its lack of action scenes, and wisely limited their exposure to what I hear is 50%, with co-finance partners 2.0 Entertainment and Perfect World. Sony claims the budget is $48M net; we’ve heard in the mid $50Ms. Tax incentives were taken in the pic’s Berlin and Hamburg shoots. Perhaps Sony should have spent more, because Charlie’s Angels biggest problem is that it has very low-octane, we’ve-seen-it-all-before action scenes. Heck, there’s more action in a 1980s Chuck Norris movie. After watching Charlie’s Angels earlier this week, I put the first two McG movies on Netflix, and it was like watching Star Wars in comparison to this reboot, with his sharp production design, camera movements, unique action, and comedy set pieces, and, of course, the first movie blasted Sam Rockwell out of a cannon. Understand that the first two movies in the series were able to compete and hold their own in an action space where, yes, Mission: Impossible and Fast & Furious (the first two films came out in 2001 and 2003) also thrived. Mission and Fast sequels distinguish themselves on multiple 10-minute action sequences that we’ve never seen before on screen; it doesn’t matter who the villain is. This Charlie’s Angels doesn’t have that. And not even a super-duper hit song “Don’t Call Me Angel” for the movie from Ariana Grande, Miley Cyrus, and Lana Del Ray can trigger lines at the multiplex; the music video clocking over 116M views on YouTube, per entertainment social media monitor RelishMix.

Some will claim that Banks’ version was never intended to emulate the meat and potatoes version of McG’s films; that this version was expected to be more comedic, and more feminist. Unfortunately, after McG set the table here with the franchise as an action film, you can’t reverse it. You can only outdo him. And with a franchise movie like Charlie’s Angels, you can’t make it for a one quadrant audience.

The film arrived on tracking with a $12M-$13M start, and really never budged, but sank. That means marketing didn’t work. I heard that a $100M global P&A was first planned on Charlie’s Angels, with the studio now reducing that overall cost greatly to around $50M and pulling back on expensive ads. Another hurdle in activating the young girl demo is that much of the pic’s cast isn’t on social media. RelishMix says that Banks is the social media star with over 6.6M followers across Facebook, Twitter, and Instagram, with Scott counting 3.4M.

Sony kept pushing Charlie’s Angels, which in hindsight means there were development issues. In May 2017, a release date was announced for June 7, 2019. When the cast was locked down in July 2018, Charlie’s got moved to Sept. 27, 2019. In October 2018 when Warners pushed Wonder Woman 1984 from the first weekend in November to summer, Charlie‘s took over the autumn spot, which was the same exact place the original 2000 opened. However, when Terminator: Dark Fate moved onto the same first weekend in November, Charlie‘s relocated to this weekend as they vied for a China release which they ultimately got.

Charlie’s Angels drew a 66% female crowd, split between 36% over 25 and 30% under 25. But both demos respectively graded it low at 68% and 79%, with men at 35% giving it a 68% grade on PostTrak. Diversity breakdown was 52% Caucasian, 21% Hispanic, 14% Asian/Other, & 13% African American. Charlie’s Angels best markets were on the coasts and big cities. But again, nothing to brag about in Friday’s $3.2M gross, which includes $900K from Thursday and Wednesday previews.

Says RelishMix, which also foresaw this disaster approaching on social media chatter, “Angels is the latest example in a ‘woke’ effort to reboot a franchise that many were not all that interested in to start with. In fact, many references to the 2000 version get a call-out as a reason this one doesn’t seem to compare – whether it’s the cast or the action teased from the film.

And, as observed with other recent films, some action/adventure, unfortunately fans say they’re steering clear of this one because of its ‘girl power’ messaging.”

[cinemavariety]

The Director’s Series: Paul Thomas Anderson

The director series will consist of me concentrating on the filmography of all my favorite directors. I will rank each of their films according to my personal taste. I hope this project will provide everyone with quality recommendations and insight into films that they might not have known about. Today’s director in spotlight is Paul Thomas Anderson

#8 - Hard Eight (1998) Runtime: 1 hr 42 min     Aspect Ratio: 2.39 : 1             Film Format: 35mm

John has lost all his money. He sits outside a diner in the desert when Sydney happens along, buys him coffee, then takes him to Reno and shows him how to get a free room without losing much money. Under Sydney's fatherly tutelage, John becomes a successful small-time professional gambler, and all is well, until he falls for Clementine, a cocktail waitress and sometimes hooker. 

Verdict: One of the most impressive feature film debuts ever blessed to American cinema. Paul Thomas Anderson was only 25 years old when he broke into the scene and directed this (almost three years younger than me now, how depressing). While it is consistently thrilling and entertaining, Hard Eight oftentimes wears its influences on its sleeve too much. You can see how much inspiration Paul got from Tarantino with this film and it’s one of the 90s best independent movies. The star studded cast doesn’t hurt either.

#7 - Phantom Thread (2017) Runtime: 2 hr 10 min Aspect Ratio: 1.85 : 1 Film Format: 35mm

Renowned British dressmaker Reynolds Woodcock comes across Alma, a young, strong-willed woman, who soon becomes a fixture in his life as his muse and lover. Verdict: It’s safe to say that Phantom Thread is PTA’s most lavish and decadent film. It feels like a piece of ancient Hollywood golden-era cinema brought back to life. Johnny Greenwood’s orchestral score is the best sound work he’s ever done, it sweeps you off your feet when it goes along with Anderson’s signature arresting imagery. I’m in the minority who places this near the bottom of Anderson’s filmography, simply because Daniel Day Lewis’s character is so insufferable that it was hard for me to empathize in many ways. It still manages to be one of the most beautiful pieces of modern cinema.

#6 - Inherent Vice (2014) Runtime: 2 hr 28 min Aspect Ratio: 1.85 : 1 Film Format: 35mm

In Los Angeles at the turn of the 1970s, drug-fueled detective Larry “Doc” Sportello investigates the disappearance of an ex-girlfriend. 

Verdict: Inherent Vice is Paul Thomas Anderson’s most underrated gem. I’ll admit, when I first saw this film, I didn’t really dig it that much and immediately cast it aside as his weakest effort. However, after some maturity, a few more viewings, and also not 100% adoring Phantom Thread, I have developed an immense appreciation for this nonsensical Thomas Pynchon adaptation. Pynchon as a writer is known as being basically unadaptable, but PTA revels in the absurdity of the film’s labyrinth of a plot. It also brings PTA back to his former glory days of ensemble casts and stoner drug fueled mayhem.

#5 - Punch-Drunk Love (2002) Runtime: 1 hr 35 min Aspect Ratio: 2.39 : 1 Film Format: 35mm

A psychologically troubled novelty supplier is nudged towards a romance with an English woman, all the while being extorted by a phone-sex line run by a crooked mattress salesman, and purchasing stunning amounts of pudding.  

Verdict: Punch-Drunk Love plays out like a symphony of color, texture, and absolutely off-putting social interactions. I understand that Adam Sandler had his comeback last year with Uncut Gems, but this film is actually without a doubt the best performance he’s ever pulled off. And I credit that largely in part to the brilliance of Paul who was working behind him. It’s what I would say one of the most unconventional romantic comedies of all time. It’s nerve wracking, a little sad, super awkward - but also somehow manages to be endearing as well. The percussion heavy score brings manic energy to the whole film. Punch-Drunk Love is also a powerful statement on loneliness, unchecked mental illness, and the power of human connection.

#4 - Boogie Nights (1997) Runtime: 2 hr 35 min Aspect Ratio: 2.39 : 1 & 1.66 : 1 Film Format: 35mm

Adult film director Jack Horner is always on the lookout for new talent and it's only by chance that he meets Eddie Adams who is working as a busboy in a restaurant. Eddie is young, good looking and plenty of libido to spare. Using the screen name Dirk Diggler, he quickly rises to the top of his industry winning awards year after year. Drugs and ego however come between Dirk and those around him and he soon finds that fame is fleeting. 

Verdict: How this film possibly came from a director who is my age now is almost hard to believe. Boogie Nights is one of the quintessential 90s films. It has one of PTA’s best ensemble casts. Anderson’s sophomore effort was a result of the auteur finding his footing and his directorial voice that went on to enthrall audiences over several decades. PTA’s early visual motifs were lengthy and expertly choreographed tracking shots. Please refer to the scenes in the disco as well as the pool party scene pictured above for some of the best camera operation every committed to celluloid. Boogie Nights could possibly be hailed as PTA’s most consistently entertaining and audience friendly works. It’s a great story of the rise and fall of stardom.

#3 - There Will Be Blood (2007) Runtime: 2 hr 38 min Aspect Ratio: 2.39 : 1 Film Format: 35mm

A story of family, religion, hatred, oil and madness, focusing on a turn-of-the-century prospector in the early days of the business. 

Verdict: Most critics and audiences would agree that There Will Be Blood is the director’s most impressive masterpiece (but who’s counting?). On a storytelling and technical level, I do have to agree that this is probably Paul Thomas Anderson’s best achievement, even if it isn’t exactly my personal favorite. This is the film where PTA really matured with his directorial vision. He abandoned a lot of his earlier flashy work with large casts and a constantly moving camera for something more grounded and more of a character study. There Will be Blood is the story of America in many ways. It’s the story of Capitalism. And how this system leads to so much bloodshed, greed, and hatred as man and man compete to have the most and be the best. This movie will surely stand the test of time and is a shining example of how groundbreaking modern American cinema can be.

#2 - Magnolia (1999) Runtime: 3 hr 8 min Aspect Ratio: 2.39 : 1 Film Format: 35mm

An epic mosaic of interrelated characters in search of love, forgiveness, and meaning in the San Fernando Valley.

Verdict: Paul Thomas Anderson’s third film found the director taking everything he had learned on his previous two, and expanding on that knowledge and developing more layers to his characters who have never felt so fully realized. Magnolia is the director’s magnum opus. It is epic in its length - clocking in at a little over three hours, making it his longest film by far. It is ambitious in its storytelling approach. Many films utilize the style of a variety of seemingly unrelated characters who connect to each other, oftentimes in a synchronistic fashion as they go about the trials and tribulations of their lives. However Magnolia is one of the few that did it first, did it the best, and set the bar for all of the subpar imitations that would soon follow. It’s also profoundly beautiful in the statements that PTA was trying to make. Paul, just barely 30 years old at the time when this was released, most definitely had an emotional and intellectual maturity that is rarely seen within a director of that age range. Magnolia is about redemption, loss, forgiveness, love, and trying to keep your head above water as frogs rain down on your head.

#1 - The Master (2012) Runtime: 2 hr 18 min Aspect Ratio: 1.85 : 1 Film Format: 35mm & 70mm

Freddie, a volatile, heavy-drinking veteran who suffers from post-traumatic stress disorder, finds some semblance of a family when he stumbles onto the ship of Lancaster Dodd, the charismatic leader of a new “religion” he forms after World War II. 

Verdict: I’ve always been drawn to films about cults. Something about social behavior and social roles within a cult organization is a really interesting study on a sociological, psychological and anthropological level. The Master takes the cult formula and turns it on its head in many ways, never once foraying into the territory of exploitation or tropes. It instead takes a wholly original approach to the story. I mean, it is Paul Thomas Anderson that we’re talking about here. Joaquin Phoenix delivers his most unhinged, and certainly his most impressive, performance of his career as a mentally damaged alcoholic war veteran with pretty severe PTSD. The Master is also in many ways the story of the founding father of Scientology - L. Ron Hubbard. However, let’s just say it is a Scientology movie “in disguise” as no real historical names are ever spoke, the word “Scientology” is never uttered once, and even the director himself refuses to admit that’s what it is about (I mean who can blame him? He once had to work with Tom Cruise). It is one of the most fascinating character studies I’ve ever seen. Not to mention, it is PTA’s most beautifully shot film in my opinion and Johnny Greenwood’s musical contributions to the score elevate this film to ultimate masterpiece status. By the end, I felt like I had just undergone a transcendent experience of sorts. I hope one day PTA can make a film that “wows” me ever more than this one does.

[zenosanalytic]

People What Aint From Round Here Is The Problem...

So I just watched Once Upon a Time... In Hollywood and I have THOUGHTS:

Ive read a few reviews&ruminations on this film at this point and I can’t believe that none of them got(or at least, mentioned explicitly) the primary thesis of this movie, spcl given that Tarentino flatly states it out the mouth of his primary protagonist within, like, the first 15-20mins of the film: “...most important thing in this town is when you’re making money you buy a house in town. You don’t rent... Hollywood real estate means you live here. You’re not just visiting, not just passing through. You fuckin live here.” i.e., the most important thing in Hollywood, to Hollywood, is the people FROM Hollywood; Everyone else is just a filthy, trouble-making tourist or profiteer who is “Passing Through” and “Doesnt Get It” and  “Is Fucking It Up”(It being the film industry), and probably “Secretly Hates Movies”. There are places and aspects of this movie that are basically a Nativist Angeleno rant, written by a life-long Angeleno film-nerd-turned-film-maker, against Hollywood’s critics(and his critics which he just totally conflates with the former), and probably non-Angelenos(and non-Californians?) in general.

There are two ways to read this thesis: Straight and Subverted/Satirized.

The evidence for reading it straight is pretty plentiful. Lots of reviews have puzzled at where the line connecting the constant hippie-bashing, the weird focus on knocking Polanski’s Polishness & preference for shooting in London, and the inexplicable pot-shot at Bruce Lee is, and I think this is it. “The Hippies” are repeatedly presented as a corrupting force: digging through trash, living in squalourous filth at the Spahn Ranch dragging members of “Old Hollywood” like its owner into it with them, selling drugs, and using sex to “control” men. And attached to this is presenting “The Hippies” as foreign; not only from another place, but refusing to assimilate with the LA way of life and hostile to it. The Manson family are the only explicitly identified “Hippies” in the film(other than, possibly, the one who sells Cliff an acid cig). The only “positive” portrayals of Bruce Lee in the film are silent ones of him teaching anglos kung fu, which has some fairly obvs and well-understood Implications.

But there’s also good evidence for reading it as subverted and satirized. Both Tate and Dalton are NOT from California, let alone LA, and Booth’s origins are left unclear. Dalton’s the only one of them explicitly id’d as being from elsewhere(Missouri), but Tate’s easy to google and she was a military kid who grew up all over the place. When Dalton returns from Italy, that sequence and his look in it are VERY reminiscent of the scenes introducing Polanski at the beginning of the film. The side-characters around Tate, perennially shown in a positive light, are also non-Angelenos. Doing Spaghetti Westerns revitalizes Dalton’s career, despite his disdain for Italian cinema. Tate and her crew, while not explicitly ID’d as “Hippies” and often shown in Mod and other fashion styles, are also presented in “Hippie” fashion, shown listening to “Hippie” music, smoking the “Hippie” Reefer(Im sorry, but Comedy Demanded this phrasing and I am Devout u_u), and implied to be living a polyamorous “Hippie” life.

It really is difficult for me to say which predominates. On the one entirely metaphorical hand, the ways in which Dalton’s Angeleno chauvinism are subverted and mocked are fairly obvs, but on the other emh, the film is FILLED with LITERALLY GLOWING nostalgia for this pre-Hippy, pre-Lefty, pre-70s, Conservative and Republican California&Los Angeles. Dalton’s focus on property-ownership&the film industry in the opening thesis could easily be seen as resolving these subversive contradictions to allow for a straight read(ie: Tate, Booth, and Dalton are “Hollywood People” who’ve both bought real-estate in LA, and who’ve grown up in film or film-adjacent fields and choose to center their adult lives in the film industry). So much, in fact, that I kinda started to wonder abt QT’s politics while watching it. And, if it WAS satirical, then what’s the point of the knock to Bruce Lee and focusing criticisms of Polanski on his Polishness and shooting in London? Is that just meant to characterize Dalton and Booth as nativists and racists?

It really cannot be said enough that there are REALLY MORE APPROPRIATE CRITICISMS to make of Polanski than 1)begin Polish, 2)possessing boyish effeminacy, and 3)preferring to shoot movies in London instead of LA. Which are this movie’s only problems with him(though it also takes the time to show him bitchily smoking a cigarette in an evening gown while being rude to a dog). Obvsl I dont object to villainizing an ACTUAL REAL LIFE VILLAIN like this shitstain, but I DO object to being asked(albeit gently) to participate in this film’s understated nationalist bigotry.

It’s possible that Cliff’s turning Pussycat down during the drive to the ranch was intended to be this but I highly doubt it. And if it was it’d be misrepresenting Polanski’s misdeeds enormously, considering that Pussycat, the too-young girl, is the sexual instigator in this film. Polanski liked to manipulate, drug, and rape underaged girls(he pulled the same shit with models in Europe before getting busted for it in LA, btw, then continued doing it after fleeing back to Europe); really not the same situation.

There’s another irony in that, while the film goes out of its way to call Polanski “boyish” and imply that makes him feminine and that this is Bad, there’s also a subtle under-current that... Tarentino sees himself in his youth the same way? He’s certainly never been short like Polanski and Jay Sebring are/were, QT’s 6 1, but the actors he cast to play them and the description made of the pair in-film are more than a bit reminiscent of how Tarentino looked&was discussed in the press back in the 90s when he was starting out. AAAaaand the film explicitly calls that Tate’s “Type”; leaving me with the question: would Tarentino be able to stop himself from implying a dead starlet would have been attracted to him? I leave the answer to your imaginations, Dear Readers u_u

Having said all that it IS a really good film, which I liked, I dont think it’d be very hard to set aside this political stuff while watching, the driving sequences are especially emotive&exhilarating, and there’s some seriously great acting in it. IDK if I’d say I liked it more than the recent Emma movie, tho.

I feel like each of the trio, Tate, Dalton, and Booth, were meant to symbolically Embody LA/Hollywood/California? Like Pitt especially seemed to be channeling movie characters and CJ from GTA: San Andreas throughout his performance, while I couldnt help but think of Ronald Reagan watching DiCaprio(spcl given the character’s likely politics). So there’s this sense in which the film is a fantasy of “Old Hollywood”, embodied by these three, Vanquishing its “Enemies”, represented by The Hippies(moralizing, pretentious, gross leftist) and potentially Polanski&Lee(foreign film ppl who refuse to integrate into the LA scene). Again, given the political history of Cali after this era, this embodiment raises some questions for me abt the film and QT’s politics(particularly in re: misogyny and feminism).

Also DiCaprio is totally going to get pitched a Reagan biopic off of this role and I sincerely hope he has the good sense to turn that shit the fuck down.

Circling back to the ranting at his critics, this movie was definitely and consciously a response to them. Like: up until the last 5-15 minutes of the film, and aside from a handful of too-lingering too fetishistic too on-the-nose creep shots of the female cast that Tarentino simply could not stop himself from making, OUATiH is precisely the sort of “Serious” film Tarentino’s critics have been saying he should make for decades now(of course he did Jackie Brown, which was that and which he blew Completely out of the park). And then there’s that bloody, gross-out, exploitation-movie ending. I dont actually think it was as bad as many critics were saying it was? For some reason I was thinking there was gonna be a massacre of the ENTIRE Manson family, which would have been totally out of left-field. But it WAS clearly a stinger of a major tone-shift thrown in as a Fuck You to the ppl who’ve called out his violent and exploitative preferences throughout the years. As for me I generally like his movies and think he’s a great filmmaker but he absolutely does go too far sometimes.

Rick Dalton, in an evening-gown, with a mixer full of iced-margarita in one hand, getting all up in the face of the driver of a loud exhaust-spewing jalope in his PRIVATE STREET was TOTALLY Tarentino himself :| By which I mean NOT ONLY that That’s ABSOLUTELY the sort of cameo he would have given himself 30 years ago and if it made any sort of sense at all in the film(which here it wouldnt have, obvsl), BUT ALSO that I feel 94% confident that Tarentino has actually done that at least once in his lifetime :| :|

I think the monologue&interactions T gives Bruce Lee leading up to the fight were probably more insulting to him than the fight itself. Contrary to popular discussion, it isn’t Pitt’s character totally trashing Lee, he gets in one good throw after Lee repeats a successful attack at his request(which I doubt Lee would have ever done from what little I know about him; not being predictable in a fight was his whole Deal), but rather an even duel between them(most of the fight is just the two blocking each others’ attacks). I dont think the film was trying to say “Lee was full of hot-air”, if it wanted to say that it’d have shown him getting trounced instead of showing him knock Booth down then trade him blow for blow, but more “Lee was pretty arrogant and a bit pretentious”.

OK, that’s abt all that I can think of right now: thanks for reading ^v^

[chiseler]

Rip Torn: A Retrospective

Rip Torn died on July 9th at age 88. That he lived that long is nothing short of miraculous.

In the summer of 1969, Rip Torn was drunkenly screaming through New York’s West Village on his motorcycle when he slammed it into a police cruiser. Torn broke his leg in the accident, but didn’t notice. The next morning he got up, got on a plane, and flew to Paris where he was set to star in Joseph Strick’s film version of Henry Miller’s Tropic of Cancer. He shot the entire film all hopped up on painkillers on an untreated busted leg,. And you know what? He still gives a remarkable performance. It wasn’t the only time he worked with broken bones, either.

For over 60 years, Torn carried on in the proud tradition of John Barrymore, Errol Flynn, Robert Mitchum, Frank Sinatra, and Lawrence Tierney as the last of the great Hollywood hellions. In between insane drunken escapades, he was nominated for Emmys and Tonys and Oscars, he established himself as one of America’s most respected character actors, a man with a knack for making even a small role a pivotal one, and he was in Every Movie and TV Show Ever Made. Next time you watch something take a close look at the credits and you’ll see.

Torn’s given name was Elmore Rual Torn, Jr., but was nicknamed Rip as a boy, as was tradition among all the Torn men. He was born and raised and educated in Texas, studying  animal husbandry in college before turning to acting.

The motivation behind the decision was different than most. He hitchhiked to California to break into the movies not because he wanted to be a big star, but because he thought it would be an easy way to raise enough money to buy himself a ranch. Things didn’t work out quite so zip bang as he’d planned, though he did earn small roles on TV and made his feature debut in an uncredited role as a dentist in Elia Kazan’s great and scandalous 1956 film Baby Doll. Kazan hired him again the following year to play another uncredited but extremely important role in the equally great Face in the Crowd.

Although he wasn’t making the kind of money he needed to buy that ranch, he was getting enough acting jobs along the way to start taking the whole enterprise a bit more seriously. He moved to New York to study at the Actor’s studio, worked in theater both on and off Broadway, and from the mid-’50s to the mid-60s established himself on TV in everything from Playhouse 90 to Thriller to Route 66 to The Untouchables. After that things took off. There was just something sinister about Torn, those wicked eyes of his, that crooked-toothed leer, the whole rat-like demeanor, that suited him for villainous roles of all kinds. Plus he was a chameleon who could shift his whole look and stature with the simplest change of accent. He would go on to play Judas in King of Kings, countless presidents, doctors, senators, military officers and judges. He played rednecks and gangsters, cowboys and spies and executives. He played Walt Whitman twice, was in a whole bunch of Tennessee William’s plays (on Broadway, TV and film). Yeah, like I said, between the mid-’50s and the present, he was in every damn thing ever made. Trying to summarize his career is pretty much impossible, but there was a stretch there from the mid-60s to the late 70s when he was top billed when he was turning small supporting roles into leads, when he was moving easily between TV, experimental films, and big budget Hollywood jobs, and when he was starting to earn himself a reputation as a wild man.

Looking back on it now, it’s hard to imagine the kind of talent, both in front of and behind the camera, that came together on the 1965 period gambling picture The Cincinnati Kid. It was originally a Sam Peckinpah film with a script by Ring Lardner. Then Peckinpah was fired (surprise!) and Norman Jewison was brought in to direct. He thought the script was too self important and talky, so he brought in Terry Southern. He also gave Hal Ashby his first big break, bringing him in as editor and assistant director. Steve McQueen stars as a hotshot young poker player in ‘30s-era New Orleans. Karl Malden is a former hotshot on the skids. Jack weston is the loud whiny guy. Ann-Margaret is the bad girl, Tuesday Weld is the good girl, and Edward G. Robinson is the old man, the undisputed champ, the stud poker king feared by everyone.

Ah, then there’s Rip Torn. His name’s deep in the credits but the whole film turns around him. He plays the slick and sleazy Southern Gentleman who will stop at nothing to see the Robinson character toppled. See, Robinson beat him at poker once, and for a Southern Gentleman of his stature there’s nothing in the world worse than losing. There’s one scene in particular, Torn’s showpiece here, in which he tries to blackmail the dealer (Malden) into cheating, and though it doesn’t sound like much nobody can muster up the cool menace like Torn. Oooohhh, he’s such a rotten son of a bitch.

Four years later he starred in Moses Ginsberg’s first film, Coming Apart, an experimental number that’s been called “More a Happening than an actual movie,.” Filmed with a single static camera to recreate the feel of a documentary, Torn stars as an unbalanced psychiatrist who torments and confuses his female patients, eventually going completely batty himself. It all takes place in one small room shot by that one unmoving camera. It’s at turns compelling and unbelievably tedious, and if it weren’t for Torn (thank god for that Actor’s Studio improv training) it would be unwatchable.

Around this same time Dennis Hopper cast Torn to be in Easy Rider. Then at what was either a production meeting or a cocktail party in New York (depending on who’s telling the story), Hopper and Torn got into a bit of a ruckus over whether or not all Texans were  rednecks out to kill hippies. A knife was pulled (though Peter Fonda would later claim it was a butter knife, or maybe a fork, or maybe both). Next thing you know, Torn was thrown off the picture, and Hopper cast Jack Nicholson in his place.

About a year later Torn joined the cast of Norman Mailer’s improvisational experiment, Maidstone. Essentially it was a raucous, drunken three-day party out at Grove Press founder Barney Rossett’s Long Island estate around which Mailer tried to film himself as a director trying to shoot a movie. As the story goes, before shooting started each actor was given a card briefly describing his or her character, and that was as close as anyone got to a script. One character, however, was given a card at random informing the holder that his character was in fact a CIA assassin whose job it was to kill Mailer. The card’s recipient was supposed to be kept a secret from everyone in the cast, including Mailer.

Well, according to Rossett there was a little confusion there. Maybe it was the booze, or maybe the card simply wasn’t worded clearly. In any case Torn (naturally) got the card, but instead of thinking his character was supposed to kill Mailer, he somehow got the idea that HE was supposed to kill Mailer. Lucky for Mailer, too, as the confusion resulted in the only scene in the film anyone remembers.

After the shoot was over and most everyone had gone home, Mailer and his family are walking back toward the house when they’re stopped by a grinning and quite mad Torn, who is also clutching a small hatchet. The cameras are rolling and you can tell this was something Mailer was not prepared for. Nor was he prepared when Torn goes after his skull with the hatchet. The two wrestle each other to the ground, Mailer bites Torn’s ear, Torn leaves a deep gash in Mailer’s scalp, and Mailer’s wife and children scream in horror until a couple crew members pull Torn off him.

And that, my friends, is entertainment!

(The next morning Rossett found a drunken midget floating in his swimming pool, but that’s another story.)

Then came the motorcycle accident and shooting Tropic of Cancer on a broken leg. As it happens there were two films based on Henry Miller novels filming simultaneously two blocks apart in Paris. Jens Jorgen  Thorsen’s Quiet Days in Clichy starred Paul Valjean, an American dancer who looked an awful lot like Miller, but neither sounded nor acted like him. Torn, meanwhile, looked absolutely nothing like Miller, but somehow by adopting just the slightest hint of a Brooklyn accent (and on all those painkillers) was somehow able to embody him completely. It’s a gritty, funny, poetic film and Torn is great, though to be fair it should be noted that Clichy was dirtier.

Also in 1970, Torn spoke out against the war in Vietnam on a TV show, and a few nights later someone fired a bullet through his window. It was a hell of a year for him.

In ‘73s Darryl Duke film, Payday, Torn gives what he himself would later refer to as his best performance. Or maybe his favorite. In any case he’s really something as Maury Dann, a  womanizing, hard-drinking, bastard son of a bitch of a second-rate country singer. Dann and his band are on tour  through the South as Dann screws and screws over everyone around him, from band members to family, to pretty much every woman he meets. He never quite hit the top, but insists on acting and being treated like he has. Toward the end he even talks his chauffer into taking a murder rap for him, since he has to get to a show. It’s an extremely dark, cynical, and painfully accurate portrait of the country music business of the early ‘70s, and Torn does all his own singing. It makes for a nice counterpoint to Robert Duvall’s quiet, soft-spoken, and sensitive country singer in Tender Mercies from a decade later.

Although again his name is buried deep in the credits of Larry Cohen’s 1977 biopic The Secret Files of J. Edgar Hoover the entire film revolves around him. He narrates, after all, and gives another memorable performance as a young man who decides to join the Bureau after his father (another agent) is gunned down by a two-bit hood on the street. After seeing what’s going on in the FBI, though, and after being punished himself for a minor indiscretion, he tries to bring Hoover down a notch or two. In what could have been a hamfisted cartoon, both Cohen and Torn (and star Broderick Crawford near the end of his career) manage a shockingly human portrait.

As a flipside to Torn’s tendency to turn minor supporting roles into leads, there was 1978’s Coma, the medical conspiracy thriller directed by Michael Chrichton based on the Robin Cook novel. Torn was fourth-billed behind Genevieve Bujold, MIchael Douglas, and Richard Widmark. And sure, Torn’s character, Dr. George, is the film’s central villain, the man behind a Boston hospital’s fiendish conspiracy to harvest human organs and sell them on the black market, but he only appears in one scene, and speaks roughly four lines. It’s unclear whether this was the plan from the start, an attempt to turn his character into another Harry Lime or Mabuse,  or if maybe all his other scenes were cut after Torn went after Crichton with a hatchet (we can only hope). In any case he was missed. He might have livened up what was otherwise a pretty godawful picture.

As Torn grew older and a little larger and his hair started getting thinner, two things happened. He began playing more authority figures, which only makes sense I guess. He had that look and sound about him. He also started doing more comedies and genre films. Sometimes he even combined the two, playing Ronald Reagan in ‘82s Airplane II: The Sequel.

In ‘91 he was Bob Diamond, the charming, sleazy, and utterly  ineffective lawyer trying to give Albert Brooks a boost out of Purgatory in Defending Your Life. He was the sinister CEO in the otherwise dreadful Robocop 3. He even began lending his voice to animated features and video games (usually playing a god of some kind).

Then in 1999 Dennis Hopper was a guest on Leno and told a few old Easy Rider stories, including the one about how Torn had pulled a knife on him at a party. Well, Torn, remembering things a bit differently, sued him for defamation.

It’s pretty hilarious if you think about it; these two guys who were both completely out of their heads in the late ‘60s going to court to determine which one of them was behaving badly. I mean, they both had reputations to maintain.

Well, most of the witnesses agreed with Torn that it was Hopper who pulled the knife (except for Peter Fonda, who remembered all kinds of different utensils), and the court ordered Hopper to pay Torn nearly half a million in damages.  It was all kind of silly. I mean, it’s not like the story cost him any work. Hell, trying to literally kill Norman Mailer on camera didn’t even cost him any work. But I guess pride’s a funny thing.

After that he continued to work regularly, as Agent Zed in the Men in Black films, in sit-coms, in made-for-TV films, christ, anything that came along. Every director I’ve ever heard talk about Torn can’t praise him highly enough for his talent and professionalism (except maybe Mailer), though given his admitted temper, it’s also possible they’re just scared of him.  He was nominated for six Emmys for his role on the Larry Sanders Show, and came to be recognized by a whole new generation as the executive Alec Baldwin worships but wants to replace on 30 Rock.

Along the way he set himself the task of repairing any damage his reputation as a hellraiser might have suffered as a result of that Hopper lawsuit. The DUIs started adding up. Or at least getting noticed, in part thanks to the actor’s tendency to swing on the arresting officers. Along with being the president of the Extreme Dodgeball League (who knew it even existed?) it seems he was also an extreme regular at a bar near his Connecticut home.  Every once in awhile the bartender himself would tip off the cops after Torn headed for his car. I’m not sure if that bartender’s still there, but even after being fingered like that Torn remained a regular, though he didn’t always drive. And that in itself might have caused some problems.

After returning home from the bar one night in 2010, Torn found his keys didn’t work in the lock. Seeing no alternative, the 79-year-old was forced to break into his own house. He was probably surprised a few minutes later, just as he got his shoes off and was making himself comfortable,  when the cops arrived and informed him that he wasn’t in his house at all, but had broken into a nearby bank. And the cops were probably surprised to find Torn was carrying a loaded handgun. Yeah, he’s not the only one who’s been there, as I think many of us can attest.

Once it was clarified that it was not Torn’s intention to rob the bank, he was given a two and a half year suspended sentence and three years probation.

The arrest prompted the tightassed, no fun creators of Thirty Rock to kill off his character, but he remained as busy as ever, including an uncredited role as an alien in Men in Black Three.

He once proudly noted that he’s never missed a performance. He’s worked with broken legs, broken arms and ankles, and once while doing a play he passed a kidney stone on opening night. He was a rare, tough old bird, a vanishing breed, and one of my heroes. We won’t see his like again.

by Jim Knipfel

[divagonzo]

Many times I’ve seen comments about how the Harry Potter cast avoided the “child star curse” and I want your opinion on that because I don’t think those kids were being treated well and I always find it shocking how everyone thinks their childhoods in the spotlight were something magically wonderful. Also, I hate how people talk about child-stars gone wrong because the aim is always to mock or attack the kid instead of realizing their behavior is a consequence of trauma and abuse.

Mornin’ Nonnie. Wow. That’s a bucketful of questions this morning.

Lemme get a huge cuppa so I can put some coherent thought into this set of questions.

RE: The Child Star Curse…. you’ve hit on the enormous Pandora’s Box here with this topic. No lie there.

Triggering mentions are in the tags for those who blacklist and don’t want to read on such things on a Sunday morning.

I’m putting all of this under the cut since this got really, really long really fast.

How did the kids avoid it where so many got lost and lost their way growing into adulthood? If you notice (I will speak of Eyebrows separately because her situation is pretty different by comparison)…. most of the main kids had a terrific support net of family at home - who could be wise to keep their kids grounded (as in feet on the ground and not under discipline/punishment). Sure they all had some mis-steps - but then I’ve never known a teenager who hasn’t made a mistake or 10 while transitioning to adulthood.

Dan? Dan had a serious drinking problem ‘til he decided to sober up (and I really commend him for taking that enormous step. It’s hard as hell to choose at such a young age that you have an addictive personality and that you can’t moderate the drinking and it’s smarter/safer to do without. (And it’s much easier to walk away at the younger age than in your late 20′s  30s 40s more when more damage has been done.)

Rupert? If anyone had been the most grounded, I’d say it’s him. His parents are top bants there, with his siblings and friends keeping him from being too much of a git. (And also being so b* smart in investing his funds early into a property owner to have his wealth but also paying his taxes, too.)

Emma? I think her situation was more fishbowl than the others because of the growing objectification of her and also how rude, lude, and crass men were treating her (including the paparazzi). I also think that she took advantage of such for her benefit to try and tame it down, and while it was mostly on point, there were moments where it was painfully obvious that she was there primarily for the male gaze. O_O She did take advantage of her privilege, with the additional benefits, but considering how much she’s been under the spotlight and constant attention of media and more, she’s done pretty well. (I won’t get into the issue of tax avoidance from the Panama Papers since I disagree with the mindset that the uber-wealthy should pay out 90% to benefit everyone else when they are already shouldering much of the social support net for those who need the assistance)

As for Tom and Bonnie and Evanna and the others? I think they have done pretty darn well for avoiding the child star curse.

But I also think the biggest part of it has been that they weren’t necessarily in the California/Hollywood scene, where it’s pretty much a free-for-all with access to anything and everything you’d want to delve into - along with the really ugly dark side of the business. (Yes, I’m tip-toeing around that issue since it’s pretty nasty.)

But how they were treated? I’m sure that the trappings of their situation made it more difficult, with constant media scrutiny and having so many people involved to have them appearing…. more appealing. While I’m sure for every one person there would be 100 who would give their toes and fingers to have that opportunity, it’s truly a Gilded Cage, of all of the pretty trappings and benefits - but with the enormous loss of privacy and anonymity.

Secondly, and more importantly, you also broach a huge issue, one that is constantly overlooked and also attracted the issue of victim-blaming. The ones who have gone off the rails, the kids who got lost along the way, were put under such scrutiny and given so much opportunity with little to no parental discipline to prevent problems, that, once again, media blame falls on the kids rather than the responsibility of the adults who should be there to support, encourage, and if need be, protect the kids.

I’m gonna say it right here in plain words: Being a teenager is Bloody Fucking hard. It’s triple hard if you are in such a position of making money hand over fist and people become blinded by the greed, attention, and privilege from what they have in those moments.  How many horror stories do you hear of where a young actor or actress gets into drugs/alcohol/pills and then crashes and burns spectacularly? For every one success story, there are dozens that crash and burn.

Is it a self-medicating of ones who aren’t necessarily neurotypical? Or is it the craving of the validation that comes from the attention and when not receiving it, needs the self-medication? Coping with trauma behind the scenes? Trauma before getting into acting and using the benefits to dull the pain?

I’ll bring up 3 in particular, just to make the point here.

One is Cory Haim. He was a young actor back in the 80s, in quite a few films, and was one of the teenage hearthrob pin-up boys. While he may have never been an A-lister as an adult (and reading up on his film credits, was probably B lister) he was an A-lister as a teenager. But there are plenty of speculation, especially by his friend Corey Feldman, of abuse when he was a teenager. (I won’t get into it because that’s rumor, speculation, and more) When he quit being cute his roles dried up to C-list roles, in straight to video shows, tv shows and voice-over work in video games.

From one of his interviews:

I was working on The Lost Boys (1987) when I smoked my first joint. But a year before that, I was starting to drink beer on the set of the film Lucas (1986). I lived in Los Angeles in the ‘80s, which was not the best place to be. I did cocaine for about a year and a half, then it led to crack. I started on the downers which were a hell of a lot better than the uppers because I was a nervous wreck. But one led to two, two led to four, four led to eight, until at the end it was about 85 a day - the doctors could not believe I was taking that much. And that was just the valium - I’m not talking about the other pills I went through. 

Did he get into drugs to dull the pain of trauma? Did he get into it out of boredom? We’ll never really know since he died back in 2010, penniless. His star burned out fast after he quit being cute/adorable/a money-maker. Was trauma involved? I sure think so (along with former child actor River Phoenix, who was also mentioned in the dark side of Hollywood, too.)

#2 is Justin Bieber. (Yes, I know. Bear with me.)

He got his break early on doing YT videos and got signed on - and took off like a rocket. But he (now that he’s older and hopefully a little wiser) now admits that he isn’t neurotypical and is pretty darn honest about his mental health struggles. (And yes, this also includes the few years before he was participating in bad boy behaviors, mistreating his girlfriends, etc.) Now? He found some stability in his life, able to admit he has problems and is getting help (and does have some support from his family including his new wife and her family.) (Let me also broach this here in plain language: Being Christian and having Grace doesn’t mean that you have zero problems from there on out. Far from it. It means that forgiveness is there with contrition. It means having a framework to work on being better.)

Will he still make mistakes? Oh sure. Being human means making mistakes. Wisdom is learning from them.

Lastly? Miley Cyrus. (Yes, I know. I’m mentioning those who are fun to laugh at. But these three are prime examples - but also with examples of coming through it all - or not.)

She’s been under the spotlight for decades, now. She’s in a show-business family. Godmother is Dolly “I love everyone and then some” Parton. And she’s one of the Disney Kids, including some spectacular failures on her part (and I’m lumping in her on/off again with her now-husband Liam.)

Did she lose her way for a while? I sure think so. But then the media spotlight x 100 made it harder, with every mistake under intense scrutiny. (This includes some questionable choices in a presentation of herself to the world. O_O)

Was she abused as one of the Disney Kids? Frankly? I think so. Disney isn’t all bright colors and silly shows and enormous paychecks. Rumours run amuck of behind the scenes abuse and mistreatment. Even having a famous father probably didn’t shield her completely from being mishandled by adults in her sphere of acknowledgment.

It’s the utter dark side of the business - that is an open opportunity for adults to take advantage of kids when they aren’t intensely protected and shielded from predator adults - straight and gay. There’s so many quiet mentions of adults abusing girls and boys in their charge - to disasterous results mostly.

But from 2 of the three here? They are examples of hope, where you can make mistakes, get lost along the way, feel the intense grip of imposter syndrome, of mediocre achievements and still succeed - and survive mistakes. They are a hope that whatever has happened, trauma and abuse wise, that you can survive it and, with serious professional help, get through it.

As I am prone to do, especially with those I mentor, is that I won’t tell you what to think - just that you do think. But if a mistake is made (or even a really p*ss poor choice made) I’ll help you survive it.

2 of the three had their family and support net available to help them survive the choices made, leading to wisdom on what not to do - how to cope/endure/survive what has happened.

These kids were probably victims of abuse and trauma, before and during their early acting careers. But 2 of the three are examples of not living a lifetime of being a victim - but a bad-fucking-ass survivor.

To those who have survived abuse and trauma as a child?

I’m gonna tell y’all who might be reading this, including my Kiddos:

It’s not your fault you were abused. Never. Full-stop.

It’s the responsibility of the ones who hurt you. They are to blame. And G_d as my witness I better never run into them. I have zero qualms burning a bitch for hurting a child.

[johnny-depplyloveyou]

So I found this magazine article about Josh while he was still with Minnie Driver in 2000. You can learn more about his early life, worth reading it!

The Heir Up There: Josh Brolin

Text by John Griffiths | Photographs by Art Streiber Article and photos contributed by the wonderfully generous Dana

It was a full-throttle kind of day, and to the glee of Trevor, 11, and Eden, 6, Josh Brolin has just topped a steep hill with his dusty black Jeep. Now the three are standing among a group of moss-dripping oaks high above their 97-acre ranch near Paso Robles, Calif., taking in the panorama. “When you shout, it echoes for over a minute," says Trevor, just before filling the canyon with a bellow. Dad grins. "There's so much serenity here," says Brolin, "and not that new age kind of peace. It's real, down-home dirt serenity." even if you have to work to achieve it: To get to the spread and the three-bedroom, two-story log house that serves as its locus, visitors must navigate a rocky, twisted, mile-long road, cross a bridge and ford stream (Josh, not everyone has an SUV), all the while trying not to be distracted by grazing deer. Bobcats and foxes roam these parts, too, and there's probably not a talent agent within 200 miles. "This is my world," says Brolin. "I don't trust Hollywood, so I don't take it too seriously."

Presumably he doesn't mind that Hollywood won't be rebuffed. After acting in such indie films as Flirting with Disaster (as the straight-arrow, bisexual Fed) and gamely tackling such roles as a cockroach-battling hero in Mimic and a seductive villain in last year's Mod Squad, Brolin, 32, is pressing into mainstream with this summer's sci-fi flick Hollow Man, as the buddy of Invisibility-prone scientist Kevin Bacon. Josh's dad James, of course, is an entrenched TV star -- Marcus Welby, M.D.; Hotel and the current Pensacola -- while his stepmom of two years is la Streisand herself (Brolin fils calls her Barbra). And Josh's own love? Bright-faced actress Minnie Driver, whom he met at a barbecue in 998 (the pair also heat up the upcoming Mexican-desert drama Slow Burn). But Brolin's surroundings put all those tabloid teasers into perspective, according to actor Anthony Zerbe, a friend since the two gunslinged through the early nineties series The Young Riders. "There's this whole Hollywood aspect to Josh's life, but then he's got his ranch where he takes off his shirt and digs a well," says Zerbe. "The place is a bulwark against the intrusive parts of his profession."

Brolin's father and his late mother, Jane, a "female Grizzly Adams" who nursed ailing animals for the California Department of Fish and game, bought the land in 1975 and built their dream home. Josh grew up here with his brother, Jess, and was an A student at Santa Barbara High, some 90 miles away. "My dad dug the pond," says Brolin, skipping stones on the half-acre body of water. "I was lucky to be around people who appreciate this life." His mom, a "spitfire" who urged him to speak his mind, stayed after the couple split in 1985. Five years ago, she died in a car crash, and Josh, then stage acting and directing in Rochester, N.Y., inherited his childhood home -- and all its memories. In the small office, a shelf of his mom's cookbooks; in the pine-beamed, Santa Fe-influenced living room, cowhide couches and a backgammon table (I broke the glass top when I was Eden's age"); and on a counter in the kitchen, a tin holding his mother's ashes. An unorthodox resting place, maybe, but, Brolin says with a smile, "That's how she wanted it."

Initially, nostalgia inhibited him from making the house his own. "For three years, I didn't move a lamp or change a bulb," he says. Lately, however, he's begun to tinker. Streisand hasn't offered any decorating tips, though Brolin notes that she's "very into her home like I am." She visited once, right after he moved in. "It was falling apart," says Brolin. "She said I should sell it." Instead, he tidied things up, bleached the sun-charred decks, and began combing antique stores for Tiffany lamps and Latin-influenced, carved-wood furniture. Outside, he plans to build a dock over the catfish pond. "When I was growing up, if you slipped walking in, you'd get three fish bones in your foot. It'll be easier for the kids to swim."

But what the one-time pasta chef really wants to master is nonchalant hosting, a la the Europeans. "They have their table outside and take their time," says Brolin, whose specialty is zabaglione. "That's what I want to create." He should have no problem, says Mary Steenburgen, who appeared with the younger Brolin in the recent TV version of Picnic. "Josh has a real sense of beauty." she says, "and he's very nurturing." He's also resolute. While filming Hollow Man, he decided to learn how to play guitar. "He borrowed mine when he could hardly play," says Kevin Bacon. "By the end of the shoot, he played well. If he has an interest, Josh does it." Adds Zerbe: "he's focused, which is why he's good on a Harley and at poetry."

That focus has been trained on girlfriend Driver since the duo's first date (they watched a sunset from his red Dodge Ram pickup). With Brolin's blessing, she has draped antique quilts over worn chairs in the living room, and photos beaming her smile pop up all over the house. And those children's drawings on the fridge? "Those are Minnie's," Brolin says, laughing. Each cartoon has a caption: "Carmine has hysterics when Esmeralda has a tantrum," "Carmine and Esmeralda fight over the remote," and so on. Explains Brolin, "I'm Carmine, the curmudgeon. She's Esmeralda, the beautiful, dancing, Spanish-looking chick who's with the guy with the serious emotional hump on his back." He comes upon "Esmeralda watches Carmine sleep" and grins: "That's nice."

Brolin and Driver seem to have doodled their way into a complementary relationship. "I'm more cynical, she lightens me up," he says. "I can't imagine being with anybody else." He's mum on marriage but admits he's gaga. "Absolutely. One hundred percent." It helps that Driver is smitten with the kids, who spend weekends at the ranch and weekdays with their mom, Alice Adair, an ex-actress with whom Brolin parted in 1995. The London-bred Driver "loves being up here," Brolin says, though the ways of the wild can throw her. When Brolin recently ordered his dog to get rid of a squirrel ("They ruin my property"), Driver turned ashen. "Man, tears -- just wahhh," he says with a wince. "she'd never seen anything so violent ... but that's country life."

These days the former punk rocker with a daredevil streak -- Brolin won the Toyota/Pro Celebrity car race this year (as did his dad in 1978) and he used to skydive -- is sticking to the ground. "Now I think, 'What if the chute doesn't open?' " His current notion of adventure includes checking out the Animal Planet channel with his kids. "This is the first time we've had TV in six years," says Brolin. "We're urbanizing!" He also kicks back by watching Spencer Tracy flicks or spinning Pavarotti on the Wurlitzer jukebox. Or, he'll mend a fence or hit a cattle auction  ("Sometimes I'll take home some 30 cows to graze.") Lest anyone confuse him with a character on The big Valley, Brolin does have a slick of slicker in his. When he's down in L.A. for work "I'll go to a museum or to the Mint for jazz," he says. "I need to be in the city sometimes."

But while the dusty-shoed cosmopolitan dreams of someday living in the south of France or in Greece, it's his homestead that inspires. In the stillness, "my imagination can kind of fly," says Brolin, as he takes in the view from his bedroom window, from the wildflowers to the oat fields to the ducks flying above it all. In winter, those hills are Irish green. Fog rolls in from the ocean and hangs like a blanket." A heavy, happy sigh. I wouldn't want to be anywhere else."

[aion-rsa]

Once Upon a Time in America Is a Movie That Can Never Be Too Long

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Sergio Leone’s Once Upon a Time in America is as epic as The Godfather, gorier than Goodfellas, and as streetwise as Mean Streets. It tells a full history, from childhood to old age, street hustles to political suicides, community toilets to opium dens. The version which is right now available on Netflix has been amazingly restored by Italy’s Bologna Cinematheque L’Immagine Ritrovata lab. I don’t think I have ever seen the film so clear, and it is a perennial to me, as is The Godfather.

It’s true, even the most devoted gangster fan and cinephile doesn’t watch Once Upon a Time in America as often as The Godfather, and it’s got Robert De Niro at his most gangta. For one thing, Leone’s film has never been as accessible. It is not shown regularly on any kind of broadcast channel, and even the film’s own producers thought it was too long for people to sit through. Pop culture history makes it sound like Once Upon a Time in America had a short version that ran 10 hours and a long version that ran a week.

How Long is Too Long for Once Upon a Time in America?

The truth is, Leone did have up to 10 hours of finished cinematic material, which he cut down to six hours. He wanted to put it out in two parts, much like the initial saga of The Godfather was extended into a sequel. Leone’s original vision for the film was two 180-minute motion pictures which would be shown on consecutive days. After the initial run, he planned to edit the two parts down for a general release which would run as one four-hour and 29-minute film.

Film distributors convinced Leone to release a “Director’s Cut” feature at a running time of 3 hours and 49-minutes, with no intermission, which was the version shown at the 1984 Cannes Film Festival (Martin Scorsese led the push to restore the original version, which was shown at Cannes in 2012, though it’s still missing 18 minutes). This version caught on in Europe. But American audiences saw an even more butchered cut in 1984. The U.S. financial backers, The Ladd Company, founded by actor Alan Ladd’s son, cut 90 minutes from the already-edited film, bringing it to two hours and 19 minutes. But they also restructured the film, cutting the flashbacks-within-flashbacks to present the story chronologically.

This most affects the opening, which is an extended action sequence told with the expressionism of a silent film and the nihilism of post-war Italian neorealism. It is a bit of a jumble coming out of an opium dream. Noodles is on the run, behind in the game, and stoned out of mind. The flashbacks create a cognitive dissonance, and the audience experiences the freefall in a visceral way. By the time they land, it’s in the beginning of a story, which may all be an opium dream. The longer version did play at art cinemas in the U.S. Having seen both on their initial release, this writer preferred the long version of the crime classic, but will admit, they could have answered a phone in the opening sequence before it rang 30 times.

I’d Watch an 8-Hour “Making of” Documentary on This

The production of the film is worthy of a star-studded documentary itself. Leone devoted most of his adult life to getting it done. He turned down The Godfather to make it. Once Upon a Time in America is the final entry in Leone’s “Once Upon a Time” trilogy. It followed Once Upon a Time in the West (C’era Una Volta Il West) (1968), and Once Upon a Time in the Revolution, which came out in 1971 as Duck, You Sucker!. One of the first America drafts was written by Norman Mailer, the author of the novel The Naked and the Dead, and Marilyn: A Biography, the 1973 Marilyn Monroe biography which first speculated the Hollywood icon had been killed by the FBI and CIA. Leone told American Film magazine the novelist was not “not a writer for movies,” but wasn’t satisfied with a screenplay until the end of 1974.

Leone first became interested in making Once Upon a Time in America while making Once Upon a Time in the West. He came across the book The Hoods, which is described on its cover flap as “a notorious mob boss of the syndicate tells the full inside story of hired killing and crime operations.” Published in August 1952, it was very open about Jewish gangster life during the 1920s and ‘30s. It was written by Hershel “Noodles” Goldberg under the alias Harry Grey.

Goldberg also wrote the 1958 book, Portrait of a Mobster, about Jewish mob legend Arthur “Dutch Schultz” Flegenheimer. He wrote The Hoods while serving time in Sing Sing prison. Leone met with Grey in a New York City bar, according to Christopher Frayling’s 2012 book, Sergio Leone: Something to Do with Death. The author was still in hiding from his former mob associates. The renowned Spaghetti Western director didn’t find a heroic figure like “Paul Muni in Scarface or James Cagney in The Public Enemy,” in the bar. Instead there was a poor man “with a machine gun in his hand and a Borsalino on his head.”

I’d watch a 12-Hour Version of the Original Cast of the Unmade Film

Leone began casting in 1975. When The Hoods begins, the leading characters are teenage criminals. Richard Dreyfuss was first cast as young Noodles. The older version of the character was to be played by James Cagney, who hadn’t made a film since Billy Wilder’s One, Two, Three in 1961. He wouldn’t make another until 1984, the year Leone’s film was finally released, when he appeared in Miloš Forman’s Ragtime. That film also stars Elizabeth McGovern, who plays adult Deborah in Once Upon a Time in America. French actor Gerard Depardieu was cast as young Max, and the part would pass to veteran actor Jean Gabin, an icon of French gangster films.

This is true dream casting. Dreyfuss made his mob movie bones playing Baby Face Nelson in Dillinger (1973) and would go on to become an acting institution. Cagney was an acting legend, who began his career creating young gangster icons. Judging from the outstanding acting performances Leone got from Hollywood Golden Age actors like Henry Fonda, it would have been a masterwork.

Leone brought out unsuspected feats of greatness from veteran actors who had been subject to the rules of mainstream cinema. It would also be wonderful just to watch Cagney and Gabin create onscreen dynamite together. Meanwhile Gabin is probably best known as the lead in Jean Renoir’s 1937 antiwar masterpiece, La Grande Illusion. But that was also the year he played “The Prince of Plunder” in director Julien Duvivier’s Pépé le Moko (1937). That gangster-in-hiding title role established him firmly in French crime cinema, and it should be seen by any fan of Casablanca or Algiers. He also starred in Jacques Becker’s mob film Touchez pas au grisbi (Don’t Touch the Loot) (1954), and plays the capo of the Manalese crime family in director Henri Verneuil’s The Sicilian Clan (1969).

I would gleefully binge 10 hours of Gabin and Cagney rehearsing.

And I Could Watch the Final Cast All Weekend

I’d also binge rehearsals for the cast that ultimately wound up filming Once Upon a Time in America. Robert De Niro, as grown-up David “Noodles” Aaronson, was in his prime. He was already gangster film royalty, having played in The Gang that Couldn’t Shoot Straight (1971), Martin Scorsese’s Mean Streets (1973), and as young Vito Corleone in The Godfather, Part II. His Jake La Motta took a career-killing dive for the mob in Raging Bull (1980). But while De Niro also proved he could play psychopaths like Travis Bickle in Taxi Driver (1976), that part was better filled by his co-star.

Read more

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James Woods, who plays the adult Maximilian “Max” Bercovicz, created one of the most convincing sociopaths of crime cinema in The Onion Field (1979). He also brought one of the sleaziest characters in science fiction to David Cronenberg’s 1983 cult masterpiece, Videodrome. For gangster and crime film fans, De Niro and Woods together are like seeing Cagney work with Edward G. Robinson in Smart Money (1931), Humphrey Bogart in Angels with Dirty Faces (1938) and The Roaring Twenties (1939), or George Raft in Each Dawn I Die (1939).

While Joe Pesci’s crime boss Frankie Monaldi is so authentic in Once Upon a Time in America that it looks like he was picked out of a lineup, Burt Young’s performance as his brother Joe Monaldi is pure cinema verité. He almost makes you want to take a shower. The only relief comes from watching Treat Williams as a union leader who takes a bath.

Tuesday Weld, who plays Carol, is an icon of licentious cinema. She was Stanley Kubrick’s first choice to play the title role in Lolita (1962), and the wildest orgy enthusiast in Looking for Mr. Goodbar (1977). Weld started acting as a teenager in the 1956 jukebox musical Rock! Rock! Rock!, and brought more tension than Steve McQueen and Ann-Margret combined in the 1965 gambling classic, The Cincinnati Kid, which also starred Edward G. Robinson. Quentin Tarantino would probably be proud to recommend Weld’s filmography as a film binge subject.

Once Upon a Time in America also began production in 1980 but was scuttled by an Actor’s Strike. It would have seen Tom Berenger and Paul Newman playing the Noodles characters. For Max, Leone considered Dustin Hoffman, Jon Voight, Harvey Keitel, John Malkovich, and John Belushi. Brooke Shields was set to play young Deborah, which went on to be Jennifer Connelly’s film debut. She would go on to play in Labyrinth (1986) with David Bowie, as well as to an acclaimed career as an adult in movies like Requiem for a Dream (2000) and win an Academy Award for A Beautiful Mind (2001).

What’s in a Bad Reputation?

The Godfather is briskly paced, relatable, and every sequence is perfectly framed. Had Once Upon a Time in America been split into two parts, as the director intended, it may have become just as iconic. Coppola saves the Corleone family backstory for the second film, where it sits comfortably as it mirrors one rise with another.

In today’s environment, where binge-watching is the norm, Once Upon a Time in America should be reevaluated on that basis. People are more accustomed to long-long form entertainment, because they have readily available short-form at their fingertips on apps like TikTok.  Alejandro Jodorowsky wanted to make a 10-hour adaptation of the science fiction novel Dune. He got the same blowback as Leone.

“Myself, I make an enormous project of a film that will not be a normal film, 14, 16, maybe 19 hours,” Jodorowsky told Den of Geek while promoting his film Psychomagic. “Hollywood thought I was crazy. A picture [should be] one hour and half or two hours, no more. But now, with series television, you see eight chapters. The short pictures are dying, it’s not anymore necessary. We need to make a serious chapter, you know? Ten hours.”

Today, Jodorowsky’s Dune would be a Netflix miniseries–or at the very least two films, as enjoyed by director Denis Villeneuve. Once Upon a Time in America is far more watchable than its legend declares, and Leone was a filmmaker who should have been afforded his cut. “He was a real artist of industrial movies,” Jodorowsky told Den of Geek. “You need to be very intelligent to do that, and he did it. The picture, all of his pictures, I love these pictures.”

I have watched The Godfather, The Godfather, Part II, The Godfather, Part III, Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone, the box set collectors’ edition of The Godfather Saga, and still have a recording of the first time the film ran with all the deleted scenes restored. I will watch them all again. But there is room for more than one Gangster Epic. Once Upon a Time in America’s reputation as a sloppy, overlong film is undeserved. It bears repeated viewing.

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[charleskenny]

Some Thoughts on Tom & Jerry: The Movie

A new Tom & Jerry live-action/CGI hybrid movie is on the way, but the duo’s initial outing on the silver screen in a feature makes for amusing viewing after almost 30 years.

Tom & Jerry were, of course, born on the big screen. Appearing in a raft of shorts for Metro-Goldwyn-Meyer (MGM) in the nineteen forties and fifties. That life in shorts was shared with their Hollywood colleagues who similarly didn’t receive their feature debut for many decades after short films had vanished from cinemas. The timing of this film comes a short time after the release of Who Framed Roger Rabbit! and rode a wave of nostalgia for cartoons from the Golden Era.

I remember seeing it in the cinema at the time and thinking it was a pretty good film. Not a favourite, but enjoyable. Watching it almost thirty years later is an altogether different experience. Not only am I older, but animated filmmaking has changed almost beyond recognition. The film now seems like an curious oddity from a different time.

"You talked!"

Tom & Jerry: The Movie (T&J:TM) faces an uphill battle based on the concept alone. Taking characters beloved for their adventures in short films and stretching them to the amount of time that’s expected of a feature is, well, difficult. Roger Rabbit sidestepped the issue through original lead characters and cameos for everyone else. Tom & Jerry wouldn’t be so lucky.

The producers got around this by simply having the characters talk. Now in fairness, they had a lot less dialogue than I remembered and to the producer’s credit, it is a restrained amount all things being considered. Any dialogue however, was going to break a fundamental feature of the original shorts who’s genius was that they dispensed with all dialogue aside from Tom’s occasional yells. So one wonders if that sinks the ship before it’s even left the shipyard and to a certain extent it does.

That being said, it’s necessary to consider everything in context. This film was released in 1992/3 when animated films were stuck in a rut of sorts. Disney’s renaissance was well under way, but the reasons were not yet so obviously unique to that company. Independent animated features instead copied one of the more noticeable traits by going the musical route. T&J:TM exemplifies this. The songs are not ‘out of place’ per se; they’re just another aspect of the film that yanks the characters further away from their origins.

The story is, what I would consider, pedestrian and aiming towards the formulaic. Tom & Jerry, it was clearly felt, could only carry a film by themselves for so long and thus, Robyn enters the scene and provides the necessary problem the characters need to solve. Orphans must have been trendy in the late 80s and early 90s as films such as Aladdin, and All Dogs go to Heaven attest to.

One facet of the plot is the prominent focus on money and the destructive effects that greed can have. Money drives all the antagonists in various ways in contrast to the themes of friendship and loyalty that drives the protagonists. Interestingly, this theme is all the more potent with recent recessions, COVID, and economic pressures faced by many while those at the top gain ever more.

The animation is OK. That’s about all I can say. The crew clearly aimed for the energy of the original shorts and succeeded for the most part. It’s just that overall quality is clearly second tier but on par for most other animated films that weren’t Disney’s.

Both William Hanna and Joe Barbera were alive when this film was released with the former being a creative consultant. To the filmmakers credit, the degree of loyalty to the original shorts while trying something new is admirable. Later results aren’t as good. A new, live-action/CGI hybrid is on the way, but the duo’s initial outing on the silver screen in a feature makes for amusing viewing after almost 30 years. The odd gag is reused outright, but it’s the ethos that carries through and evolved. The film makes good use of incorporating scenes reminiscent of the shorts into the wider story without making them feel like set pieces.

In the end, what brings the film down is that it was released perhaps half a decade too soon. In hindsight, Toy Story was groundbreaking for far more than its CGI. Conceptually it broke the mold for what animated films should be with its writing, humour, and most importantly, its lack of songs. T&J:TM follows the old mold and it shows. Had the film been released in 1997, we would have seen a different film; perhaps in a good way, perhaps in a bad way. Optimistically, I hope it would have been better and benefited from knowing that Disney’s success was down to more unique factors and that Toy Story showed there was a different path to take.

Conclusion

I don’t hate this film. I don’t love it either, but therein lies the quandary. T&J:TM is stuck between a rock and a hard place. It valiantly tries to take characters who’d never been on screen for more than 8 minutes and make them survive for more than 90. It breaks one of the cardinal rules of said characters not out of choice, but out of necessity. It came out too soon to be able to take a risk, but ended up being too generic to stand out.

With the release of a new film that combines live-action with CGI as a way of bypassing the dialogue dilemma, comparing both films will make for good discussion.

Originally published at https://animationanomaly.com/2021/02/16/some-thoughts-on-tom-jerry-the-movie/

[orbemnews]

Twitter Bans MyPillow C.E.O. Mike Lindell: Live Business Updates Here’s what you need to know: Mike Lindell, the chief executive of MyPillow, helped fund a bus tour that promoted Donald T. Trump’s false election claims.Credit…Erin Scott/Reuters Twitter said it had permanently barred Mike Lindell, the chief executive officer of the bedding company MyPillow and a close ally of former President Donald J. Trump, from its service. The move on Monday night followed numerous tweets by Mr. Lindell promoting debunked conspiracy theories about election fraud. Mr. Lindell’s Twitter account, which had nearly 413,000 followers, was permanently suspended “due to repeated violations of our Civic Integrity Policy,” said Lauren Alexander, a Twitter spokeswoman, in an email. Corporate America has moved swiftly to try to turn down the volume on assertions by Mr. Lindell, a major Republican donor and one of the loudest voices perpetuating Mr. Trump’s claims of voter fraud in the Nov. 3 elections. Kohl’s and Bed Bath & Beyond removed MyPillow products from their stores last week. Mr. Lindell also faces legal action over his claims of voting fraud involving Dominion Voting Systems, the company at the center of one of the more outlandish conspiracy theories about voter fraud. His account’s suspension is the latest in a series of high-profile bans by Twitter since the company permanently blocked Mr. Trump from its service over concerns that he would use the platform to incite more violence like the storming of the Capitol this month. After the attack on the Capitol, Twitter said it had updated its rules to more aggressively police false or misleading information about the presidential election. As part of that move, Twitter has moved to suspend the accounts of more than 70,000 people who have promoted content related to QAnon, a fringe pro-Trump group that the F.B.I. has labeled a domestic terrorist threat. Ms. Yellen is the first woman to hold the top job at Treasury in its 232-year history.Credit…Leah Millis/Reuters The Senate confirmed Janet L. Yellen to be Treasury secretary on Monday, putting her at the forefront of navigating the fallout created by the pandemic as she advocates for President Biden’s economic agenda. Ms. Yellen, the former Federal Reserve chair, was confirmed by a vote of 84 to 15 with support from both Republicans and Democrats. She is the first woman to hold the top job at Treasury in its 232-year history. With the confirmation, she will now be thrust into the middle of negotiations over a potential $1.9 trillion economic aid package that is the chief plank of Mr. Biden’s effort to revive the economy. The size of the plan already met with doubts from some Democrats and Republicans. Ms. Yellen has been a clear champion of continued government support for workers and businesses, publicly warning that a lack of aid to state and local governments could slow the recovery, much as it did in the aftermath of the Great Recession. At her confirmation hearing and in written responses to lawmakers, Ms. Yellen echoed Mr. Biden’s view that Congress must “act big” to prevent the economy from faltering and defended using borrowed money to finance another aid package, saying not doing so would leave workers and families worse off. “The relief bill late last year was just a down payment to get us through the next few months,” Ms. Yellen said. “We have a long way to go before our economy fully recovers.” Shoppers wait outside of a GameStop on Black Friday. An online community of traders seem to be fueling a spike in the store’s share price.Credit…Go Nakamura for The New York Times In an epic contest between Wall Street traders who bet against stocks and legions of small-scale investors, the small guys are winning. On Monday, shares of the struggling video game retailer GameStop surged, adding to a recent rally that has lifted the stock by more than 300 percent in January alone and making it a glaring illustration of the growing power of small investors in certain segments of the financial markets. Shares of companies like GameStop are becoming detached from the kinds of factors that traditionally help benchmark a company’s valuation — like growth potential or profits. Analysts expect the company to report a loss from continuing operations of $465 million for 2020, on top of the $795 million it lost in 2019. What seems to be fueling this spike is an online community of traders, who congregate in places like Reddit’s “Wall Street Bets” forum and hype up individual trades. Lately, they’ve made buying short-dated call options on GameStop’s shares — an aggressive bet that the shares will rise — a favorite position. Market analysts and academics say a rush of new money in such short-dated call options can create a sort of feedback loop that drives the underlying share prices higher, as brokerage firms that sell the options have to themselves buy shares to hedge the contracts. In GameStop’s case, these small investors have found themselves going up against a different group of speculators. The company’s struggles have also made it a favorite target for short-sellers — who bet on a stock’s decline by selling shares they don’t actually own. Short sellers profit when a stock has plunged and they can buy those same shares back at a lower price. Of course, with GameStop’s shares surging, those investors are losing a lot of money. And their rush to get out of the trade by buying shares can cause a surge in prices, too, called a short squeeze. On Monday, the small traders on Wall Street Bets and the messaging site Discord were encouraging each other to hold on to their positions as the short-sellers ran for the exits. “Am I too late to get on the GME rocket?,” one commenter on Wall Street Bets wrote shortly after 10 a.m. “No buy the dip,” another responded. On Discord, the message was clear. “GME ONLY UP,” one commenter wrote. Budweiser’s Covid-19 awareness advertisement includes two health workers who were being vaccinated.Credit…Budweiser, via Associated Press Budweiser, the beer giant whose commercials featuring Clydesdale horses, croaking frogs and winsome puppies made it one of the most beloved Super Bowl advertisers, is opting out of the game-time broadcast this year for the first time in 37 years to focus on raising awareness for the Covid-19 vaccine. Budweiser, an Anheuser-Busch company, said Monday that it would donate portions of its advertising budget this year to the Ad Council, a nonprofit marketing group at the helm of a $50 million ad blitz to fight coronavirus vaccine skepticism. Instead of debuting a splashy big-game commercial, as Super Bowl advertisers often do in the weeks leading up to the Feb. 7 match, the beer company released its 90-second online vaccination ad, titled “Bigger Picture.” (Anheuser-Busch will still feature prominently during the game, with ads for several of its other beer brands.) Other Super Bowl stalwarts, including Coca-Cola, Hyundai and Pepsi, will also be missing onscreen. As the pandemic disrupted the sports industry, many companies hesitated to pay CBS roughly $5.5 million for a 30-second slot during a game that some worried could be delayed or even canceled. In the Budweiser Covid-19 vaccination ad, the actress Rashida Jones urges viewers to “turn our strength into hope” while the melody of “Lean on Me” plays as inspirational images from the pandemic are shown. Ms. Jones, who recorded her narration while isolated from other people in a Hollywood facility, said in an interview that “obviously people want to be entertained, they want to watch funny commercials,” but “what’s most important is that we prioritize this next phase.” The Super Bowl advertising season, which usually extends beyond the broadcast into weeks of teasers, celebrity reveals, YouTube debuts and celebratory live events, is more subdued as companies struggle to adopt an appropriate tone after a year full of marketing missteps. “You can’t pretend like everything’s OK,” Ms. Jones said. “People can sense when brands are exploiting a moment.” Source link Orbem News #Bans #Business #CEO #Lindell #Live #Mike #MyPillow #Twitter #Updates

[exitinertianovella]

The True Story of the ‘Free State of Jones’

A new Hollywood movie looks at the tale of the Mississippi farmer who led a revolt against the Confederacy By Richard Grant.

With two rat terriers trotting at his heels, and a long wooden staff in his hand, J.R. Gavin leads me through the woods to one of the old swamp hide-outs. A tall white man with a deep Southern drawl, Gavin has a stern presence, gracious manners and intense brooding eyes. At first I mistook him for a preacher, but he’s a retired electronic engineer who writes self-published novels about the rapture and apocalypse. One of them is titled Sal Batree, after the place he wants to show me.

I’m here in Jones County, Mississippi, to breathe in the historical vapors left by Newton Knight, a poor white farmer who led an extraordinary rebellion during the Civil War. With a company of like-minded white men in southeast Mississippi, he did what many Southerners now regard as unthinkable. He waged guerrilla war against the Confederacy and declared loyalty to the Union.

In the spring of 1864, the Knight Company overthrew the Confederate authorities in Jones County and raised the United States flag over the county courthouse in Ellisville. The county was known as the Free State of Jones, and some say it actually seceded from the Confederacy. This little-known, counterintuitive episode in American history has now been brought to the screen in Free State of Jones, directed by Gary Ross (Seabiscuit, The Hunger Games) and starring a grimy, scruffed-up Matthew McConaughey as Newton Knight.

Knight and his men, says Gavin, hooking away an enormous spider web with his staff and warning me to be careful of snakes, “had a number of different hide-outs. The old folks call this one Sal Batree. Sal was the name of Newt’s shotgun, and originally it was Sal’s Battery, but it got corrupted over the years.”

We reach a small promontory surrounded on three sides by a swampy, beaver-dammed lake, and concealed by 12-foot-high cattails and reeds. “I can’t be certain, but a 90-year-old man named Odell Holyfield told me this was the place,” says Gavin. “He said they had a gate in the reeds that a man on horseback could ride through. He said they had a password, and if you got it wrong, they’d kill you. I don’t know how much of that is true, but one of these days I’ll come here with a metal detector and see what I can find.”

We make our way around the lakeshore, passing beaver-gnawed tree stumps and snaky-looking thickets. Reaching higher ground, Gavin points across the swamp to various local landmarks. Then he plants his staff on the ground and turns to face me directly.

“Now I’m going to say something that might offend you,” he begins, and proceeds to do just that, by referring in racist terms to “Newt’s descendants” in nearby Soso, saying some of them are so light-skinned “you look at them and you just don’t know.”

I stand there writing it down and thinking about William Faulkner, whose novels are strewn with characters who look white but are deemed black by Mississippi’s fanatical obsession with the one-drop rule. And not for the first time in Jones County, where arguments still rage about a man born 179 years ago, I recall Faulkner’s famous axiom about history: “The past is never dead. It’s not even past.”

After the Civil War, Knight took up with his grandfather’s former slave Rachel; they had five children together. Knight also fathered nine children with his white wife, Serena, and the two families lived in different houses on the same 160-acre farm. After he and Serena separated—they never divorced—Newt Knight caused a scandal that still reverberates by entering a common-law marriage with Rachel and proudly claiming their mixed-race children.

The Knight Negroes, as these children were known, were shunned by whites and blacks alike. Unable to find marriage partners in the community, they started marrying their white cousins instead, with Newt’s encouragement. (Newt’s son Mat, for instance, married one of Rachel’s daughters by another man, and Newt’s daughter Molly married one of Rachel’s sons by another man.) An interracial community began to form near the small town of Soso, and continued to marry within itself.

“They keep to themselves over there,” says Gavin, striding back toward his house, where supplies of canned food and muscadine wine are stored up for the onset of Armageddon. “A lot of people find it easier to forgive Newt for fighting Confederates than mixing blood.”

I came to Jones County having read some good books about its history, and knowing very little about its present-day reality. It was reputed to be fiercely racist and conservative, even by Mississippi standards, and it had been a hotbed for the Ku Klux Klan. But Mississippi is nothing if not layered and contradictory, and this small, rural county has also produced some wonderful creative and artistic talents, including Parker Posey, the indie-film queen, the novelist Jonathan Odell, the pop singer and gay astronaut Lance Bass, and Mark Landis, the schizophrenic art forger and prankster, who donated fraudulent masterpieces to major American art museums for nearly 30 years before he was caught.

Driving toward the Jones County line, I passed a sign to Hot Coffee—a town, not a beverage—and drove on through rolling cattle pastures and short, new-growth pine trees. There were isolated farmhouses and prim little country churches, and occasional dilapidated trailers with dismembered automobiles in the front yard. In Newt Knight’s day, all this was a primeval forest of enormous longleaf pines so thick around the base that three or four men could circle their arms around them. This part of Mississippi was dubbed the Piney Woods, known for its poverty and lack of prospects. The big trees were an ordeal to clear, the sandy soil was ill-suited for growing cotton, and the bottomlands were choked with swamps and thickets.

There was some very modest cotton production in the area, and a small slaveholding elite that included Newt Knight’s grandfather, but Jones County had fewer slaves than any other county in Mississippi, only 12 percent of its population. This, more than anything, explains its widespread disloyalty to the Confederacy, but there was also a surly, clannish independent spirit, and in Newt Knight, an extraordinarily steadfast and skillful leader.

On the county line, I was half-expecting a sign reading “Welcome to the Free State of Jones” or “Home of Newton Knight,” but the Confederacy is now revered by some whites in the area, and the chamber of commerce had opted for a less controversial slogan: “Now This Is Living!” Most of Jones County is rural, low- or modest-income; roughly 70 percent of the population is white. I drove past many small chicken farms, a large modern factory making transformers and computers, and innumerable Baptist churches. Laurel, the biggest town, stands apart. Known as the City Beautiful, it was created by Midwestern timber barons who razed the longleaf pine forests and built themselves elegant homes on oak-lined streets and the gorgeous world-class Lauren Rogers Museum of Art.

The old county seat, and ground zero for the Free State of Jones, is Ellisville, now a pleasant, leafy town of 4,500 people. Downtown has some old brick buildings with wrought-iron balconies. The grand old columned courthouse has a Confederate monument next to it, and no mention of the anti-Confederate rebellion that took place here. Modern Ellisville is dominated by the sprawling campus of Jones County Junior College, where a semiretired history professor named Wyatt Moulds was waiting for me in the entrance hall. A direct descendant of Newt Knight’s grandfather, he was heavily involved in researching the film and ensuring its historical accuracy.

A large, friendly, charismatic man with unruly side-parted hair, he was wearing alligator-skin cowboy boots and a fishing shirt. “I’m one of the few liberals you’re going to meet here, but I’m a Piney Woods liberal,” he said. “I voted for Obama, I hunt and I love guns. It’s part of the culture here. Even the liberals carry handguns.”

He described Jones County as the most conservative place in Mississippi, but he noted that race relations were improving and that you could see it clearly in the changing attitudes toward Newt Knight. “It’s generational,” he said. “A lot of older people see Newt as a traitor and a reprobate, and they don’t understand why anyone would want to make a movie about him. If you point out that Newt distributed food to starving people, and was known as the Robin Hood of the Piney Woods, they’ll tell you he married a black, like that trumps everything. And they won’t use the word ‘black.’”

His current crop of students, on the other hand, are “fired up” about Newt and the movie. “Blacks and whites date each other in high school now, and they don’t think it’s a big deal,” said Moulds. “That’s a huge change. Some of the young guys are really identifying with Newt now, as a symbol of Jones County pride. It doesn’t hurt that he was such a badass.”

Knight was 6-foot-4 with black curly hair and a full beard—“big heavyset man, quick as a cat,” as one of his friends described him. He was a nightmarish opponent in a backwoods wrestling match, and one of the great unsung guerrilla fighters in American history. So many men tried so hard to kill him that perhaps his most remarkable achievement was to reach old age.

“He was a Primitive Baptist who didn’t drink, didn’t cuss, doted on children and could reload and fire a double-barreled, muzzle-loading shotgun faster than anyone else around,” said Moulds. “Even as an old man, if someone rubbed him the wrong way, he’d have a knife at their throat in a heartbeat. A lot of people will tell you that Newt was just a renegade, out for himself, but there’s good evidence that he was a man of strong principles who was against secession, against slavery and pro-Union.”

Those views were not unusual in Jones County. Newt’s right-hand man, Jasper Collins, came from a big family of staunch Mississippi Unionists. He later named his son Ulysses Sherman Collins, after his two favorite Yankee generals, Ulysses S. Grant and William T. Sherman. “Down here, that’s like naming your son Adolf Hitler Collins,” said Moulds.

When secession fever swept across the South in 1860, Jones County was largely immune to it. Its secessionist candidate received only 24 votes, while the “cooperationist” candidate, John H. Powell, received 374. When Powell got to the secession convention in Jackson, however, he lost his nerve and voted to secede along with almost everyone else. Powell stayed away from Jones County for a while after that, and he was burned in effigy in Ellisville.

“In the Lost Cause mythology, the South was united, and secession had nothing to do with slavery,” said Moulds. “What happened in Jones County puts the lie to that, so the Lost Causers have to paint Newt as a common outlaw, and above all else, deny all traces of Unionism. With the movie coming out, they’re at it harder than ever.”

Although he was against secession, Knight voluntarily enlisted in the Confederate Army once the war began. We can only speculate about his reasons. He kept no diary and gave only one interview near the end of his life, to a New Orleans journalist named Meigs Frost. Knight said he’d enlisted with a group of local men to avoid being conscripted and then split up into different companies. But the leading scholar of the Knight-led rebellion, Victoria Bynum, author of The Free State of Jones, points out that Knight had enlisted, under no threat of conscription, a few months after the war began, in July 1861. She thinks he relished being a soldier.

In October 1862, after the Confederate defeat at Corinth, Knight and many other Piney Woods men deserted from the Seventh Battalion of Mississippi Infantry. It wasn’t just the starvation rations, arrogant harebrained leadership and appalling carnage. They were disgusted and angry about the recently passed “Twenty Negro Law,” which exempted one white male for every 20 slaves owned on a plantation, from serving in the Confederate Army. Jasper Collins echoed many non-slaveholders across the South when he said, “This law...makes it a rich man’s war and a poor man’s fight.”

Returning home, they found their wives struggling to keep up the farms and feed the children. Even more aggravating, the Confederate authorities had imposed an abusive, corrupt “tax in kind” system, by which they took what they wanted for the war effort— horses, hogs, chickens, corn, meat from the smokehouses, homespun cloth. A Confederate colonel named William N. Brown reported that corrupt tax officials had “done more to demoralize Jones County than the whole Yankee Army.”

In early 1863, Knight was captured for desertion and possibly tortured. Some scholars think he was pressed back into service for the Siege of Vicksburg, but there’s no solid evidence that he was there. After Vicksburg fell, in July 1863, there was a mass exodus of deserters from the Confederate Army, including many from Jones and the surrounding counties. The following month, Confederate Maj. Amos McLemore arrived in Ellisville and began hunting them down with soldiers and hounds. By October, he had captured more than 100 deserters, and exchanged threatening messages with Newt Knight, who was back on his ruined farm on the Jasper County border.

On the night of October 5, Major McLemore was staying at his friend Amos Deason’s mansion in Ellisville, when someone—almost certainly Newt Knight—burst in and shot him to death. Soon afterward, there was a mass meeting of deserters from four Piney Woods counties. They organized themselves into a company called the Jones County Scouts and unanimously elected Knight as their captain. They vowed to resist capture, defy tax collectors, defend each other’s homes and farms, and do what they could to aid the Union.

Neo-Confederate historians have denied the Scouts’ loyalty to the Union up and down, but it was accepted by local Confederates at the time. “They were Union soldiers from principle,” Maj. Joel E. Welborn, their former commanding officer in the Seventh Mississippi, later recalled. “They were making an effort to be mustered into the U.S. Service.” Indeed, several of the Jones County Scouts later succeeded in joining the Union Army in New Orleans.

In March 1864, Lt. Gen. Leonidas Polk informed Jefferson Davis, the president of the Confederacy, that Jones County was in “open rebellion” and that guerrilla fighters were “proclaiming themselves ‘Southern Yankees.’” They had crippled the tax collection system, seized and redistributed Confederate supplies, and killed and driven out Confederate officials and loyalists, not just in Jones County but all over southeast Mississippi. Confederate Capt. Wirt Thompson reported that they were now a thousand strong and flying the U.S. flag over the Jones County courthouse—“they boast of fighting for the Union,” he added.

That spring was the high-water mark of the rebellion against the Rebels. Polk ordered two battle-hardened regiments into southeast Mississippi, under the command of Piney Woods native Col. Robert Lowry. With hanging ropes and packs of vicious, manhunting dogs, they subdued the surrounding counties and then moved into the Free State of Jones. Several of the Knight company were mangled by the dogs, and at least ten were hanged, but Lowry couldn’t catch Knight or the core group. They were deep in the swamps, being supplied with food and information by local sympathizers and slaves, most notably Rachel.

After Lowry left, proclaiming victory, Knight and his men emerged from their hide-outs, and once again, began threatening Confederate officials and agents, burning bridges and destroying railroads to thwart the Rebel Army, and raiding food supplies intended for the troops. They fought their last skirmish at Sal’s Battery, also spelled Sallsbattery, on January 10, 1865, fighting off a combined force of cavalry and infantry. Three months later, the Confederacy fell.

In 2006, the filmmaker Gary Ross was at Universal Studios, discussing possible projects, when a development executive gave him a brief, one-page treatment about Newton Knight and the Free State of Jones. Ross was instantly intrigued, both by the character and the revelation of Unionism in Mississippi, the most deeply Southern state of all.

“It led me on a deep dive to understand more and more about him and the fact that the South wasn’t monolithic during the Civil War,” says Ross, speaking on the phone from New York. “I didn’t realize it was going to be two years of research before I began writing the screenplay.”

The first thing he did was take a canoe trip down the Leaf River, to get a feel for the area. Then he started reading, beginning with the five (now six) books about Newton Knight. That led into broader reading about other pockets of Unionism in the South. Then he started into Reconstruction.

“I’m not a fast reader, nor am I an academic,” he says, “although I guess I’ve become an amateur one.” He apprenticed himself to some of the leading authorities in the field, including Harvard’s John Stauffer and Steven Hahn at the University of Pennsylvania. (At the urging of Ross, Stauffer and co-author Sally Jenkins published their own book on the Jones County rebellion, in 2009.) Ross talks about these scholars in a tone of worship and adulation, as if they’re rock stars or movie stars—and none more so than Eric Foner at Columbia, the dean of Reconstruction experts.

“He is like a god, and I went into his office, and I said, ‘My name’s Gary Ross, I did Seabiscuit.’ I asked him a bunch of questions about Reconstruction, and all he did was give me a reading list. He was giving me no quarter. I’m some Hollywood guy, you know, and he wanted to see if I could do the work.”

Ross worked his way slowly and carefully through the books, and went back with more questions. Foner answered none of them, just gave him another reading list. Ross read those books too, and went back again with burning questions. This time Foner actually looked at him and said, “Not bad. You ought to think about studying this.”

“It was the greatest compliment a person could have given me,” says Ross. “I remember walking out of his office, across the steps of Columbia library, almost buoyant. It was such a heady experience to learn for learning’s sake, for the first time, rather than to generate a screenplay. I’m still reading history books all the time. I tell people this movie is my academic midlife crisis.”

In Hollywood, he says, the executives were extremely supportive of his research, and the script that he finally wrestled out of it, but they balked at financing the film. “This was before Lincoln and 12 Years a Slave, and it was very hard to get this sort of a drama made. So I went and did Hunger Games, but always keeping an eye on this. ”

Matthew McConaughey thought the Free State of Jones script was the most exciting Civil War story he had ever read, and knew immediately that he wanted to play Newt Knight. In Knight’s defiance of both the Confederate Army and the deepest taboos of Southern culture McConaughey sees an uncompromising and deeply moral leader. He was “a man who lived by the Bible and the barrel of a shotgun,” McConaughey says in an email. “If someone—no matter what their color—was being mistreated or being used, if a poor person was being used by someone to get rich, that was a simple wrong that needed to be righted in Newt’s eyes....He did so deliberately, and to the hell with the consequences.” McConaughey sums him up as a “shining light through the middle of this country’s bloodiest fight. I really kind of marveled at him.”

The third act of the film takes place in Mississippi after the Civil War. There was a phase during early Reconstruction when blacks could vote, and black officials were elected for the first time. Then former Confederates violently took back control of the state and implemented a kind of second slavery for African-Americans. Once again disenfranchised, and terrorized by the Klan, they were exploited through sharecropping and legally segregated. “The third act is what makes this story feel so alive,” says McConaughey. “It makes it relevant today. Reconstruction is a verb that’s ongoing.”

Ross thinks Knight’s character and beliefs are most clearly revealed by his actions after the war. He was hired by the Reconstruction government to free black children from white masters who were refusing to emancipate them. “In 1875, he accepts a commission in what was essentially an all-black regiment,” says Ross. “His job was to defend the rights of freed African-Americans in one of Mississippi’s bloodiest elections. His commitment to these issues never waned.” In 1876, Knight deeded 160 acres of land to Rachel, making her one of very few African-American landowners in Mississippi at that time.

Much as Ross wanted to shoot the movie in Jones County, there were irresistible tax incentives to film across the border in Louisiana, and some breathtaking cypress swamps where various cast members were infested with the tiny mites known as chiggers. Nevertheless, Ross and McConaughey spent a lot of time in Jones County, persuading many county residents to appear in the film.

“I love the Leaf River and the whole area,” says Ross. “And I’ve grown to love Mississippi absolutely. It’s a very interesting, real and complicated place.”

On the website of Jones County Rosin Heels, the local chapter of the Sons of the Confederate Veterans, an announcement warned that the film will portray Newt Knight as a civil rights activist and a hero. Then the writer inadvertently slips into the present tense: “He is actually a thief, murderer, adulterer and a deserter.”

Doug Jefcoate was listed as camp commander. I found him listed as a veterinarian in Laurel, and called up, saying I was interested in his opinions on Newt Knight. He sounded slightly impatient, then said, “OK, I’m a history guy and a fourth-generation guy. Come to the animal hospital tomorrow.”

The receptionist led me into a small examining room and closed both its doors. I stood there for a few long minutes, with a shiny steel table and, on the wall, a Bible quotation. Then Jefcoate walked in, a middle-aged man with sandy hair, glasses and a faraway smile. He was carrying two huge, leather-bound volumes of his family genealogy.

He gave me ten minutes on his family tree, and when I interrupted to ask about the Rosin Heels and Newt Knight, he stopped, looked puzzled, and began to chuckle. “You’ve got the wrong Doug Jefcoate,” he said. “I’m not that guy.” (Turns out he is Doug Jefcoat, without the “e.”)

He laughed uproariously, then settled down and gave me his thoughts. “I’m not a racist, OK, but I am a segregationist,” he said. “And ol’ Newt was skinny-dipping in the wrong pool.”

The Rosin Heel commander Doug Jefcoate wasn’t available, so I went instead to the law offices of Carl Ford, a Rosin Heel who had unsuccessfully defended Sam Bowers, the imperial wizard of the White Knights of the Ku Klux Klan, in his 1998 trial for the 1966 murder of civil rights activist Vernon Dahmer. Ford wasn’t there, but he’d arranged for John Cox, a friend, colleague and fellow Rosin Heel, to set me straight about Newt Knight.

Cox, an animated 71-year-old radio and television announcer with a long white beard, welcomed me into a small office crammed with video equipment and Confederate memorabilia. He was working on a film called Free State of Jones: The Republic That Never Was, intended to refute Gary Ross’ film. All he had so far was the credits (Executive Producer Carl Ford) and the introductory banjo music.

“Newt is what we call trailer trash,” he said in a booming baritone drawl. “I wouldn’t have him in my house. And like all poor, white, ignorant trash, he was in it for himself. Some people are far too enamored of the idea that he was Martin Luther King, and these are the same people who believe the War Between the States was about slavery, when nothing could be further from the truth.”

There seemed no point in arguing with him, and it was almost impossible to get a word in, so I sat there scribbling as he launched into a long monologue that defended slavery and the first incarnation of the Klan, burrowed deep into obscure Civil War battle minutiae, denied all charges of racism, and kept circling back to denounce Newt Knight and the simpering fools who tried to project their liberal agendas on him.

“There was no Free State of Jones,” he concluded. “It never existed.”

Joseph Hosey is a Jones County forester and wild mushroom harvester who was hired as an extra for the movie and ended up playing a core member of the Knight Company. Looking at him, there’s no reason to ask why. Scruffy and rail-thin with piercing blue eyes and a full beard, he looks like he subsists on Confederate Army rations and the occasional squirrel.

He wanted to meet me at Jitters Coffeehouse & Bookstore in Laurel, so he could show me an old map on the wall. It depicts Jones County as Davis County, and Ellisville as Leesburg. “After 1865, Jones County was so notorious that the local Confederates were ashamed to be associated with it,” he says. “So they got the county renamed after Jefferson Davis, and Ellisville after Robert E. Lee. A few years later, there was a vote on it, and the names were changed back. Thank God, because that would have sucked.”

Like his grandfather before him, Hosey is a great admirer of Newt Knight. Long before the film, when people asked where he was from, he would say, “The Free State of Jones.” Now he has a dog named Newt, and describes it as a “Union-blue Doberman.”

Being in the film, acting and interacting with Matthew McConaughey, was a profound and moving experience, but not because of the actor’s fame. “It was like Newt himself was standing right there in front of me. It made me really wish my grandfather was still alive, because we were always saying someone should make a movie about Newt.” Hosey and the other actors in the Knight Company bonded closely during the shoot and still refer to themselves as the Knight Company. “We have get-togethers in Jones County, and I imagine we always will,” he says.

I ask him what he admires most about Knight. “When you grow up in the South, you hear all the time about your ‘heritage,’ like it’s the greatest thing there is,” he says. “When I hear that word, I think of grits and sweet tea, but mostly I think about slavery and racism, and it pains me. Newt Knight gives me something in my heritage, as a white Southerner, that I can feel proud about. We didn’t all go along with it.”

After Reconstruction, with the former Confederates back in charge, the Klan after him, and Jim Crow segregation laws being passed, Knight retreated from public life to his homestead on the Jasper County border, which he shared with Rachel until her death in 1889, and continued to share with her children and grandchildren. He lived the self-sufficient life of a yeoman Piney Woods farmer, doted on his swelling ranks of children and grandchildren, and withdrew completely from white society.

He gave that single long interview in 1921, revealing a laconic sense of humor and a strong sense of right and wrong, and he died the following year, in February 1922. He was 84 years old. Joseph Hosey took me to Newt’s granddaughter’s cabin, where some say that he suffered a fatal heart attack while dancing on the porch. Hosey really wanted to take me to Newt Knight’s grave. But the sacred rite of hunting season was underway, and the landowner didn’t want visitors disturbing the deer in the area. So Hosey drove up to the locked gate, and then swiped up the relevant photographs on his phone.

Newt’s grave has an emblem of Sal, his beloved shotgun, and the legend, “He Lived For Others.” He’d given instructions that he should be buried here with Rachel. “It was illegal for blacks and whites to be buried in the same cemetery,” says Hosey. “Newt didn’t give a damn. Even in death, he defied them.”

There were several times in Jones County when my head began to swim.

During my final interview, across a brightly colored plastic table in the McDonald’s in Laurel, there were moments when my brain seized up altogether, and I would sit there stunned, unable to grasp what I was hearing. The two sisters sitting across the table were gently amused. They had seen this many times before. It was, in fact, the normal reaction when they tried to explain their family tree to outsiders.

Dorothy Knight Marsh and Florence Knight Blaylock are the great-granddaughters of Newt and Rachel. After many decades of living in the outside world, they are back in Soso, Mississippi, dealing with prejudice from all directions. The worst of it comes from within their extended family. “We have close relatives who won’t even look at us,” says Blaylock, the older sister, who was often taken for Mexican when she lived in California.

“Or they’ll be nice to us in private, and pretend they don’t know us in public,” added Marsh, who lived in Washington, D.C. for decades. For simplification, she said that there were three basic groups. The White Knights are descended from Newt and Serena, are often pro-Confederate, and proud of their pure white bloodlines. (In 1951, one of them, Ethel Knight, published a vitriolic indictment of Newt as a traitor to the Confederacy.) The Black Knights are descended from Newt’s cousin Dan, who had children with one of his slaves. The White Negroes (a.k.a. the Fair Knights or Knight Negroes) are descended from Newt and Rachel. “They all have separate family reunions,” said Blaylock.

The White Negro line was complicated further by Georgeanne, Rachel’s daughter by another white man. After Rachel died, Newt and Georgeanne had children. “He was a family man all right!” said Marsh. “I guess that’s why he had three of them. And he kept trying to marry out the color, so we would all keep getting lighter-skinned. We have to tell our young people, do not date in the Soso area. But we’re all fine. We don’t have any...problems. All Knights are hardworking and very capable.”

In the film, Marsh and Blaylock appear briefly in a courthouse scene. For the two of them, the Knight family saga has continued into the 20th century and beyond. Their cousin Davis Knight, who looked white and claimed to be white, was tried for the crime of miscegenation in 1948, after marrying a white woman. The trial was a study in Mississippian absurdity, paradox, contradiction and racial obsessiveness. A white man was convicted of being black; the conviction was overturned; he became legally white again.

“We’ve come to terms with who we are,” says Blaylock. “I’m proud to be descended from Newt and Rachel. I have so much respect for both of them.”

“Absolutely,” says Marsh. “And we can’t wait to see this movie.”

[easyfoodnetwork]

Food Is No Longer Your Fallback Job. It Never Should Have Been in the First Place.

Barista | Shutterstock

It’s time we stop considering these jobs as a backup and start providing dignity to all workers

I graduated from college in the spring of 2008. If you’ll recall, that fall wasn’t a great time to enter the job market, and the advice I got from anyone who had an opinion (which was everyone) was to “go wait tables.” It was a catchall phrase for the kind of work that was assumed to be available whenever the chips were down — the guidance given to every high schooler looking for extra money, every college grad who doesn’t have a job lined up, every aspiring actor in LA. And even at that time, when the unemployment rate was somewhere around 10 percent, it was available: I got a job as a hostess and server at a local restaurant, but I also had an offer from Starbucks, and an invitation to return to work at a bakery I’d worked at the previous summer.

Once again, we’re facing a recession, or, according to some experts, a full-on depression. Unemployment websites crashed as millions have applied for benefits in the past weeks, and food banks can’t keep up with demand — one-third of those going to them for food have never needed aid before. The coronavirus pandemic has revealed basically every fault line in our society, from the inadequacy of the social safety net to the incompetence of many of our leaders. And it is now revealing some long-held assumptions about work in the food-service industry. Being a server, a bartender, or a dishwasher, or doing other restaurant work, is often spoken of as a job that is always — and implicitly, only — viable when there are no other options. That if anyone had a real choice, they would choose something else. But because restaurants and bars aren’t hiring, food is no longer the fallback job. It never should have been thought of in that way in the first place.

The restaurant industry has long been the province of outcasts, but over the last two decades, owning a restaurant, becoming a celebrity(ish) chef, and, to a certain extent, being a fancy mixologist have come to be considered actual careers. These are the kinds of jobs that can land you a steady paycheck and the status of “small-business owner,” or even book deals and TV appearances. But when you’re not the owner or the creative force behind the food, food service — from hustling shifts as a server to manning the cash register at McDonald’s — is still generally talked about as a temporary detour, a place to lay low while you get your shit together. In pop culture, it’s an after-school job for teens, even though only about 30 percent of fast-food workers are teenagers. The mainstream image is still a job you leave, not one you keep.

“It’s an industry many fall back on time and time again,” writes Frances Bridges for Forbes. In 2011, Brokelyn told recent college grads that they likely “will consider waiting tables as a fallback to your day-job dreams,” the assumption being that everyone dreams of a day job. In 2016, Forbes called being a host or bartender one of the best jobs to have “while you are figuring out what to do with your life,” as it provides both a steady paycheck and, due to high turnover, restaurants and bars are “almost always hiring.” The assumption by economists and career experts was that no matter what, people need to eat, and they would want to eat out — so restaurant work would always be around.

Now, for the first time, it’s not. Nearly every state has issued orders for restaurants to close dine-in options or severely reduce capacity, forcing restaurants to lay off or furlough workers — or shutter entirely. About 10 million people filed for unemployment in the past few weeks, a number that’s expected to keep rising by the millions. And that number doesn’t account for gig-economy workers — like Instacart couriers or Uber Eats drivers — who, as contractors, wouldn’t qualify for UI. The food-service industry was hit particularly hard. According to the Department of Labor, restaurant and bar jobs accounted for 60 percent of the jobs lost in March. It’s clear that serving food and making drinks is not the revolving door it has been made out to be.

Jennifer Cathey, a former line cook at Glory World Gyro in Tuscaloosa, Alabama, says the restaurant has tried to stay open for takeout and delivery services, but there’s almost no business, and she was often “alone in a kitchen for hours at a time.” After a week, she volunteered to be laid off, as she lives with her mother and doesn’t need the money for rent. “If work was going to be so slow, it didn’t feel right to take any of the meager hours given to employees for any of my other coworkers,” she told Eater.

Cathey, who started working in her mother’s restaurant as a teenager, says she wanted to sacrifice her shifts for her coworkers because the food industry has always felt like home for her. “It is my favorite kind of work, I’ve loved all the places I’ve worked,” she says. Mostly it’s because she gets the immediate gratification of making something for someone else to consume and enjoy. But it’s also because, as a trans woman, the restaurant industry is a place she can rely on to be welcoming. “Especially living here in Alabama, all the people I’ve met through the restaurant and bar industries have been the most accepting of anyone,” she says. “I might not get anyone from my hometown to call me by my name, but the food-service community is tight-knit and open and welcome to all sorts of people... I have that fear that other industries wouldn’t be as welcoming.”

Unfortunately, it is also because food service has been a space for those who don’t fit into other parts of society that it has been considered a job for those who just need a job. Food service doesn’t require a college degree (or even a high school diploma), and it’s traditionally more welcoming to those with criminal backgrounds, to immigrants, to queer people, and to those with little other work experience. In Kitchen Confidential, Anthony Bourdain referred to line cooks as a “dysfunctional, mercenary lot” and “fringe dwellers.” Not the most generous reading, but one that speaks to the reality: that in most people’s opinion, any office job is preferable to a career in the restaurant industry.

Which is not to say it’s not worthy work. If this pandemic has proven anything, it’s how essential those working in the food industry are. Instead, these assumptions come from a cycle of low pay and bad benefits that devalue both the job itself and the people doing it. “It’s set up to be temporary,” says Lauren* (who asked to remain anonymous), who was recently laid off from her bartending job at Dock Street Brewery in Philadelphia. “There are minimal benefits, pay increases, or opportunities for moving up in a company. And then this happens, and it makes it even more apparent how the industry is set up to be temporary, even though the people working in it don’t see it that way.”

A “reasonable” person, says the strawman I’ve invented but also probably plenty of people you’ve actually met, wouldn’t choose to make a career out of a job that relies on tips, that doesn’t provide health insurance, and where one risks such injury. Thus, the people who choose this career must not be “reasonable,” and if that’s true, then why support such unreasonable people? And on and on.

If it were true that food service is only a paycheck for those who are waiting for their “real” career to appear, then presumably no one would care one way or another about the job itself. But multiple people I talked to spoke of the restaurant industry — waiting tables, working the line, making lattes — as their dream job. “I literally emailed Pizzana for two years until they gave me a shot,” says Will Weissman, who was recently laid off from the West Hollywood pizza restaurant. He loved the restaurant’s food from the first time he tasted it, and hoped when they opened a second location, they’d take a chance on him, even though he had no previous experience. “I had always been food obsessed. I know a lot about wine, I’m a good cook, and I just wanted to finally do something in the food industry.”

Samantha Ortiz, a chef at Kingsbridge Social Club in the Bronx, says she was instantly drawn to the hospitality industry when she started work as a barista. “I felt so fulfilled to be able to make something for someone, even if it was as simple as a latte,” she says. Now, her restaurant is closed and her unemployment will run out in 90 days, but she has no plans to switch industries. “I doubt that I would ever look for a job in a different field,” she says. “The kitchen is home.”

When my serving job ended (the restaurant shut down), I was slightly relieved. I was a terrible server, and I knew I had other options. But many of my coworkers expressed deeper laments. They liked the strong arms they got from carrying trays of food, and they enjoyed recommending a dish and hearing their customer loved it. They liked that each night was different and experimenting with making new drinks. Hearing from them, I understood that the restaurant’s closure was a loss.

It’s not quite true that there are no food-service jobs available right now. Instead of the serving jobs that college grads are urged to consider, there’s a new form of food work that’s thriving during this recession: the gig worker. Grocery stores and apps like Instacart are hiring deliverers and baggers by the thousands. It’s mostly temporary work, and puts workers at higher risk for contagion, but it’s there. In a vacuum, there’s a lot to love about a job as a gig-economy deliverer. Setting one’s own schedule, picking up shifts when it’s convenient, providing a necessary service to people who can’t travel or carry their own groceries — that’s a good job. What’s not good is the pay, the exploitation, the hundred ways these corporations leech off their workers and make it impossible to make a living wage. But that doesn’t have to be the case.

We as a society have set these jobs up to be temporary, so when someone wants to make their job permanent, we think it is a failure on their part, rather than a failure on ours. There is no such thing as a “bad” job, only bad conditions. Food-service work doesn’t have to be low paid. It doesn’t have to rely on tips, or come without health care or paid sick leave. In the face of the pandemic, we’re seeing how that is the case, as grocery stores and delivery services are pressured into providing better benefits and pay to these essential workers. But it’s time we stop considering these jobs, any jobs, as backup, and time to start providing dignity to all workers.

“It’s hard seeing people that I really care about, that I work with, be treated as disposable,” says Lauren. “I definitely go back and forth every day being like, ‘Is this even worth it, or am I just pouring all of my energy into continuing to be treated really poorly?’ I don’t know.”

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Barista | Shutterstock

It’s time we stop considering these jobs as a backup and start providing dignity to all workers

I graduated from college in the spring of 2008. If you’ll recall, that fall wasn’t a great time to enter the job market, and the advice I got from anyone who had an opinion (which was everyone) was to “go wait tables.” It was a catchall phrase for the kind of work that was assumed to be available whenever the chips were down — the guidance given to every high schooler looking for extra money, every college grad who doesn’t have a job lined up, every aspiring actor in LA. And even at that time, when the unemployment rate was somewhere around 10 percent, it was available: I got a job as a hostess and server at a local restaurant, but I also had an offer from Starbucks, and an invitation to return to work at a bakery I’d worked at the previous summer.

Once again, we’re facing a recession, or, according to some experts, a full-on depression. Unemployment websites crashed as millions have applied for benefits in the past weeks, and food banks can’t keep up with demand — one-third of those going to them for food have never needed aid before. The coronavirus pandemic has revealed basically every fault line in our society, from the inadequacy of the social safety net to the incompetence of many of our leaders. And it is now revealing some long-held assumptions about work in the food-service industry. Being a server, a bartender, or a dishwasher, or doing other restaurant work, is often spoken of as a job that is always — and implicitly, only — viable when there are no other options. That if anyone had a real choice, they would choose something else. But because restaurants and bars aren’t hiring, food is no longer the fallback job. It never should have been thought of in that way in the first place.

The restaurant industry has long been the province of outcasts, but over the last two decades, owning a restaurant, becoming a celebrity(ish) chef, and, to a certain extent, being a fancy mixologist have come to be considered actual careers. These are the kinds of jobs that can land you a steady paycheck and the status of “small-business owner,” or even book deals and TV appearances. But when you’re not the owner or the creative force behind the food, food service — from hustling shifts as a server to manning the cash register at McDonald’s — is still generally talked about as a temporary detour, a place to lay low while you get your shit together. In pop culture, it’s an after-school job for teens, even though only about 30 percent of fast-food workers are teenagers. The mainstream image is still a job you leave, not one you keep.

“It’s an industry many fall back on time and time again,” writes Frances Bridges for Forbes. In 2011, Brokelyn told recent college grads that they likely “will consider waiting tables as a fallback to your day-job dreams,” the assumption being that everyone dreams of a day job. In 2016, Forbes called being a host or bartender one of the best jobs to have “while you are figuring out what to do with your life,” as it provides both a steady paycheck and, due to high turnover, restaurants and bars are “almost always hiring.” The assumption by economists and career experts was that no matter what, people need to eat, and they would want to eat out — so restaurant work would always be around.

Now, for the first time, it’s not. Nearly every state has issued orders for restaurants to close dine-in options or severely reduce capacity, forcing restaurants to lay off or furlough workers — or shutter entirely. About 10 million people filed for unemployment in the past few weeks, a number that’s expected to keep rising by the millions. And that number doesn’t account for gig-economy workers — like Instacart couriers or Uber Eats drivers — who, as contractors, wouldn’t qualify for UI. The food-service industry was hit particularly hard. According to the Department of Labor, restaurant and bar jobs accounted for 60 percent of the jobs lost in March. It’s clear that serving food and making drinks is not the revolving door it has been made out to be.

Jennifer Cathey, a former line cook at Glory World Gyro in Tuscaloosa, Alabama, says the restaurant has tried to stay open for takeout and delivery services, but there’s almost no business, and she was often “alone in a kitchen for hours at a time.” After a week, she volunteered to be laid off, as she lives with her mother and doesn’t need the money for rent. “If work was going to be so slow, it didn’t feel right to take any of the meager hours given to employees for any of my other coworkers,” she told Eater.

Cathey, who started working in her mother’s restaurant as a teenager, says she wanted to sacrifice her shifts for her coworkers because the food industry has always felt like home for her. “It is my favorite kind of work, I’ve loved all the places I’ve worked,” she says. Mostly it’s because she gets the immediate gratification of making something for someone else to consume and enjoy. But it’s also because, as a trans woman, the restaurant industry is a place she can rely on to be welcoming. “Especially living here in Alabama, all the people I’ve met through the restaurant and bar industries have been the most accepting of anyone,” she says. “I might not get anyone from my hometown to call me by my name, but the food-service community is tight-knit and open and welcome to all sorts of people... I have that fear that other industries wouldn’t be as welcoming.”

Unfortunately, it is also because food service has been a space for those who don’t fit into other parts of society that it has been considered a job for those who just need a job. Food service doesn’t require a college degree (or even a high school diploma), and it’s traditionally more welcoming to those with criminal backgrounds, to immigrants, to queer people, and to those with little other work experience. In Kitchen Confidential, Anthony Bourdain referred to line cooks as a “dysfunctional, mercenary lot” and “fringe dwellers.” Not the most generous reading, but one that speaks to the reality: that in most people’s opinion, any office job is preferable to a career in the restaurant industry.

Which is not to say it’s not worthy work. If this pandemic has proven anything, it’s how essential those working in the food industry are. Instead, these assumptions come from a cycle of low pay and bad benefits that devalue both the job itself and the people doing it. “It’s set up to be temporary,” says Lauren* (who asked to remain anonymous), who was recently laid off from her bartending job at Dock Street Brewery in Philadelphia. “There are minimal benefits, pay increases, or opportunities for moving up in a company. And then this happens, and it makes it even more apparent how the industry is set up to be temporary, even though the people working in it don’t see it that way.”

A “reasonable” person, says the strawman I’ve invented but also probably plenty of people you’ve actually met, wouldn’t choose to make a career out of a job that relies on tips, that doesn’t provide health insurance, and where one risks such injury. Thus, the people who choose this career must not be “reasonable,” and if that’s true, then why support such unreasonable people? And on and on.

If it were true that food service is only a paycheck for those who are waiting for their “real” career to appear, then presumably no one would care one way or another about the job itself. But multiple people I talked to spoke of the restaurant industry — waiting tables, working the line, making lattes — as their dream job. “I literally emailed Pizzana for two years until they gave me a shot,” says Will Weissman, who was recently laid off from the West Hollywood pizza restaurant. He loved the restaurant’s food from the first time he tasted it, and hoped when they opened a second location, they’d take a chance on him, even though he had no previous experience. “I had always been food obsessed. I know a lot about wine, I’m a good cook, and I just wanted to finally do something in the food industry.”

Samantha Ortiz, a chef at Kingsbridge Social Club in the Bronx, says she was instantly drawn to the hospitality industry when she started work as a barista. “I felt so fulfilled to be able to make something for someone, even if it was as simple as a latte,” she says. Now, her restaurant is closed and her unemployment will run out in 90 days, but she has no plans to switch industries. “I doubt that I would ever look for a job in a different field,” she says. “The kitchen is home.”

When my serving job ended (the restaurant shut down), I was slightly relieved. I was a terrible server, and I knew I had other options. But many of my coworkers expressed deeper laments. They liked the strong arms they got from carrying trays of food, and they enjoyed recommending a dish and hearing their customer loved it. They liked that each night was different and experimenting with making new drinks. Hearing from them, I understood that the restaurant’s closure was a loss.

It’s not quite true that there are no food-service jobs available right now. Instead of the serving jobs that college grads are urged to consider, there’s a new form of food work that’s thriving during this recession: the gig worker. Grocery stores and apps like Instacart are hiring deliverers and baggers by the thousands. It’s mostly temporary work, and puts workers at higher risk for contagion, but it’s there. In a vacuum, there’s a lot to love about a job as a gig-economy deliverer. Setting one’s own schedule, picking up shifts when it’s convenient, providing a necessary service to people who can’t travel or carry their own groceries — that’s a good job. What’s not good is the pay, the exploitation, the hundred ways these corporations leech off their workers and make it impossible to make a living wage. But that doesn’t have to be the case.

We as a society have set these jobs up to be temporary, so when someone wants to make their job permanent, we think it is a failure on their part, rather than a failure on ours. There is no such thing as a “bad” job, only bad conditions. Food-service work doesn’t have to be low paid. It doesn’t have to rely on tips, or come without health care or paid sick leave. In the face of the pandemic, we’re seeing how that is the case, as grocery stores and delivery services are pressured into providing better benefits and pay to these essential workers. But it’s time we stop considering these jobs, any jobs, as backup, and time to start providing dignity to all workers.

“It’s hard seeing people that I really care about, that I work with, be treated as disposable,” says Lauren. “I definitely go back and forth every day being like, ‘Is this even worth it, or am I just pouring all of my energy into continuing to be treated really poorly?’ I don’t know.”

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Anastasia Mann: All in the Details

Anastasia Mann has never been one to follow a path laid by others. As a child actress in 71 movies, she was always more interested in helping the director create a great performance than in the actual acting.  At her first job in the hotel industry as a corporate sales director for Hilton, she created an incentive program that rewarded loyal customers with special corporate rates. The program was a first for the industry and is still in effect today.

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Like this story? Subscribe to The Dossier Luxury Travel Advisor’s only newsletter, covering unique destinations and product news for affluent travelers. Delivered every Tuesday & Thursday. When she moved to the Beverly Wilshire Hotel, she was a groundbreaker once again, serving as the first female director of sales and marketing at any major hotel in the country. Leadership was clearly in Mann’s DNA; when she shifted to the travel industry side of the business it was as the U.S. president of a London-based travel management firm. Her hotel and airline friends, however, who knew her independent mindset, kept encouraging her to put out a shingle of her own and she did that by opening Corniche Travel in a key West Hollywood locale on Sunset Boulevard. As for those encouraging buddies? They donned overalls and laid carpeting and painted the walls to help her make it feel more like home.  That was a fortuitous start and in her first four months alone, Mann generated $5 million in revenue. Corniche Travel was on its way and growing at a rapid pace as her former corporate accounts — including Getty Oil, ARCO, MGM and CBS — came on board. Her book of business was also fueled with many, many celebrity clients, entertainers, politicians and writers. Getting the Los Angeles Dodgers’ travel account was a major coup and the first time in history the team used a travel management firm. That was 33 years ago and what is still ever-present is Mann’s uncanny ability to envision what people need from a trip. It’s her innate attention to the details to bring her clients’ visions to life that has been the key to her success. So has the fact that her knowledge of the world is vast; after almost 50 years in the travel industry, Mann has visited 147 countries.

An affair with Africa: So great is Mann’s love for the destination, she launched Anastasia’s Africa, which operates separately from the travel division with its own dedicated team of Africa experts. Here, she is seen at the Great Plains Conservation, Okavango Delta in Botswana, Southern Africa. Today, Corniche Group is a $35 million enterprise comprising three divisions: Corniche Travel (leisure and corporate), Corniche Entertainment (handling meetings, incentives, conferences, and entertainment services for them), and her personal favorite, Anastasia’s Africa. As always, though, Mann’s vision for her business is a bit different from the norm. Her biggest concern these days, she says, is the proliferation of so-called “luxury” brands; her pet peeve is the misuse of the word “bespoke,” a British term traditionally reserved for custom-made suits. Her mantra is that what is luxury for one person is not necessarily luxury for someone else. The value of travel is not about the cost of a trip, she believes, but rather what the experience brings to the customer. “Luxury in Iceland or in Bhutan is going to be very different from luxury in New York or Paris,” she says. At Corniche, Mann’s focus is on detailed crafted itineraries to destinations where the crowds do not follow. She believes clients should visit the iconic sites in the world but is careful to balance those places with visits to less-traveled locales, as well. Last summer, for example, when a friend said she wanted to revisit Venice, Mann advised her to go to Capri instead. Mann believes the biggest threat to a meaningful travel experience is overtourism; she prefers sending clients to remote spots in Spain and Portugal, in shoulder and off-season, wherever possible. And, of course, to Africa. (More on that later.) Corniche is a big player in the luxury travel arena; however, Mann firmly believes she and her team should do whatever is possible to realistically work within a client’s budget so they have the best possible experience. Every client should be given her team’s full attention, no matter the size of his or her budget. Though she has hobnobbed with Cary Grant and enjoyed her first-ever martini with President George H.W. Bush, she feels that no piece of business is unimportant, and every client is worth your time and best effort.  In fact, from the very beginning, Mann built her business by treating all customers equally, be they stars or their assistants seeking to book a weekend in Hawaii. “I never tell someone I’m not going to take their business,” she says. “Everybody deserves a great vacation, and I want to give them the most luxurious experience they can afford. And I know that 25-year-old assistant taking her first trip can one day become my biggest corporate client or plan a three-generation safari worth $100,000.”

Redefining “Travel Agent”

Mann from the very beginning brought a unique and forward-thinking approach to the role of the travel advisor. Thirty years ago, the industry thought of travel “agents” as order-takers who simply delivered whatever the customer asked for. And indeed, she recalls the night at the Beverly Wilshire when a buffet for 1,000 really did run out of shrimp in 20 minutes as the travel agents in attendance wrapped them up in napkins and put them in their pockets to take home.  But even then, she envisioned the kind of travel advisor we see today, knowledgeable and skilled, offering that true special service that comes from listening to what a customer hopes to achieve on their vacation, and offering professional — and honest — advice.  To that end, she has represented travel advisors on commissions and boards in California and around the world. She was a founding member of the California Travel and Tourism Commission and chaired the international board of directors of the Travel & Tourism Research Association. She’s been the president of the California chapter of HSMAI; a founding member of MPI and a PATA board member. She is the founding chairman of the West Hollywood Visitors and Convention Bureau and participated in a Trade Mission to the Soviet Union. She was also named as a representative to the historic White House Conference on Tourism, and, for the past 30 years, has served on the Board of Governors of the International Institute for Peace Through Tourism. 

Mann at the Real Alcázar in Seville. These days, though, Mann leaves much of the advisory board roles to her executives and employees and focuses more on training and mentoring her own advisors and others in the industry. Corniche now has 25 full-time travel advisors and 10 independent contractors. As she hired each one, she emphasized that Corniche is a business, and that their role is to advise and guide and provide great service to their clients. Beginning with that great mix of corporate and leisure business from day one, Mann has always strived to have her corporate clients become leisure clients and vice versa.  “It’s about being able to create experiences that are memorable and life-enhancing, where the client will be in awe,” she says. “You have to talk to people and understand their expectations and guide them into an experience you are confident will make them happy. And you have to be honest; I’ll say, ‘On the budget you have, you really are not ready to go to Africa. You will have to wait.’” Today, Corniche Travel’s business is about 80 percent corporate and 20 percent leisure; the Africa division is about 90 percent leisure. The corporate clients bring volume and an upper echelon of C-level executives who fly first class and stay in luxury properties; these customers frequently book their personal vacations through Corniche, as well.  

Congressman Adam Schiff (above) of California presenting Mann with the District Woman of the Year honor in 2018. Mann advises that while a good business itinerary is built around proximity to the meeting place, a great leisure vacation begins with a great hotel, no matter where in the city it is located. “The hotel is your centerpiece, where you wake up in the morning and go to bed at night; it’s your home away from home,” she says. “If you have to spend 10 minutes extra to get somewhere, that doesn’t matter; it’s the hotel that is critically important to your experience.” Her takeaway? “Be sure to invest in a really fabulous hotel, where you are the center of their attention.” Another key part of the Corniche Group is Corniche Entertainment, which works with corporate event planners and travel companies to provide full planning services. Corniche Entertainment also provides top artists for live performances as well as produces concerts; it even oversees and directs artists’ careers. Its roster of entertainers includes the Latin jazz/R&B bandleader, singer, composer, master percussionist Louie Cruz Beltran; blues artist Betty Bryant; and singer Carol Welsman; as well as the acclaimed comedian Mike Marino.

A Special Love

Mann has been enamored with Africa since her first visit there in 1980, and she speaks of her visits, and of the Anastasia’s Africa division, with real love. She recalls walking down the airline steps onto a dirt taxiway at dawn on that first trip and watching a huge dustball in the distance transform itself into a giraffe as it got nearer and nearer. As the giraffe ran past she stood there agape — and she was smitten. “It was chilling and exciting. I was frozen on the spot and in awe; I was transfixed,” she says. “Apart from my late husband, for whom I had the same reaction, Africa is the love of my life. I’ve tried to talk everybody into going there, and all my advisors into selling it.”  So great is her love for the destination, she launched Anastasia’s Africa, which operates completely separately from the travel division with its own dedicated team of Africa experts who share her passion and knowledge of the destination. The company, which provides highly customized experiences, works with outside travel businesses and pays travel advisors a 15 percent commission. “I truly want every person on this planet to give themselves the gift of seeing Africa for themselves,” she says. Success stems from passion; Anastasia’s Africa sold approximately $12 million worth of trips in 2019.  In addition to leisure trips and larger groups — including one three-generation family that spent $350,000 last year — Anastasia’s Africa organizes corporate trips and events. Several years ago, it ran a corporate safari for 100, using small luxury lodges and negotiating traversing rights throughout the Sabi Sands, a rare opportunity indeed.

The Business of Travel

Moving into 2020, Mann’s focus is on taking care of existing clients to enhance their travel opportunities. New business tends to come through referrals, brought in by those who know Corniche’s strong attention to detail. Customer satisfaction is of paramount importance to Mann. Case in point: A top executive at Corniche, Jonathan Cowley, has the title of “vice president of sales and client services.”  At this point in her career, with so many satisfied clients and many team members who have been with Corniche for almost 40 years, Mann’s priority for 2020 is to take care of what she has.  “I’ve never been motivated by money,” Mann says. “Sure, I’d love a Gulfstream. But that’s really not the way I look at this business. Once you get to a certain place in life, you can be comfortable making enough income to just maintain everything you have.”  With rents and wages on the rise in Los Angeles, and other expenses going up, as well (especially in an agency that pays 100 percent of its employees’ health insurance), she examined each expense line for potential savings. In the end, she also re-evaluated and increased client fees for the first time in years.

Globetrotter: Here seen in Seville, Spain, Mann has a great knowledge about the world, having visited 147 countries. Her marketing efforts last year and into 2020 include a dedicated focus on the Corniche Club, a beautiful color magazine she sends out to 12,000 top clients, and posts online, three times a year. It’s also distributed to about 500 travel advisors at other agencies who have requested it. These advisors, who have heard Mann speak at industry conferences and met her at local events see Mann as a mentor, and that falls right in with her key values. “It’s important that all of us share information and knowledge, so that we all support our industry in an educated manner,” she says. Still, there are many things she hopes to do and see in 2020. She would like to try a Ponant cruise and is looking forward to the new Pendry Hotel scheduled to open on the Sunset Strip in a few months. Looking further down the road, even after 50 years in the business, she really doesn’t have an exit plan. “My business consists of my employees, who are truly my family, and our clients, whom I love. They are my first consideration when I think about the future,” she says. “I know at some point I have to be decisive. I would only hope for a match with a person who shares our ethics and values.” Her tips for other travel advisors? “Travel is a wonderful, but extremely low-margin business. Making a living at it requires a focus on the numbers,” she says. “You can’t just expect to get into the business to travel for free. You have to really know your stuff and be able to connect with partners, to build the relationships that you can carry with you. It takes a service mentality, experience and knowledge, good taste and honesty.” Another key tenet at Corniche? “Equally important, always treat your suppliers with respect.” At her two offices, she mandates that everyone come out when a supplier comes to call. “They are taking time from their own busy days to come by and meet you, and the day will come when you need a favor and that face-to-face relationship pays off,” says Mann. That indeed played into her own experience: There was that day when President Bush called to say he and Barbara wanted to sail for just one leg of a cruise itinerary, not for the entire voyage. Mann knew who to go to to make that happen; she called an old friend who was the head of a cruise line and got the approval for the Bushes to board at one port and get off at the next. To top it all off, she had martinis delivered to their suite in memory of that very first martini he had shared with her in 1974. It’s clear there’s a lot of glamour and history to Mann’s travel career but carrying through to this very day are the core beliefs she’s had since the very beginning. “I was very into the details way back then and I still am today,” she says. “At Corniche we’re still all about taking care of our clients, and I am still all about taking care of my Corniche team.” 

More Glory: Mann has also been honored by ASTA’s prestigious Diamond Award.

Corniche Group

Chairman & CEO: Anastasia Mann Headquarters: West Hollywood, CA Annual Sales Volume: $35 million Divisions: Corniche Travel, Corniche Entertainment, Anastasia’s Africa Number of Advisors: 25 plus 10 ICs Affiliations: Signature Travel Network, ARC, ASTA, SKAL, TTMA, TTRA, CLIA, Four Seasons Preferred Partners, Marriott STARS, Marriott Luminous, Langham Couture, PROST, West Hollywood Chamber of Commerce, Hollywood Chamber of Commerce, NARA, Visit California, Cal Travel, Los Angeles Vendors

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[ts1989fanatic]

How Taylor Swift Inspired A Movie About Battle Rap

Bodied is the new film from Joseph Kahn, a music video director who's become almost as famous for his outspoken Twitter presence as for his work. But there's plenty of thought behind all his online button-pushing.

Last week, Joseph Kahn summoned the wrath of the Beyhive down upon himself — and not just once but repeatedly. For the average person online, drawing the enraged attention of one of the internet's most devoted and formidable fandoms is something to be feared and avoided at all costs. But the 44-year-old Korean-American filmmaker didn't just goad Beyoncé stans into attack with taunts about their inability to do real damage and quips to the press destined to immediately be taken out of context, he greeted the influx of bee emojis and tweeted insults like Lieutenant Dan howling defiance at a hurricane.

Or maybe just like a director with a new movie to promote. "To be honest, I did it on purpose," Kahn admitted over coffee in Toronto, referring to his campaign of strategic hive-poking and the resulting media coverage. And, he pointed out, it worked. "Everyone knows Bodied now. You can make a good film, but if you throw it out into a vacuum, the air does not get in there. The only thing people care about these days is celebrity. My movie has no stars. So all you have to do is know how to rattle the internet cage."

Bodied, which was the opening night pick of the Toronto International Film Festival's beloved Midnight Madness program, is Kahn's first film in six years, one he wrote with battle rapper Alex Larsen, aka Kid Twist. Altogether, Kahn's made three films, including 2004's self-aware Fast and the Furious-but-with-motorcycles riff Torque, and the 2011 teen-comedy-slasher genre mashup Detention, which, like Bodied, he funded himself. But the reason he's so well-acquainted with the world of dedicated pop fandoms is because it's the entity in which he spends most of his time. He's best known as a prominent, prolific, perpetually outspoken music video director who, since launching his career in the early ’90s, has worked with everyone from Muse to Destiny's Child, Britney Spears to Dr. Dre. And, of course, with Taylor Swift.

Since 2015, Swift has been the music artist with whom Kahn's career has been most closely linked. It's a connection boosted, in part, by Kahn's willingness to wade into the online fray in defense of the seemingly eternally embattled pop star (it's in talking about Swift that Kahn is most careful with his words, describing her as an "excellent target"). Kahn has directed five music videos for Swift, including the monster that is "Blank Space" (2.16 billion views and counting) and late August's internet-breaker "Look What You Made Me Do." He was still slugging it out on behalf of the latter, an intensely parsed and much-discussed video in which Swift contends with her past personas, in the days leading up to the Bodied premiere.

Kahn obviously isn't afraid of controversy or a fight. At a time when people working in Hollywood have gotten increasingly cautious about their online presences, he's maintained one of most markedly salty, trolly Twitter feeds of any filmmaker working today. (Illustrative sample: "I just gotta remind everyone that my twitter has only one message. Fuck you.") These facts are even more crystal clear when watching Bodied, which stars former Disney Channel actor Calum Worthy and actual battle rappers like Dumbfoundead and Dizaster, and is a button-pushing comedy that uses the underground hip-hop scene as a way to tackle language wars, cultural appropriation, and freedom of speech.

But if that pitch sounds like the ramp-up to the kind of potential nightmare 4chan apologia you'd want to run away from, screaming, the reality of Bodied is a lot more conflicted, considered, overstuffed with ideas, and yes, sometimes, even sensitive. It’s a film that argues on behalf of the right to say anything while simultaneously emphasizing how much words can wound. "This film has a lot of issues in it, and I'm not dismissing any of them," Kahn said. "In fact, one of the things we're trying to figure out is, in the world of absolute free speech, is there a limit? Is there a consequence to going too far? I wanted to explore the furthest reach of that."

Bodied was produced by Eminem, another artist Kahn's directed videos for, and a man who famously got his start in the freestyle rap battle scene. But while Eight Mile gets name-checked in Bodied, the film primarily owes its existence to a Swift controversy. More specifically, it was born out of the one kicked up by the video Kahn did for "Wildest Dreams," shot in part in the Serengeti and meant to evoke a location shoot for an old Hollywood production à la The African Queen, with Swift and Scott Eastwood playing actors whose onscreen romance bleeds into real life.

Kahn was aware there were, to use his word, "complexities" to this concept from the start — plenty of shit in which to step. These included concerns as to whether the video would accidentally make it look like Swift was out to shoot lions instead of a film, and whether she'd be accused of "whitewashing history and ignoring segregation" if Kahn cast a black actor to play the director of the fictional feature, as was his original impulse. These considerations failed to dampen the firestorm of arguments the video set off about whether Swift was romanticizing colonization and erasing Africans from the African setting. Kahn wasn't having it.

"I started making jokes about it. I had one joke where I said, 'Asians can't be racists. Black or white, all dogs taste the same to us.' Paper magazine wrote an entire hit piece on me talking about how I don't do videos for minorities, which is absurd, because I've done 30 years of music videos and half of them are hip-hop." Eventually, he said, the furor became an inspiration. "I thought, this is insane — no matter what I write or what I say, they just want to be social media bullies. And the nature of even talking about race is so constricted behind the accusation, and not over the analysis, and I thought, Wow, there's a movie."

Which is where battle rap came in. "There's an anger in me, and it only seemed to be expressed by a world where a white guy and a black guy could make completely racist jokes against each other, worse than anything I've ever written, and then they go get a beer together," Kahn explained. But in addition to its particular hip-hop scene, Bodied also keeps one foot on campus, where woker-than-thou characters are shown trying to one-up each other in circular conversations about race, gender, class, and privilege. One of the most provocative ideas the film floats is that the vocabulary of social justice has been co-opted for verbal one-upmanship just as competitive as battle rap.

"I feel sometimes like when people who can't outsmart me online, they'll just go back to my old tweets and say, 'Look, he's racist, don't listen to him.' It's dirty play," Kahn says. "They don't know me. They're just taking jokes, and saying that all stereotyped jokes are racist, which I genuinely do not believe. A joke is a contradiction you agree with. Just because the contradiction is dangerous doesn't mean you don't agree with it." Kahn sees Bodied as embracing that sense of danger, while acknowledging that the intersection he's been occupying between an incendiary indie movie and young music fandom can be "messy and ugly."

But also, maybe, advantageous? Bodied, which was well-received at TIFF, has yet to cement a distributor, but Kahn's been tweeting about getting multiple offers. And certainly, for Kahn, all the attention didn't hurt in getting to this place, even if so much of it was angry. "I don't think it really means much," he said of the online uproar. "I think, on one level, it's just blowing up the pop stan world," which then becomes a conduit to draw more promotion of his film work, especially when it comes to his already infamous LA Times interview in which he joked, "Beyoncé copied 'Bad Blood.'" "How many indie films get linked hundreds of times in an interview with a filmmaker talking about race?" he pointed out. Then, not one to resist, he added, "Thank you, Beyhive."

ts1989fanatic love this description of Joseph Kahn’s Twitter Feed:

Kahn obviously isn't afraid of controversy or a fight. At a time when people working in Hollywood have gotten increasingly cautious about their online presences, he's maintained one of most markedly salty, trolly Twitter feeds of any filmmaker working today. (Illustrative sample: "I just gotta remind everyone that my twitter has only one message. Fuck you.")