#by more popular kids and the writers and director saw the energy that the actors brought to the characters and were like 'oh no way'

[brittlebutch]

bill and ted and their efforts in education is something thats So Important to me - they really do want to learn and find new things soo interesting, its just that traditional teaching methods fail them. even stuff they love (music) took them so long to learn !!!! which is something i feel like ppl miss a lot. choosing to learn smthn that is difficult and has a steep learning curve is actually So Hard and frustrating and bill and ted actually put in so much effort to learn!! and ofc it works out (they win battle of the bands, become famous, save the world etc) but i feel like they wouldve worked at it even if they never met rufus and all that bc they approach life with such genuine earnestness. which is a trait i admire so much and they make me so happy :)

yes dude you absolutely hit the nail on the head!!! i love love love that Bill and Ted don't make it through any of the movies thanks to any kind of special skill or innate talent, they manage to make it through just because they're so affable and enthusiastic that people around them (even some who would have reason to actually dislike them) just can't seem to help but be taken with them and decide to help them out - no perpetuating the myth of independence anywhere!!

and you're so right about the time travel probably not being strictly Necessary in their development like, their audition at the beginning of Bogus Journey isn't very good but it's still technically way more musical than their garage jam sessions were in Excellent Adventure! (You could argue that's just the Princesses carrying the sound, which is probably true to an extent, BUT I don't think that's it entirely bc there's not any discordant distortion-noise like there was in EA and parts of the melody do seem to cut out when Bill and Ted pause playing to speak) So they were learning and improving between movies, it's just that they're naturally kind of slow at it AND they've also probably not been able to focus on learning all that well bc they're working full time and struggling financially - once they take like a year and a half outside of time to practice nothing but guitar they're able to show off some serious musical acumen, and THEN i love how Face the Music shows how even though they've both gotten pretty Technically skilled at a huge variety of instruments, they're still 'bad at it' bc they struggle to write music that other people enjoy/understand and they still aren't overly bothered by that at all!

Also love that the same applies to Billie and Thea - they seem to have a much easier time of things than their dads do wrt learning/innate skills BUT they're still 24 and haven't moved out or gone to college or gotten jobs or anything and no one (other than Chief Logan ofc) puts them down or admonishes them for this! They're both loved and supported wholeheartedly by their parents (who OFC understand it all completely) and they make it through the movie the same exact way Bill and Ted did! Even though Billie and Thea do rely on a more-than-solid grasp of musical history to navigate the circuits of time, their ability to sway the historical figures to their cause largely thanks to their enthusiasm for the topic and general affability and i love how that's always upheld by the movies as a Valued Trait i love it SO much

[rapeculturerealities]

“BUTCH” HAS LONG been the name we’ve given a certain kind — that kind — of lesbian. The old adage applies: You know her when you see her. She wears men’s clothing, short hair, no makeup. Butch is an aesthetic, but it also conveys an attitude and energy. Both a gender and a sexuality, butchness is about the body but also transcends it: “We exist in this realm of masculinity that has nothing to do with cis men — that’s the part only we [butches] know how to talk about,” says the 42-year-old writer, former Olympic swimmer and men’s wear model Casey Legler. “Many people don’t even know how to ask questions about who we are, or about what it means to be us.”

Many of us wear the butch label with a certain self-consciousness, fearing the term doesn’t quite fit — like a new pair of jeans, it’s either too loose or too tight. The graphic novelist Alison Bechdel, 59, doesn’t refer to herself as butch but understands why others do. “It’s a lovely word, ‘butch’: I’ll take it, if you give it to me,” she says. “But I’m afraid I’m not butch enough to really claim it. Because part of being butch is owning it, the whole aura around it.”

What does owning it look like? Decades before genderless fashion became its own style, butches were wearing denim and white tees, leather jackets and work boots, wallet chains and gold necklaces. It isn’t just about what you’re wearing, though, but how: Butchness embodies a certain swagger, a 1950s-inspired “Rebel Without a Cause” confidence. In doing so, these women — and butches who don’t identify as women — created something new and distinct, an identity you could recognize even if you didn’t know what to call it.

By refuting conventionally gendered aesthetics, butchness expands the possibilities for women of all sizes, races, ethnicities and abilities. “I always think of the first butch lesbian I ever saw,” says the 33-year-old actor Roberta Colindrez. “This beautiful butch came into the grocery store and she was built like a brick house. Short hair, polo shirt, cargo pants and that ring of keys … It was the first time I saw the possibility of who I was.” And yet, to many people, “butch style” remains an oxymoron: There’s a prevalent assumption that we’re all fat, frumpy fashion disasters — our baseball caps and baggy pants suggest to others that we don’t care about self-presentation. But it’s not that we’re careless; it’s that unlike, say, the gay white men who have been given all too much credit for influencing contemporary visual culture, we’re simply not out to appease the male gaze. We disregard and reject the confines of a sexualized and commodified femininity.

ETYMOLOGICALLY, “butch” is believed to be an abbreviation of “butcher,” American slang for “tough kid” in the early 20th century and likely inspired by the outlaw Butch Cassidy. By the early 1940s, the word was used as a pejorative to describe “aggressive” or “macho” women, but lesbians reclaimed it almost immediately, using it with pride at 1950s-era bars such as Manhattan’s Pony Stable Inn and Peg’s Place in San Francisco. At these spots, where cocktails cost 10 cents and police raids were a regular occurrence, identifying yourself as either butch or femme was a prerequisite for participating in the scene.

These butches were, in part, inspired by 19th-century cross-dressers — then called male impersonators or transvestites — who presented and lived fully as men in an era when passing was a crucial survival tactic. We can also trace butchness back to the androgynous female artists of early 20th-century Paris, including the writer Gertrude Stein and the painter Romaine Brooks. But it wasn’t until the 1960s and early 1970s that butches, themselves at the intersection of the burgeoning civil, gay and women’s rights movements, became a more visible and viable community.

From their earliest incarnations, butches faced brutal discrimination and oppression, not only from outside their community but also from within. A certain brand of (mostly white) lesbian feminism dominant in the late ’70s and early ’80s marginalized certain sorts of “otherness” — working-class lesbians, lesbians of color and masculine-of-center women. They pilloried butchness as inextricably misogynist and butch-femme relationships as dangerous replications of heteronormative roles. (Such rhetoric has resurfaced, as trans men are regularly accused of being anti-feminist in their desire to become the so-called enemy.) Challenged yet again to defend their existence and further define themselves, butches emerged from this debate emboldened, thriving in the late ’80s and early ’90s as women’s studies programs — and, later, gender and queer studies departments — gained traction on North American and European college campuses.

The ’90s were in fact a transformative decade for the butch community. In 1990, the American philosopher Judith Butler published her groundbreaking “Gender Trouble: Feminism and the Subversion of Identity,” and her theories about gender were soon translated and popularized for the masses. In her academic work, Butler argues that gender and sexuality are both constructed and performative; butch identity, as female masculinity, subverts the notion that masculinity is the natural and exclusive purview of the male body. Soon after, butch imagery infiltrated the culture at large. The August 1993 issue of Vanity Fair featured the straight supermodel Cindy Crawford, in a black maillot, straddling and shaving the butch icon K.D. Lang. That same year, the writer Leslie Feinberg published “Stone Butch Blues,” a now classic novel about butch life in 1970s-era New York. In Manhattan, comedians such as Lea DeLaria and drag kings such as Murray Hill took to the stage; it was also the heyday of Bechdel’s “Dykes to Watch Out For,” the serialized comic strip she started in 1983. In 1997, Ellen DeGeneres, still the most famous of butches, came out. Two years later, Judith “Jack” Halberstam and Del LaGrace Volcano published “The Drag King Book” and the director Kimberly Peirce released her breakthrough film, “Boys Don’t Cry”; its straight cisgender star, Hilary Swank, went on to win an Oscar for her portrayal of Brandon Teena, a role that still incites contentious debates about the nebulous boundaries between butch and trans identity. These artists and their legacies are the cornerstones of our community. As Legler says, “This is where we’ve come from, and the folks we look back to. If you identify with that lineage, then we’d love to have you.”

LIKE ANY QUEER subculture, butchness is vastly different now than it was three decades ago — though the codes have been tweaked and refined over the years, younger butches continue to take them in new and varied directions: They may experiment with their personas from day to day, switching fluidly between masculine and feminine presentation. There are “stone butches,” a label that doesn’t refer to coldness, as is often assumed, but to a desire to touch rather than to be touched — to give rather than receive — and is considered slightly more masculine than “soft butch” on the Futch Scale, a meme born in 2018 that attempted to parse the gradations from “high femme” to “stone butch.” (“Futch,” for “femme/butch,” is square in the middle.) And while there remains some truth to butch stereotypes — give us a plaid flannel shirt any day of the week — that once-static portrait falls apart under scrutiny and reflection. Not every butch has short hair, can change a tire, desires a femme. Some butches are bottoms. Some butches are bi. Some butches are boys.

Different bodies own their butchness differently, but even a singular body might do or be butch differently over time. We move between poles as our feelings about — and language for — ourselves change. “In my early 20s, I identified as a stone butch,” says the 45-year-old writer Roxane Gay. “In adulthood, I’ve come back to butch in terms of how I see myself in the world and in my relationship, so I think of myself as soft butch now.” Peirce, 52, adds that this continuum is as much an internal as an external sliding scale: “I’ve never aspired to a binary,” she says. “From day one, the idea of being a boy or a girl never made sense. The ever-shifting signifiers of neither or both are what create meaning and complexity.”

Indeed, butch fluidity is especially resonant in our era of widespread transphobia. Legler, who uses they/them pronouns, is a “trans-butch identified person — no surgery, no hormones.” Today, the interconnected spectrums of gender and queerness are as vibrant and diverse in language as they are in expression — genderqueer, transmasc, nonbinary, gender-nonconforming. Yet butches have always called themselves and been called by many names: bull dyke, diesel dyke, bulldagger, boi, daddy and so on. Language evolves, “flowing in time and changing constantly as new generations come along and social structures shift,” Bechdel says.

If it’s necessary to think historically, it’s also imperative to think contextually. Compounding the usual homophobia and misogyny, black and brown butches must contend with racist assumptions: “Black women often get read as butch whether they are butch or not,” Gay says. “Black women in general are not seen, so black butchness tends to be doubly invisible. Except for studs: They’re very visible,” she adds, referring to a separate but related term used predominantly by black or Latinx butches (though, unsurprisingly, white butches have appropriated it) who are seen as “harder” in their heightened masculinity and attitude. Gay notes that “people tend to assume if you’re a black butch, you’re a stud and that’s it,” which is ultimately untrue. Still, butch legibility remains a paradox: As the most identifiable of lesbians — femmes often “pass” as straight, whether they want to or not — we are nonetheless maligned and erased for our failure of femininity, our refusal to be the right kind of woman.

ANOTHER LINGERING stereotype, one born from “Stone Butch Blues” and its more coded literary forebears, particularly Radclyffe Hall’s “The Well of Loneliness” (1928), is the butch as a tragic and isolated figure. She is either cast out by a dominant society that does not — will not — ever see her or accept her, or she self-isolates as a protective response to a world that continually and unrelentingly disparages her.

When a butch woman does appear in mainstream culture, it’s usually alongside her other: the femme lesbian. Without the femme and the contrast she underscores, the butch is “inherently uncommodifiable,” Bechdel says, since two butches together is just a step “too queer.” We rarely see butches depicted in or as community, an especially sobering observation given the closure of so many lesbian bars over the past two decades. But when you talk to butches, a more nuanced story emerges, one of deep and abiding camaraderie and connection. Despite the dearth of representation, butch love thrives — in the anonymous, knowing glances across the subway platform when we recognize someone like us, and in the bedroom, too. “Many of my longest friendships are with people who register somewhere on the butch scale,” Peirce says. “We’re like married couples who fell in love with each other as friends.”

Legler, for their part, recognizes a “lone wolf” effect, one in which some young queers initially love “being the only butch in the room.” In organizing the group portrait that accompanies this essay over the past months, Legler was curious “what it would be like for butches to just show up together and to be able to display all of their power, all of their sexiness, all of their charisma, without having it be mitigated in some way.” And not only for butches of an older generation, but for those still figuring things out, transforming the scene in ways that both defy and inspire their elders. “It’s been centuries in the making, the fact that we are all O.K.,” Legler adds. “That our bodies get to exist: We have to celebrate that. You can do more than just survive. You can contribute.”

[thedeaditeslayer]

Q&A with Bruce Campbell: He’ll host his ‘Last Fan Standing’ at ECON on Saturday.

Here’s an interview from last week that we here at TDS recommend to Bruce Campbell and Evil Dead fans.

The fourth-ever EUCON: Eugene Comic Con is just around the corner, and this year it’s going to be bigger than ever, full of fresh programming and infused with new direction and energy, says artistic director Zachary Davis.

The pop-culture convention is under new management from Davis and his team at Imagination International, Inc., and they’ve wrangled a host of local, indie and big-name artists and celebrities, including actor, writer and director Bruce Campbell and his traveling game show, “Last Fan Standing.” Campbell is best known for his character Ash Williams in Sam Raimi’s “The Evil Dead” movie series, which thrust him onto the Hollywood scene in 1981.

“I want to see what Eugene’s all about as far as comic cons go. It’ll be a whole new experience,” Campbell told The Register-Guard. “I’ve only done Portland. Comic cons are the new rage now.”

Ash and “The Evil Dead” have garnered a cult following, and Campbell’s lengthy career has taken him from B-horror movies and Syfy channel movies, to recurring roles in popular ’90s TV series such as “Hercules: The Legendary Journey” and “Xena: Warrior Princess,” to roles in all three of Raimi’s blockbuster “Spiderman” movies, and a co-starring role in USA’s seven-season TV show, “Burn Notice.” He’s authored three books and is now hosting a pop-culture trivia game show, which will be played on Saturday at EUCON.

The Register-Guard interviewed Campbell by phone Tuesday from his home in Jacksonville about life in the Oregon countryside, finally laying to rest his Ash character with the cancellation of TV series “Ash v. Evil Dead,” and his pursuits as a writer, a game show host and actor. The interview has been edited for clarity and length.

Register-Guard: Can you tell me about your connection to Oregon? You’ve lived here for quite some time.

Bruce Campbell: Twenty years this year. My primary residence has been Oregon for 20 years — not that I was here that much, but when I’m home this is it.

RG: Why did you choose Oregon?

B.C.: A lot of reasons. My mother dabbled in real estate in this area — she sort of retired with her husband in this area, and so I came up to visit and she faxed me some places to look around — back in the day of faxes — and this is about the third, fourth place we saw out in the country, and just the hair on the back of my neck stood on end.

It’s mountain scenery and isolation and quiet. You don’t get that when you live in Los Angeles, you know. You go to work, everything’s crazy and noisy, and then you come back to L.A. everything’s crazy and noisy — there was no break. When I look out my window here, there’s nothing. There’s no lights on the mountain. There’s no noise, there’s no traffic.

We’ve been invaded by the pot growers now. We’ve gone from beer and meth as the local standbys, to weed and wine. So we’re stepping up. People with weed and wine have cash, and they tend to stimulate the local economy more than people who drink beer and do meth, with all due respect to our meth heads. Stoners don’t tend to go out and beat people up.

RG: Do you have any weird or strange stories to share about living in the country?

BC: Of course. The best reference I can tell you is my third book, “Hail to the Chin, the Further Confessions.” There’s chapters all about moving from L.A. to here — there’s all kinds of car crashes and drama and serving on jury duty. It’s a lot of simple pleasures.

’Cause my daughter is a California kid — born in Michigan, but raised in California — she came up here to visit. We did some errands, and we park at the bank, right in the lot. Go inside, there’s two guys in line — hey Joe, hey Ken — saying hi to the tellers, no ghetto glass — go outside, you gotta go to ... a place that’s usually busy, park right out front, go in, get our stuff and leave. She’s like, “So is that how it works in this town — you just sort of do stuff, and it happens?” It’s like “Yeah,” because when you’re not completely and utterly overcrowded, this is what life can be like. It’s kinda nice.

So I’ll actually never go back to civilization. Because my idea of civilization is the 24-hour available little toilets in my little town of Jacksonville. That’s how you know your town is livable. When they trust their citizens enough to have (those public bathrooms). Jacksonville is my last stop before I head out into the country, and sometimes those bathrooms are really handy. You know, lousy weather and strange times of night, you stop in there, heated, that tells me that the town trusts me enough to not totally destroy it every time I use.

But now Portland, I don’t think they have those.

RG: Now that “Ash v. Evil Dead” is officially cancelled, how do you feel about finally letting Ash go?

BC: Good. I’ve retired him. I’ve officially retired from playing that role — never done that with a character before. It feels great because it’s time to move on. I physically kind of got to the point where I can’t do that guy anymore. Hamstrings tear and they stretch, your eyes go your hearing goes, everything goes eventually. So I think it’s time to do game shows, you know? Time to put the chainsaw down — I’m a 60 year old man.

RG: Can you tell me a little bit about your game show?

BC: It is “Last Fan Standing” It is a game show for geeks. We’re going to ask how much does Thor’s hammer weigh? It’s not about history or geography, you don’t have to add a “what is” to the beginning of your answer. You just answer. And everybody plays. Everybody who walks in that door can take it on because they’re each given a voting device. (There’s) about 15 early questions ... and they vote. At the end we tally who’s got the best scores, we pick that clicker number and they’re up and running. We do two rounds of that, cook it down to two winners of each round, and then we do a seven question sort of battle to the death and somebody walks out of there with an amazing gift, which I can’t reveal. It’s too amazing.

RG: Why do you like being the host? Is it fun for you? Is it work? Is it both?

BC: No, I like tormenting people! You find out where they’re from, what these people do. We’ve had school teachers, students, college professors, tattoo artists. It’s really anybody from any walk of life, men, women, we’ve had some younger folks, so it’s been really fun taking it around to conventions and testing it out. So what we started doing this year was booking it in an actual theater like a performance arts venue, 400 or 500 seats and just doing it that way, like it’s an evening show. It’s a two-hour evening show, people realize they can have a lot of fun they can interact they can shout and holler because if our panelist can’t get the question — you’d be surprised how often they can’t even though they got up there — we throw ’em out to the audience, and I give out autographed “Bruce Bucks,” that’s fake dollar bills. Fake hundreds. So they still play, everybody plays. We’ve had some people come up, they got in the second round too. So it’s kinda crazy.

There’s come-from-behind wins the way it’s structured. My partner Steve Sellery, he’s the guy that first introduced me to this format, but ... he was doing it for military bases, it was all military trivia. I went to host a show for him so I said, “Hey, this format could work in my world.” It was really fun, these soldiers were all shouting at each other, and it was very competitive. I thought, “Man, you could do the same thing.” Three years ago, Steve called me up to see if I would host this charity show for the troops at the Fort Sam Houston base in San Antonio, Texas. And it was great. We had 600 soldiers, forced attendance, all in uniform. And this game just blew the doors off — these guys were acting like regular civilians by the end.

So we experimented there and I thought it could be taken elsewhere, and so we’ve been shopping it around, and eventually I’m going to try to get it made as an actual real TV show.

RG: So we might actually see it on air someday?

BC: That’s my goal. We’ve been honing it and refining it and tweaking it so we’re going to finish this run of performances. I’ve got three or four other cities to go, and then we’re done.

RG: So Eugeneans will have the chance to come out and see this before it really gets started?

BC: That’s right. Play it now while you still can!

RG: I heard that you consider yourself selectively retired, is that true?

BC: Selective — that’s a good way to put it. I’m not retired, it just takes more to get me off the mountaintop now.

RG: What kind of projects besides this game show project are you working on?

BC: “Lodge 49,” a new show for AMC, I just did that for their first season. I just did three episodes of that, and they’re back for another season. I’m not sure about my character, he’s mostly dead by the end of it. But you know, I’m looking for quality stuff. Paul Giamatti, he’s one of the producers, the writing was great, they just had really good people working on this show, and that’s kind of what I’m looking for. I’m not really looking for more movies for the Syfy channel.

RG: No more of those, huh?

BC: I think I’m good. I think I’ve done with my last “Alien Apocalypse.”

RG: What are some of the things you actually pay attention to and are interested in as far as pop culture, since we’re going to be at comic con. What are some things that grab your attention?

BC: Not much. I’m an entertainer. My job is to entertain. I don’t have to know what the answers to these questions are, and I don’t. I don’t know the answers to them. I watched very mainstream stuff as a kid. My buddy Sam Raimi actually read “Spiderman” comics. I read a comic called “Sad Sack.” The guy was a loser grunt in WWII. He was always peeling potatoes. That’s what I was more interested in, the stories of the average schmoe, which is why Ash appealed to me, because he had no special skills. He was just his guy who worked at S-Mart.

That’s what appealed to me, playing real characters and, you know, acting in modern day movies is a very special skill, it’s very technical, and I got tired of looking at tennis balls on sticks. There’s the monster! Now it’s over here — OK 3-2-1 — shake the camera and blow the thing and hit the blood! You know, none of it is just letting a scene play out. Whenever you have any kind of monster fighting or special effects, you go shot by shot, not scene by scene, and it can be very disconcerting. You don’t know where you are in the piece of this big puzzle. It gets a little boring.

RG: One of my favorite films I think I’ve seen you in is “Bubba Ho-Tep.”

BC: Yeah it’s a cool little movie.

RG: What is one of your favorite roles acting?

BC: Well that’s more for the pundits but Bubba was top five, “Evil Dead” movies top 5, like the Hercules and Xena character, Autolycus, King of Thieves... a lot of kids spent their Saturdays watching those shows. “The Adventures of Brisco County Jr.” was a very brief one-off but really cool, ahead of its time, kind of steampunk western, so there’s been some fun stuff.

The longer you hang around, good stuff shows up. And you learn what not to look for anymore. And you learn the warning signs of trouble. Like when you make a couple of bad movies, you log in the back of your mind, why they were so bad, even yourself included, and you say to yourself, “OK, how do we avoid that?” But as a young actor you just say yes to everything. So it’s just a matter of being pickier now. Way pickier.

RG: What is the worst movie experience you’ve had?

BC: Well, it’s no fun pointing those out, but I would just say that it’s usually a combination... I’ll give you one example where I said no and I’m glad I did. Sci-fi script comes in. Tons of effects. Tons of action. You know, this, that and the other thing. So I say to myself, “OK yeah, you’re going to really need a journeyman director, that’s a lot of moving parts, to pull this off.” OK, who’s directing? It’s a first-time guy who wrote the script. Right there the bells go off. And you go, “First-time guy, who’s going to handle this...?” As my own director, I go, this would be challenging to someone with experience. And writers generally, in my opinion, make terrible directors because they have no sense of how a set works and they’re not great communicators because they sit in front of a frickin’ monitor all day long. ... Then I go, “OK, First-Time Guy, I get it. How long is this shoot?” And I know from knowing production what is a long shoot, what is a medium shoot and what is a short shoot, and they go, “Three weeks.” I’m like, “I’m out.” ... Because the producers now, now I blame the producers, they need to give this guy the most amount of time he possibly has. So that combo platter right there, I went “Pass. Just pass. Not interested.” So that’s what you learn. Years ago I’d say yes and then you go, “Geez what a ... fight that was,” you know what I mean?

RG: Do you think Ash’s ‘everyman’ qualities have maintained the popularity of the “Evil Dead” series?

BC: Yeah. Because people are shouting at the screen “You idiot, what are you doing?” You know he makes horrible mistakes because it’s not his job, he’s not a superhero, wasn’t born to it even though, in some ancient books, his picture is in it. So, it was fun to play the normal guy but then know that there were spiritual undertones, which is kind of cool. Because he is there to save the world. He’s been foretold as ‘The Guy.’ We were glad to be able to go back and revisit it with more experience, because the irony of my life is that I’m best known for the role of Ash in the first “Evil Dead” movie where I had no experience. So it’s nice to go back and go, “OK ... it’s 25 years later, I got some skills now. Now let’s take on this character and try and blow him into a three-dimensional character out of a two-dimensional situation.” So that’s what it was fun about it. But it was difficult because we’re older. Things tear.

RG: Well, it’s a very high-action TV show.

BC: Very much so, I had the hardest-working stuntman in show business, Raicho Vasilev.

RG: And you got to work with Lucy Lawless, how was that?

BC: Well it’s always great, always has been, for 20 years I’ve worked with her. She’s one of the good ones, as they say. Lee Majors as my dad? Who can top that? Frickin’ Bionic Man is my dad.

RG: What is it like having this celebrity status attributed to you as one of the most popular B-movie actors, what do you think about that?

BC: It’s impossible for me to quantify it. It’s not for me to say. It’s always nice to not wallow in obscurity — I didn’t get into the business to do that. But you don’t know where it’s going to go. That’s why you’ve got to be mellow about the whole thing. I have no idea what’s going to happen tomorrow in this industry, and it’s changing all the time: the way they make movies, the way they deliver them, the types of movies they’re making. I think I’m just going to enter into the game show phase of my career and see where it goes.

RG: What do you think it is about you that has built such a loyal fanbase, especially with the “Evil Dead?”

BC: Just relatable characters. You’ve got to have a character people will relate to. There’s some actors who will remain nameless who — they don’t let you in. Their performance won’t let you into their world. They’re putting up a sheen. And I think it’s all fine and pretty to look at, but you know, you got to have more. There’s got to be more to it, even an idiot like Ash. You’ve got to have more to it. That’s why we introduced Ash’s daughter. We meet his family, we start to play on a little bit bigger reason why he’s here, what his purpose is. When you look at someone on screen I think you want to go, “Wow, God, I’d love to have a beer with that guy,” or if it’s a woman, “Man, what a great girlfriend she would be.” Stuff like that. It’s just a personal thing too, and every actor evolves into whoever they are by a certain set of circumstances. Some good, some bad.

RG: In the latest phase of your career you’ve turned to writing books. Why become a writer? What is it about writing that you like?

BC: I love books because there’s no shifts. You make a movie, and especially a high-price movie, there’s a lot of people with opinions who are very bossy all the time. And they will hound you about the smallest little things, little changes, and they have to justify their positions as assistant this or executive this or sub-pseudo-quasi this. And when you write a book, you know, I get on the phone with my editor, and they go, “Hey this one chapter, you sound a little pissed off, was that what you want?” I go, “Yeah, I can tone that down.” And I’d tone it down, it’d take about 20 minutes and then I’m done and we never have another word.

I spent more time with my lawyer than my editor because of the (crap) that they care about. But the process is really great, it’s really rewarding creatively, and financially they don’t (mess) around. They know how to add and subtract in publishing. For some reason in movies they’ve forgotten the ability to add and subtract. It’s a much more straightforward — you call someone in publishing, they call you back. You call someone in movies, you know it’s like their assistant will get back to you a week later, and they’ll run by three dates of where they could have a conversation. You know, just call me back. So I like the old-school nature of publishing. It’s getting pretty modern, but the people involved are very straightforward. They’re in it for the literature, not for the limousines....

RG: So do you write at your Oregon home?

BC: Yes. I have an office that’s just about completed. I’m so excited it’s just about impossible to be patient. It’s a brand-new setup where I can get busy in 2019. There’s going to be a lot of writing in 2019.

RG: What can we look forward to?

BC: New book. I’m going to tour in 2020, it’s a book of essays, it’ll be something a little different. If you want to be a real writer you can’t just talk about the wacky times you got dumped with blood on a film set.

RG: Well that was probably a pretty good starting point, they say write what you know about.

BC: Now I’m going to write what I don’t know about.

[strayframes]

Jet Li - China’s Hero

By Sam Cave

Beijing, 1963. A child is born into poverty, the youngest of five. By two years old, his father has passed away. His family can’t afford meat, so young Lie Liajie is often hungry but never complains. When he is eight years old, his mother enrolls him in a summer course for martial arts. He shows a natural talent for Wushu, and his instructor takes notice. The boy attends a non-sparring Wushu event. Soon after, the instructor refers him to Wu Bin, coach for the Beijing Wushu Team. With his family’s permission, he is allowed to join. The coach takes a special interest in the boy, making him practice twice as hard as the other students. The criticism is harsh and constant, but he has good to food to eat and a sense of purpose that will help him to rise above his environment - China’s rocky crossroads between the Great Leap Forward and Mao’s cultural revolution.

A few years pass. Once a year the team is allowed to go to the movies. They watch Shaw Brothers and Shaolin five venoms, and sometimes Jimmmy Chang. One night the team gets to see a film called Fist of fury, Starring a westerner name Bruce Lee. the older boys love the film, and they clap and cheer, some of them smoking cigarettes and drinking rice wine. Their instructor chaperones hush them but also smile and laugh. Even as strict as the coaches can be, these boys need to blow off steam. The boy sits and watches the film, wide eyed. A friend passes him a Coca-Cola but he doesn’t notice. He is mesmerized by Lee Little Dragon’s screams and whoops, his speed and tempo. It is not so much Bruce Lee’s skills - the boy has seen Wing Chun and Southern Style Kung Fu before many times. It is the pauses, the stare, the speed with which he executes each maneuver. These are the things that a young Lie Lianjie would incorporate into his own fighting style, as the years ahead transformed him into the Martial Arts idol in known as Jet Li.

Asian cinema is a vast genre, with very different subsets. When I think of Japanese film, I picture ghost stories and bloody action like The Grudge or Battle Royale. Korea has the darkly comic revenge films of Chan Wook Park (Oldboy, Lady Vengeance). John Woo (Hard-Boiled) and Wong Kar Wai (2046, In The Mood For Love) both hail from Hong Kong. Historically, Mainland China’s identity in film has been firmly rooted in martial arts and Wushu-style historical epic tales. This makes sense, since the Wushu novels of writers like Jin Yong hold a place not unlike Tolkien in Chinese literary culture. Jet Li’s characters in Once Upon A Time in China, Fist of Legend and Fearless are based on real historical figures, and the China depicted in these stories is an honorable, decent place worth fighting for. The nationalistic message is often heavy-handed, but considering the China of twenty or thirty years ago, perhaps people needed to believe in not just heroes, but Chinese heroes.

I first discovered Jet Li when I saw Lethal Weapon 4. He played a silent martial arts villain with a ponytail who could dismantle a gun in seconds. His pre-combat stare was like nothing I’d ever seen onscreen before. It is his trademark - when he glares at his enemy he eminates both pure calm and pure danger. LW4 was Li’s first time crossing over into American films, after making over 30 movies in China since his debut in the 1980’s. Becore Jet Li started acting, there was an effort to find a successor to Bruce Lee, as evidenced by the early films of another Chinese martial artist, Jackie Chan. Chan was ten years older than Jet Li, and had been trained at the Chinese Opera. By Contrast, Li’s training focused purely on martial arts. He specialized in Wushu from the age of eight. Unlike Bruce Lee, who broke with Kung Fu tradition to establish his own style of fighting, Jet Li would become a Kung-Fu formalist. His trained at the Shao-Lin temple and spent years becoming an expert in Northern-style Kung Fu. Before the age of 10, Li won gold medals at the All China Games, and his team performed for Richard Nixon at the White House. According to Wikipedia:

he was asked by Nixon to be his personal bodyguard. Li replied, "I don't want to protect any individual. When I grow up, I want to defend my one billion Chinese countrymen!"

Jet Li would not be groomed as Chan was, to carry on Bruce Lee’s legacy. Too much time had passed and the industry had moved on from Bruce-sploitation and the legacy of Enter the Dragon. When Li first emerged in the 1986 film Shaolin Temple, his Northern Wushu and Tai Chi background was evident in every move, every trap, every aerial spinning kick. His fighting and performing style harkened back to old-school Kung Fu films by Shaw Brothers like Five Venoms and (bla).

…

The storyline of a typical Jet Li film goes something like this: A guy from mainland China (cop, soldier, fill in the blank) is tasked with the responsibility of protecting someone or exacting revenge for a dead master. He goes to Hong Kong, Japan or America, where his upstanding and honorable values are called into question by his new surroundings. There’s a girl, a villain, and much flying of fists and feet until finally the hero returns to China, happy to be home (in The Defender, he is killed and his body goes back to China).

After a few years as a supporting, utility player, Jet Li got the role of a lifetime playing Wong in Once Upon A Time in China. The film, directed by Tsui Hark, was a retro/throwback style historical epic with sharp cinematography and high-flying wire assisted wushu fight choreography and stunts. It was a leap forward for Hong Kong film, and spawned 3 sequels with Li reprising the main role. The films that followed could be described as Jet Li’s Hong Kong period. Fist of Legend, The Defender (also titled Bodyguard from Beijing), The Enforcer, Meltdown, Hitman, Tai Chi Master, Swordsman series. The list goes on.

Some of these movies showcased Li’s martial arts skills better than others. Sometimes he had guns, like Chow Yun Fat in Hard Boiled. Sometimes he had a kid sidekick or a love interest. One thing is for sure - playing in a Hong Kong action movie in the 90’s was not for the faint if heart. Cut-rate action techniques and low-budgets loaned themselves to accidents. The fighting was often full-contact. Actors could end up with a face full of glass from explosions. Still, the Beijing Wushu prodigy found his place amongst other martial artists like Donnie Yen and Michelle Yeoh, churning out epics, gangster films and cop dramas for audiences in Hong Kong (now hurtling towards its handover to the mainland) as well as the rest of Asia and beyond.

The only unfortunate aspect of Jet Li’s Chinese catalogue lies in the poor production values of most of these films. The overdubbed English is poorly translated, the action has a cartoonish quality and the characters are usually stock and cheesy. In other words, they are typical ‘Chop-Socky’ Kung Fu films made in the style of Bruce Lee’s catalogue, before the technical achievements of later films like Crouching Tiger, Hideen Dragon and Iron Monkey. There are some clear exceptions, such as the Once Upon a Time in China series, expertly directed by Tsui Hark and featuring another Kung Fu prodigy, Donnie Yen.

Because they were made before the age of DVD and HD, Li’s films could only be seen by Western audiences in rare Chinatown screenings in a few major cities. In the late 1990’s a new pop culture trend would change this pattern, and the trajectory of Li’s career – catapulting the Wushu prodigy from China to the United States. When Wu-Tang Clan first arrived on the American hip-hop scene in 1993, no one was prepared. Their albums were soundscapes comprised of hard-hitting verses, skits, and samples from Kung Fu and martial arts films. Along with Nas, DMX and others, Wu-Tang popularized Jet Li’s films by referencing him directly in their music. Li noticed, and his late 90’s output reflected this unlikely alliance. Black Mask, Romeo Must Die, and Cradle 2 the Grave featured Li’s action sequences cut to high-energy hip-hop. The films were successful, proving that Jet Li’s Wushu could be imported to the West.

Like Jackie Chan, Jet Li’s late 90’s crossover into Hollywood films was inevitable. It was a career move probably not based on financial need (he was already wealthy), but more based on the fact that he had outgrown the Hong Kong film scene. After his role in Lethal Weapon 4, he starred in a string of ambitious but fairly crappy vehicles like Romeo Must Die, Kiss of the Dragon, and Cradle 2 the Grave. These films, though largely panned by critics, served the purpose of greater exposure to US audiences and access to directors and filmmaker

In 2006, Jet Li announced his retirement from martial arts movies. The final entries into Jet Li’s martial arts catalogue, all made around this time, are easily the best. Hero, Unleashed, and Fearless are examples of bigger-budget Jet Li, not so different from his Chinese films but with an emphasis on acting and emotional content.

Hero is an epic historical tale in the style of Crouching Tiger, Hidden Dragon. In the film Li plays Nameless, an assassin tasked by an Emperor to eliminate those warriors perceived as threats to his his throne. Filmed in wild and beautiful colors with flawless cinematography, Hero is an example of contemporary Chinese cinema, and how much technical ground has been gained in the past 15 years. The film has been hopelessly replicated and borrowed from since its release in 2002, mostly due to its historical accuracy, dark tone and operatic fight sequences. It was at the time the most expensive mainland Chinese film ever made, and sits at the beginning of a trio of martial arts films by director Zhang Zimou, who before Hero was mostly known in art house circles for his dramatic collaborations with actress Gong Li.

The casting of Hero was an eclectic mix of non-martial artists and experts, with Jet Li (the mainland’s biggest star) in perhaps his biggest starring role to date. Donnie Yen, who at that time was still a supporting player, was brought in for the first fight scene. Maggie Cheung and Tony Leung, coming off the huge success of Wong Kar Wai’s In The Mood For Love, played the feuding lovers Broken Sword and Flying Snow. And Crouching Tiger’s Ziyi Zhang played Moon, the loyal servant. Leung and Cheung were both veteran Hong Kong actors, neither one from strictly martial arts but with 20 years of experience in all genres. Zhang came from a ballet background, and though she had a breakthrough performance in a Crouching Tiger, her martial arts skills were limited. Jet Li recognized her talent and mentored her on set, and joked about his short legs being the reason for his never trying ballet. It made sense for Li to reach out to the younger Zhang, also from the mainland and twenty years his junior. For so long he himself had been the young Wushu prodigy, but now at over 40 years old he was sliding into an elder-statesman role.

The action sequences in Hero used wires extensively - not just as a tool to exaggerate aerial jumps and spins but to make the characters fly and soar the air, dreamlike and surreal. This deliberate wire choreography may have been influenced by The Matrix and Crouching Tiger, but Hero has its own sort of Cecil B DeMille outrageousness to it that is totally out of balance with the serious tone. In fact, Hero is almost weighed down by its own sense of gravity, and is sometimes unintentionally funny when it’s adding more and more layers to each action sequence. (Arrows). It is here that Jet Li is the films saving grace. His sense of form, toughness and his skill not just as a martial artist but as an actor corrects the balance. When Li extends both arms in front of his face and slides his sword back into its sheath with a resounding and satisfying ‘click’, the film resets itself and we, the audience are given a break from the proceedings.

Unleashed raises a poignant question: can a man who has been reduced to an animal find salvation? In this film Jet Li plays Danny, a childlike soul with violent tendencies, trained since childhood to fight and kill on demand. His aggression is symbolized by a metal collar, which is controlled by his brutal ‘master’. Li is passive until the collar comes off, at which time he becomes an attack dog, dispatching his opponents in a flying, screaming rage. Unleashed is pure pulp, but it is elevated by the presence of Morgan Freeman (as Danny’s kind savior), and by Jet Li’s performance. Danny is a kid, full of wonder and innocence, but unable to escape the violence that has defined his existence. Li plays it with subtle, quiet emotion and dignity. The action in Unleashed is as usual exciting and well mounted, choreographed by longtime collaborator Yuen Woo Ping. There are even some darkly funny moments, like when Danny kills an opponent with one poke to the Adam’s apple. Yikes.

Fearless is an atypical Chinese martial arts film, because it shows the hero as lacking virtue (at least for the first half of the film). Li plays Huo Yuanjia, Godfather of Wushu and undefeated champion of Tianjin. After murdering a rival in the ring, the rival’s disciple takes revenge and kills Huo’s family. In his grief, Huo goes into exile and lives amongst simple farmers. Finally he returns home, humbled but also disgusted by the imperialist influx of foreigners taking over China. He begins to fight again, but this time for the honor and reputation of China – essentially for China’s place in the world. His final fight before dying from poisoned tea is against Tanaka, a Japanese samurai. It is worth noting that the Japanese occupation is a common theme amongst Chinese and Korean films. Both countries suffered under Japan at different times, and in the world of Fist of Legend and Fearless (two parts of the same story) the scars are still fresh. Fearless is actually titled Jet Li’s Fearless, and this film finds the actor back in his comfort zone of pure Wushu action and Chinese history. Where in Fist of Legend he reprised Bruce Lee’s performance in Fist of Fury as Chen Zheng, student of Huo Yuanjia and avenger of his master’s death, Li gets to play the master himself. Fearless is a mainland production, not as artsy as Hero and more in the vein of Once Upon a Time in China.

In the wake of Bruce Lee’s untimely death, the martial arts world was fractured. In the West, Karate was gaining speed and this popularity gave actors like Chuck Norris (a contemporary of Lee’s) and Jean-Claude Van Damme

It would seem the sun has set on Jet Li’s career. He left his audience wanting more, and with Disney hinting that he might return to his martial arts roots in Mulan, there may be more to see. In his personal life, Li occupies the rare position of the a mainland Chinese with wealth, who, now living in Singapore, is somewhat beyond the reach of the communist government. As a devout a Buddhist he has in fact visited the Dalai Lama (while making sure to voice his belief in a united China). He

So, the question remains. What is your favourite Jet Li movie? And why does Jet Li Matter? In the opinion of this humble critic, Jet Li Matters because China matters. Mainland China needed a hero during times of extreme transition, when the Western idea of the Middle Kingdom was that it was a place that manufactured plastic trinkets. Audiences got used to Jet Li, Michelle Yeoh, and yes, Jackie Chan - as the heroes of Shao Lin or daring Beijing Police detectives, fighting their way through low-budget films made by an industry trying to keep up with the world, yet not afraid to have some fun in the moment. I still have only seen a handful of the original Jet Li movies, and so my perception of his work is top-heavy, weighed down by the performances from the end of a unique and amazing career. But what performances they are: Danny the Dog sitting next to Morgan Freeman at the piano, trying to find the courage to say his own name. Nameless and Flying Snow deflecting a sea of arrows with their swords, weightless in the air above a temple. And finally Huo Yuanjia, in the last moments of his life and with poison coursing through his veins, finishing his battle against Tanaka, Japan, Imperialist Britain, and himself. Jet Li Matters.

[twh-news]

What We Learned on the Set of Thor: Ragnarok: From Jack Kirby to Planet Hulk

[This post contains somewhat spoilery info, so if you don't want to know more than you already know, don't read below the cut!]

It was just about one year ago exactly that Fandango jetted out to Brisbane, Australia to tour the magnificent sets of Thor: Ragnarok, the third and possibly wildest standalone movie for the God of Thunder yet. You can read our guide to all the characters old and new here, but below is where we’ll answer some of the most pressing questions about the movie, its plot and production.

We last saw Thor (Chris Hemsworth) soaring off into the cosmos to investigate certain disturbances in the Force -- whoops, wrong Disney franchise. Actually, at the end of Avengers: Age of Ultron, he was going to try to find out why more of the Infinity Stones were suddenly surfacing and who was behind it. In Thor: Ragnarok, he’s been missing for two years and is imprisoned on Muspelheim, where he must fight the fire demon Surtur to escape.

He finds his way back to Asgard, where Loki (Tom Hiddleston) has been ruling in place of Odin (Anthony Hopkins), and through a series of events that somehow detour to New York City, Thor ends up on the planet Sakaar, where he’s forced into gladiatorial combat at the behest of an Elder known as the Grandmaster (Jeff Goldblum). Little does he know that the reigning champion is his old pal, the Hulk (Mark Ruffalo).

Meanwhile, the goddess of death, Hela (Cate Blanchett), has been unleashed and seeks to destroy Asgard -- not too difficult a task with Loki running things there. If Hela can bring about Ragnarok -- the “end of all things” -- what will that mean for Thor, Loki, the Earth and the rest of the Nine Realms?

Here are some of the things we learned in Brisbane:

Where in the timeline of the Marvel Cinematic Universe does Thor: Ragnarok fall?

The events of the movie will reportedly lay down even more groundwork for the arrival of Thanos in Avengers: Infinity War, so clearly it takes place before next year’s all-in showdown with the Mad Titan. “In the timeline of the MCU, things kind of happen on top of each other, especially now in Phase 3,” said producer Brad Winderbaum. “They're not as interlocked as they were in Phase 1…so (this) kind of happens maybe on top of Captain America: Civil War, maybe on top of Spider-Man: Homecoming. Somewhere in that ball park.”

The popular Planet Hulk storyline from the comics was heavily mined for material for the story.

The planet Sakaar, the gladiatorial battles presided over by a dictator-like character (the Red King in the comics, the Grandmaster in the movie), secondary characters like Korg, the Hulk getting transported to Sakaar through a wormhole and becoming a champion…all of those elements are from the 2006 Planet Hulk story in Marvel Comics, which fans have wanted to see in a movie for years. As with many of the Marvel movies, Thor: Ragnarok borrows from that story and weaves it into something new that echoes the comics without replicating them.

"In the earliest development of Thor: Ragnarok, we were looking at Planet Hulk as inspiration,” admits Winderbaum. “Maybe not even to integrate the Hulk into the franchise, but the idea of a planet where there's gladiatorial games as being a Thor predicament. It really was a cool idea to us. Somewhere in the early conversations, when it looked like it was going that way, it was like a no-brainer. It started off as, well, maybe we put Hulk in there too? And then as soon as that spark kind of ignited, it became kind of an idea machine and suddenly he was married to the plot."

Thor is a different person than he was in his earlier adventures.

“We find Thor in a drastically different place,” says Winderbaum. “He's now spent years on Earth living with the Avengers, hanging out with Tony Stark. He understands Earth’s sensibilities. He's got a really quick wit, a great sense of humor, he understands sarcasm in a way he didn't in the first film. And so from a character perspective, we're bringing all of that personality into space with him.”

The character also finds himself in a situation on Sakaar where he is no longer the physically dominant and powerful God of Thunder of the earlier films. “Removing Thor from his environment and his world where he dominated a lot of the fight scenes and so on, and putting him in a situation where all of sudden he’s fairly equal with everybody…was a smart thing for the writers to do,” says Chris Hemsworth. “He’s perhaps gonna use his brain more, or as much as, his brawn. He’s up against it the whole way through this and no step he takes is easy when he’s climbing this particular mountain.”

The relationship between Thor and Loki has evolved as well.

Hemsworth did not want a repeat of the Thor/Loki dynamic from the previous two Thor movies and the first Avengers. “In the first films, you know, a lot of the time you’re seeing Thor kind of going, ‘Come back, Loki…’” the actor says. “I think there’s a feeling from Thor now that’s just like, ‘You know what, kid, do what you want. You can’t hurt for trying. You’re a screw up, so whatever, do your thing.’ There’s a bit of that, which is fun, but also something we haven’t sort of played with as much.”

"I've said this about Loki before, but the opposite of love is not hate but indifference," says Tom Hiddleston. “The idea that Thor might be indifferent to Loki is troubling for him, because that's a defining feature of his character: I don't belong in the family; my brother doesn't love me; I hate my brother. And the idea his brother's like, yeah, whatever…it's an interesting development.”

There is a lot more comedy in this film, which also brings out a different side of Thor and Hemsworth.

“I think it's fantastic,” enthuses Hiddleston. “I think Chris is hilarious, and I've always known him as a hilarious man, even making the first film when we first met. So I love that his comedy chops are being flexed and I think it's great for the tone; it's great for the film.”

Both Hemsworth and Hiddleston loved that director Taika Waititi had them do a lot of improv on set: “I’ve never improvised so much with this character, which has been really exciting,” says Hemsworth. “Taika will just yell suggestions while rolling -- ���Try this, try that,’ and so on. That has, I think, really come to change the game for myself or for the film.

“Taika is extraordinary in his invention,” agrees Hiddleston. “There are so many moving parts (on these big movie sets) and his quickness and the speed of his invention is really inspiring. Even with the sort of weight of this production, he's able to keep the atmosphere light and keep it feeling free and playful.”

At the same time, Cate Blanchett’s Hela may be Marvel’s greatest villain yet.

“Obviously we always think about the movies as standalones, even if they do set up a movie down the road or pay off something from a previous film,” says Winderbaum. “What we hope if we do our jobs right is that Hela is one of the best villains we've had -- maybe the best. Cate has been delivering an incredible performance. She's really scary and really charming.”

“It’s so far from anything I’ve seen before,” says Hemsworth about Blanchett’s work in the movie. “And as intimidating and scary as it is, you have an empathetic feeling toward her a lot of time from what she’s doing. You’re kind of like, ‘Ah, she’s got a point maybe.’ And then you’ve got to remind yourself that she’s trying to kill us all.”

Valkyrie is not exactly as you remember her from the comics.

The comic book Valkyrie was known as Brunnhilde, an Asgardian being and the leader of Odin’s army of female warriors, the Valkyrior. But the movie Valkyrie (Tessa Thompson) has put all that behind her in Thor: Ragnarok. She works now as a hunter for the Grandmaster…and in fact it is she who captures Thor to use as fodder for her employer’s gladiator games.

"We're not trying to create a one-to-one emulation of Brunnhilde from the comics,” says Winderbaum. “But certainly the idea of the Valkyrie and what they mean to Asgard and Odin is something that we're going to be leaning into a lot."

For Thompson, she was eager to dive headlong into her first major role in a film utilizing extensive visual effects. “It's a challenge that I was really wanting to take on, a year before this movie was even a conversation,” says the actress. “I kept saying to myself and anyone that would listen, I want to do something that's blue and green screen because I think working in the space of such imagination is such an interesting job. And then I just had no trouble asking my cohorts, ‘How do you do that?’ And they were like, ‘Oh yeah, it's weird. You just do it.’”

For the first time in a Thor film, we’ll get to see how the “common folk” in Asgard live.

Fandango also toured the outdoor set of an Asgardian village -- sort of a first for the Thor films, which have previously stayed relegated to Odin’s palace or the Bifrost for the most part. Not unlike something out of The Lord of the Rings or even resembling a place like Naboo a little, the village has a feel that’s both medieval and futuristic at the same time. It’s also where Hela will wreak havoc on the poor people of Asgard. “This is for the first time in a Thor movie that we’ve embraced this sort of human style of living quarters as opposed to the great big palace itself,” says production designer Dan Hannah. “We do spend some time in the palace, but we also spend quite a lot of time in different parts of the city…partly because of Hela, who as queen of death, needs some people to kill, as you would.”

Oh yeah -- the movie also visits Muspelheim, the realm of Surtur.

Dan Hannah: “Muspelheim is essentially a Dyson sphere, which is an enormous structure around a dying star. The premise is this has been here for a long time and it’s coated in residue of the dying star and drawing energy out of the dying star. It’s populated by demons and dragons and all sorts of amazing creatures who live on the energy that’s coming out of the star. It has internal spaces that are vast holes which are just really like being inside a bicycle frame. If you imagine a bicycle frame stretched around a star, some of Muspelheim is inside, some of it when Thor tries to get away is outside on the surface of the Dyson sphere.”

The design of the planet Sakaar is influenced by the groundbreaking art of the legendary Jack Kirby.

It’s only fitting that on the 100th anniversary of his birth, the work of the late Kirby (who invented the Marvel Universe with Stan Lee) should have a massive presence in the design of Thor: Ragnarok. Touring the outside of the gates that lead into the arena on Sakaar, the bold colors and weird geometric shapes signal the influence of the master. The streets surrounding the gates are also quite colorful and crazily configured, with sharp turns and unpredictable curves.

“Yes, Jack Kirby, 1960s Jack Kirby,” confirmed Hannah as we toured the crazily shifting streets of Sakaar. “That was our inspiration. I’ve read Jack Kirby comics since I was 15 years old. So for me it was fantastic…of course, it doesn’t look anything like Jack Kirby, but it does have the influence and it’s different from anything I’ve seen before.”

"The amazing thing about Jack Kirby is his artwork is dense," says visual effects supervisor Jake Morrison. “One of the anecdotes about Kirby is that he never erased anything. He only continued to draw forward. So you see characters with six fingers and stuff like that just ‘cause he was like, ‘Right, okay, I’ll just fill the page and just continue drawing’…what he’s doing is really just filling the frame. So for us what that means is we can be very dense with the visuals.”

Speaking of Sakaar, it’s basically a giant garbage dump.

Sakaar is the endpoint of a series of wormholes that dump whatever gets caught in them -- from different parts of the universe -- onto the planet, which is apparently how Thor and the Hulk both end up there (Hulk’s Quinjet gets trapped in a wormhole, as does Thor).

“It’s a bit of a sewer,” says Hannah about the planet ruled by the Grandmaster. “There’s no vegetation in Sakaar. It’s purely made up of space waste. All the food is made from space waste.” What Hannah refers to as “scrappers” -- which may include Tessa Thompson’s Valkyrie -- work in the dangerous areas outside the main city where things are constantly falling out of the sky. “It’s basically an accumulation of space debris that’s grown,” continues Hannah. “That’s how I think if it anyway . . . It’s like a landfill, basically. “

As for the city where the Grandmaster rules, it’s populated by aliens who have also come to the planet from all over the cosmos. Hannah describes it as “space Vegas.”

Producer Brad Winderbaum delved further into the development of Sakaar: “This is a planet that's like frozen in space between an incredible quantity of wormholes that have been spitting things out into this place for eons and eons. And essentially, if anything goes wrong in your intergalactic travels in the MCU, you're going to get spat out into the toilet of the universe which is this planet.”

The visual effects in the film are among the most intensive of any Marvel production.

Jake Morrison was asked which of the movie’s scenes or effects was the most challenging to create. “All of them,” the visual effects supervisor replied immediately. “It’s literally one of the most involved pictures I have ever been on. It’s visual effects heavy. All Marvel pictures do rely on visual effects to help tell the stories. But this one is absolutely enormous. The scope of the picture and the amount of elements in it is incredible.”

Even Hela’s famous antlers are created through visual effects.

During our day on the set, we saw a scene set on the Stone Arch Bridge in which Thor, Hulk, Valkyrie and Loki all confront Hela. Cate Blanchett was not in full costume, but Morrison assured us that we will see Hela in all her majesty in the final film: “The look of the headdress and all that kind of stuff is very, very iconic,” he explains. “When you have an actor like Cate, what we wanted to do is not tie her down with a physical costume that was overly complicated or weighty…if you're making this film in the 80s or the 90s you would actually have to put the big headdress on and you know exactly what that looks like. You’ve seen actors do this and they basically have a candelabra on there.

“The key is we can base it upon Cate’s physical performance,” continues Morrison about the CG parts of the costume, adding that they now capture 120 samples per second of Blanchett’s body. “We then have the option to make her costume behave in sympathy with her action completely and not have the actor feel in any way like her motion is restricted by the costume. So we’re trying to let the performance drive the picture and then we just add the fun stuff on afterwards.”

Finally, the big question…how does Thor: Ragnarok lead into Avengers: Infinity War?

“Without giving anything away, this definitely bleeds nicely into that,” hints Chris Hemsworth. “As they all tend to do. But this being called Ragnarok -- everyone knows what that means. So obviously it is going to affect the larger universe.”

[immykidsmanager-blog]

Acting in Trump’s Gilead (An Actors Blog)

Advertisers and marketing professionals spend their days (and probably a lot of sleepless nights) wondering about and/creating buzz around the next big thing… but being able to identify a trend is not just their job, it’s also the job of the actor. Knowing that wider ties, and longer hems, often coincide with automakers manufacturing cars in shades of pink and turquoise is an example of identifying a trend. How do I know that? When you live long enough you start to see everything come back around. Now, to me a trend - is different than a fad. A trend will stick around for a while and then reappear in an updated form at least every twenty years or so. But a fad is something that is with us for a year or six months and then disappears just as quickly as it came - probably never to be heard from again. For example, it’s been a while since my kids mentioned Fidget Spinners. I’m sure those useless pieces of Chinese rubberized plastic will sit idle at the bottom of my kids desk drawer until i secretly toss them out. That obsession has given way to their current addiction; slime. I’m hoping slime is just a fad too - or a phase they grow out of at least, kind of like my mom’s approach to me being in to dudes. Sorry Mom, guess that was more of a trend that was here to stay.

As an actor what do you do when you’re not part of a trend? By that, I mean your “type”…your race, your age, your sexual orientation, even your religion. It might sound callous to break us all down into categories, but that’s what our brains do every single day as we file away and classify every new piece of information we encounter.

It’s no surprise that 2018 was definitely the year of the Asian actor, and it’s about time. An Asian actor hasn’t gotten an Oscar since Haing S. Ngor won in 1984 for “The Killing Fields.” You might say this all started with the popularity of Crazy Rich Asians and I would agree, but what led to that? With my 20/20 hindsight I would say that George Takei and his autobiographical play about his childhood experience being held in a post World War II Japanese internment camp shined a light on the Asian immigrant experience. It also doesn’t hurt that he has a hugely popular #Twitter feed dominated by daily anti-Trump tweets.

Another 70-ish celebrity with daily anti-Trump tweets is Cher who happens to be having the best year ever. She’s doing movies again, has an amazing new album of ABBA covers, a broadway show about her life, and is about to embark on a huge European tour. Is Trump the recipe to new found relevance - or is ageism finally dead in Hollywood?

On Sunday I kept seeing Carol Burnett in my news feed. She was definitely trending. I thought OMG did she die or something?! I was Immediately relieved to figure out that she was just being honored at The Golden Globes and not actually dead. So if Carol Burnett is in the news again what does this mean? If I were her manager what would be my game plan?? …what’s next? Maybe nothing. She’s got like a gazillion Emmys - she doesn’t have to do a single thing, but that’s not usually how successful people think. What this tells me is that there’s about to be a lot more roles for older actresses in #Hollywood. Perhaps at first for the A-listers but hopefully that trend can trickle down to the commoners like us too.

A few years ago my kids went in for a sitcom pilot audition that was starring Ms. Burnett playing a famous retired actress who was renting out part of her home to make some extra income. Then they went in for another one with a similar premise with a cast lead by Candice Bergen. Not sure if either pilot was ever made… but then the reboot of Murphy Brown happened and I assume the Bergen pilot died a quick death in the script pile at ABC Television Network. Anyway these projects are out there, which is a good sign that ageism is a dying fad. How ironic is it too that Jessica Lange has had a career resurgence doing campy horror just like her character in "Feud" (Joan Crawford) had in real life.

I asked my kids’ agent why my son always got more auditions and more bookings than my daughter. She said writers just don’t write for little girls the way they write for little boys. This is the same argument that’s been made at the very top of the food chain by Oscar winners like Jennifer Lawrence. Often we roll our eyes when someone as successful as she makes this claim but the amount of opportunities for women is just not the same as for men - and it has been even worse if you’re past a certain age.

So for the non-famous, for the everyday working actor, what can we do when a trend is not working in our favor? Make lemonade? No - Make Movies! My friend, Sarah Megan Thomas, has done just that. Instead of complaining that only 32% of all speaking roles in films belong to female characters, she wrote, produced, and acted in three of her own female driven films; "Backwards," “Equity,” and her third film “Liberté”. In each project she has immersed herself into three very different worlds focusing on the roles women play in: Sports, on Wall Street, and in WWII. Not really since “A League of Their Own” have we seen a film explore the feminine experience during war. This subject is very close to my heart since both my grandmothers worked for the war effort - one making bullets and shells in a gunpowder factory, and the other on an air force base. Both my kids had roles in her film Equity, so we saw firsthand that not only is she creating jobs for actresses but her crews are also heavily comprised of women, with all three films having female directors.

As Heidi Klum says “You’re either in or you’re out,” and as the former titans of film and TV are being dethroned by sex scandals, women are rising up to take their rightful place. We saw the peak of the #MeToomovement at last years Golden Globes. This year we saw The Hollywood Foreign Press reaffirm the strength of journalists, and vow to not let governments make them the enemy of the people. We also saw an Asian actress not only host the show, but win the award for best dramatic TV actress. So… is an awards show the barometer for what’s trending - or just the moment when enough people come together on a network TV platform to oppose Trump’s Republic of Gilead?

Speaking of critically acclaimed television series, sometimes I have a hard time telling the difference between a plot point from “The Handmaid’s Tale” and an actual Tweeted proclamation from the baby king himself. Here’s a list. Can you tell the difference?

Women should be punished for abortion. Total and complete shutdown of Muslims entering the United States Transgender people banned from military service The Press is declared “The true enemy of the people” Separating immigrant children from their parents at the border Calling for the firing of NFL players who kneel during the National Anthem

Sounds like we’re all gonna be hanging on that wall of his!

Like it or not, Trump is an equal opportunity offender and every group that he attempts to marginalize seems to rise up and have their place in the sun. He discriminates… then whoever the oppressed group is…African Americans, Muslims, Women, Gays, Native Americans…that group is suddenly trending. We are lucky enough to live in a time when we are celebrated for our differences and the entertainment industry is finally responding. As soon as Trump offends, then I start to notice that minority group in more roles in commercials, TV, and film. Writers are now creating more diversity in their characters and in the stories they tell. So if you are an actor in one of these minority groups - you’re probably trending. This trickles all the way down to child actors too. Now I notice a lot more diversity in the acting pool at castings than I did 5 years ago when we had a president that rarely used Twitter - and if he did it was never used to offend anyone.

So now what? You’re part of a growing trend. How do you take advantage of a trend in your type? Well, first leaving your apartment is a good step. In the brief window where #GayDads were everywhere we did just that. It was about 2011 and the fight for marriage equality was in the news every day. As courts ruled and legislative branches voted in our favor state by state and eventually sea to shining sea, we made it our mission to attend every equality march, rally, and #Pride Parade in NYC and DC. We wrote letters to state senators, appeared on the local news and in the “failing” New York Times! We did print campaigns for Marriott and MetLife. Marriott even gave us our own float in the New York City Heritage of Pride Parade! I can’t begin to count the number of reality shows we were interviewed for. We actually filmed segments on two shows, one for Oprah and another for a Jerry Seinfeld comedy show on marriage, neither of which actually aired, but the point is we got “out” there (pun intended) and milked that trend for all it was worth. All you can do is create opportunities for yourself when you’re lucky enough to be part of the zeitgeist. Now if you’re gay and married, the only way to get exposure on social media is to take your shirt off and take a #BedSelfie with your husband. Aside from the occasional GymSelfie for my own motivational purposes - that is really not us, so hopefully sexy couple pics will die out soon. I can’t compete!

So if you’re not part of the “in” crowd my biggest piece of advice is to not start taking naked selfies with Ricky Martin’s baby, just BE YOURSELF!!! In college I spent a lot of time playing roles that I would never play in the real world, and I would compete with actors for those roles that I would never be sitting across from in a real casting office waiting room. When I first moved to New York, I wasted so much energy trying to be something I wasn’t. I look back at my old black and white headshots and I remember the photographer trying to make me pose like a soap opera hunk - which I wasn’t. Soaps and teen dramas were big business then. I was young but my hair was thinning, so I couldn’t be the hot teen and I was still too young to play the dad. I definitely wasn’t trending! I should’ve just shaved my head already and embraced roles like the comic book villain born out of a botched laboratory experiment. That would have been so much more fun! So as they taught us at @University of Cincinnati College-Conservatory of Music - CCM… get out of your head and just beeeeeeeeeee……..(deep breath)

Sooner or later everything comes back around…. even you.

I’m My Kids Manager

[swipestream]

Star Wars Rip-Offs: The Good, the Bad, and the Weird

A more innocent time, when a Swedish actor playing an Asian villain bothered no one.

As a major, SJW-infested corporation trots out another installment of a beloved franchise, devoid of excitement and fresh ideas but pumped to the gills with Social Justice, it’s interesting to go back to an earlier, more innocent time, shortly after the first Star Wars (1977) came out.  Not only was it legitimately excellent, it also became an insane success that changed the very economics of the film industry from a system dominated by directors making serious art for adults (think Network (1976), Chinatown (1974), or even more action-oriented fare like The French Connection (1971)) to one focusing on special effects-laden blockbusters for teens.  Many, myself included, would argue this was ultimately for the worst, but that’s a topic for another column.

The point is that in the wake of Star Wars’ success (the second-highest grossing film of all time when factoring in inflation, after Gone with the Wind (1939)), there were a slew of imitators.  Ignoring obvious foreign crap like the infamous Turkish Star Wars (1982), let’s look at a few of these.

Flash Gordon (1980)

Sure, Flash Gordon started as a comic strip in 1934 and there were several film serials released in the late 30s and early 40s.  But would there possibly have been a big-screen adaptation 40 years later if not for the success of the Star Wars franchise at the time?  Not a chance.  And it was produced by none other than Dino de Laurentiis, the brilliant, incorrigible, and utterly insane Italian mogul.

The film is a mess in many ways.  It went through numerous directorial changes (at various points, Fellini, George Lucas, and Sergio Leone were all considered!) and according to script writer Lorenzo Semple Jr, they couldn’t figure out whether to make it more serious or comical, eventually settling on the “wrong” choice of a cartoonish approach.  The lead Sam Jones physically looks the part of a tall, well-built, handsome American hero.  Unfortunately, being a nude model with no acting experience, he lacks charisma and even basic personality.  A disagreement with De Laurentiis also led to much of his dialogue being overdubbed.  Beyond that, the movie is a series of one set piece after another, frequently mediocre, with little rhyme or reason for them, but full of Three Stooges style hijinx.

And yet, there is a definite charm to the picture.  While Jones fails to impress, future James Bond Timothy Dalton is a fine roguish prince, the great Max Von Sydow is a solid villain, and the wonderful British character actor Brian Blessed, with his booming voice, is a memorable leader of the Hawkmen.  It’s a loud, boisterous movie, with colorful costumes and a genuine energy to it, no matter how silly the set piece.

And of course, it features a genuinely great soundtrack by Queen.  When most people think of the film, the opening lines of the theme play in their heads, and many of its other flaws melt away.  The song being used for the final, climactic battle is genuinely thrilling.

Krull (1983)

Reminds me a little of the character select screen for Golden Axe!

As I’ve mentioned in the comments here, this is my absolute favorite of the Star Wars rip-offs, which is equal to or even superior to the original in many ways.  Directed by the great, now slightly forgotten English director Peter Yates, it was my favorite movie as a child.  I dreaded revisiting it as an adult, as my reaction to most of what I liked then was “How the hell did I ever like THAT?!  This is crap!  I must have been a dumb kid!”  However, watching it as a jaded adult, not only did I enjoy it, but at its best, it inspired the same feelings of awe and wonder I had felt as a child.

Krull is a sprawling epic, with a ragged band of adventurers going on a hero’s journey to rescue a princess in a beautiful, enchanting, and deadly world.  Unlike Flash Gordon mentioned above, the set pieces in this movie are incredible, and feature considerable ingenuity.  Even the mystical weapon in the movie, a multi-bladed mix between a shuriken and a boomerang called a glaive (not to be confused with the actual historical weapon of the same name) proved so popular it has been many used in many fantasy properties since.

The fights are thrilling, the heroes likable, and the villains, including their creepy, insane castle, are dark and menacing.  In fact, it succeeds at many of the same metrics that Star Wars did, if not to the same extent.

However, in one regard it is clearly better than Star Wars, and that is the soundtrack.  Yes, Star Wars is excellent there, but I consider James Horner’s work on Krull to be the best in all of film history.  Even better than Basil Poledouris’ work on Conan the Barbarian (1982) or Ennio Morricone’s numerous masterpieces.

The music is ever-present, a constant element throughout the picture, elevating each scene.  If the picture wasn’t fundamentally good, the soundtrack wouldn’t matter so much.  But in this case, it infuses with that additional drama, pathos, and heroism to go from good to great.  The main theme is outstanding and the Ride of the Firemares is thrilling, but my personal favorite is The Widow’s Lullaby.

If my enthusiasm didn’t make it obvious enough, I encourage every reader here to check out this simultaneously overlooked and underrated classic.

Wizards (1977)

“Dull, adventure-less fantasy of propaganda and Marxism” would be more accurate.

Okay okay, I’m cheating here, as this was actually released three months before the first Star Wars.  Still, I can’t resist highlighting this left-wing, scaremongering screed masquerading as a fantasy film, since it shows the pitfalls of political propaganda in movies and was made 40 years before the current year.   It’s similar to Star Wars in some ways, including an earlier use of plasma rifles.

The plot of this animated movie would make any fairy tale seem complex.  In a post-apocalyptic world, magic is everywhere, and a Good Wizard defeats an Evil Wizard but spares him.  The Evil Wizard then stumbles upon an old reel of Nazi propaganda (I wish I was kidding), which he displays on a projector to a bunch of monsters.  Instead of being confused at what the fuck they’re watching, the monsters become an unstoppable killing machine, routing elves and other good creatures in battle.  The Good Wizard, along with a few travel companions, go on a journey to stop the Evil Wizard.

I’m not simplifying this, either.  The Good Wizard is even named Avatar and the Evil Wizard Blackwolf.

The use of film as a weapon of propaganda is classic SJW projection, as Wizards is as heavy-handed as anything by Leni Riefenstahl.

The story is thoroughly idiotic, features no adventure and little in the way of excitement.  Instead, it is constantly cloying and preaching what would have been cutting-edge leftist sociopolitical orthodoxy back then.

Amusingly, as soon as the projector goes out, Blackwolf’s unbeatable Nazi army of hulking monsters gets easily slaughtered by a bunch of scrawny elven wimps.  I thought this was illogical and stupid when I saw it, but it makes perfect sense now, understanding the pathology of leftist thinking.  They always think it will be a piece of cake to defeat their enemies, contrary to all evidence.  (Admittedly, this is a trap certain right-wingers fall into as well, in the opposite direction)  And American leftists never appreciate what a force the Nazis truly were, which is also an insult to their victims.  Being a Russian Jew, with many ancestors who had fought in the war, the sober assessment I heard growing up was that the Germans were the best soldiers in the world then.  But in this film, Blackwolf’s army is actually weak, and their success is based around a single film projector.  Ergo, the menace of the villains is revealed as illusory, and there is nothing significant worth celebrating in the elvish victory.

Also, in a climactic scene, the hippy, non-violent good wizard Avatar, who had spared Blackwolf and preaches non-violence and mercy, shoots Blackwolf dead with a gun.  In cold blood.  There is nothing wrong with such a solution by a different protagonist in a different situation, but after all the preaching we’ve heard, it makes Avatar nothing more than a hypocrite, fraud, and very possibly evil himself.  It also renders the high-minded leftist themes that the movie had pushed so hard as nothing more than trite bullshit, to be disposed of whenever convenient.  (Gee, doesn’t that attitude sound familiar?)

Anywho, I hope you have enjoyed this look at some old movies similar to Star Wars.  Sadly, among major studio releases these days, one is far more likely to get a picture in the mold of Wizards than that of Krull!

Star Wars Rip-Offs: The Good, the Bad, and the Weird published first on http://ift.tt/2zdiasi

[directorscutandsomeotherstuff]

Somewhere In Time (for real, this time.)

(So, a few months ago, I decided to write a Director’s Cut on a Phantom of the Opera fanfic called Somewhere in Time, about a girl who’s totally in love with the Phantom. I then decided to completely go off the rails and just spend a bunch of paragraphs railing on how dumb the Phantom was, as a character. That was fun, but now it’s time to actually do it, for real. I mean, there’s not any overriding reason why, but heck, it’s my blog, so why not?)

(For those of you who were privileged enough to not be teenagers during the height of the musical’s popularity, Phantom of the Opera is an Andrew Lloyd Webber piece. Originally based on a book in which a budding soprano is kidnapped by a terrible skull-faced monstrosity whose hobbies included ligature strangulation and hellish dungeon construction, Webber decided to make a few key changes. Said changes included turning the skull-faced monstrosity into a hot guy with a bit of a face scar, and to also turn him into a thinly veiled metaphor for sex in the process. As you can imagine, he’s super popular among horny teenage girls.)

(I’m gonna stop describing it, now, or I’m just gonna do a repeat performance of the last DC. Let’s go to the fic.)

(Among his legion of fans, we have PhantomsPandora, who decided to write a story in which a teen-aged writer and poetry enthusiast is suffering from depression, brought on by a maniacal infatuation with a character that doesn’t exist. Let me just say, I’m glad this girl’s probably somewhere in her late-twenties, by now. Tearing into somebody’s complex sexual power fantasy isn’t as fun, when they’re currently having it. All right, enough chatter.)

Christine sighed softly to herself. There was nothing left, was there? (Nope. Turns out there was... sorry.) She was dying, she felt. Of a broken heart, by a man who didn't even know her. Just another night in her room, locked away from her parents, long nights writing into her journal thinking morbidly. (She had been glad her parents had gotten her a journal thinking morbidly for her birthday, last week. She couldn’t imagine she’d have survived this ordeal by just writing into a normal journal.) She sat in front of her mirror and turned up her CD player, paying no mind to anyone else who might care. (Her despair was stronger than noise violation ordinances.) Erik was singing to her again, her beloved. There was something in the way he sung that called to her, and drew her there. The world begun to ebb away, as she closed her eyes, tears falling to her dark green carpet. (She had reason to cry; that carpet was ugly as sin, and did nothing to match her salmon pink walls and neon orange trim.) She sat Indian style, her dark-blonde hair falling around her face. Her parents never should have allowed her friends to take her to that performance a year ago, with the actors. (They should have sent her to that performance with the tax accountants, or the one with the meter maids.) It became all too much real to her, and she remembered that night, scrambling backstage, only to find an actor without make up. No Erik at all, just a man who was more than happy to hug her and get a picture, even though she was still crying. She knew that in her heart, he existed. He was there in her dreams, whether they were ones of simply singing, or a lover's embrace. His face did not bother her, with its rough textures; his eyes said that he was full of love and longing for her. (Also murderous intent. Lots of murderous intent.) And it was in his home that they loved, for all time. Only the cruel beep of the alarm clock reminded her that she had a life outside of the phantom. She sighed, trying not to sob again, trying to find energy somewhere. (Unfortunately, she had no doubt scrounged up the last E-tank from under her bed.) She wished she were dead, for this torture was too much to bear. To be without him in the dream world in which he existed, was too horrible. Every night of his singing to her, every night of him touching her, so real. (There was going to be a ribald comment, here, but I’m better than that. Also, she’s underage, and that’s gross.) To bounce back to earth.what a cruel existence. She had a hard life, Christine. Kept back from most things that would have really allowed her to grow up, by her family, and by her most sorrowful past. (You would think, ironically, that growing up during the Kosovo Wars would have forced her to grow up quickly. Having lost her brother and boyfriend to air strikes... oh, who are we kidding? Christine had no past worth mentioning.) She doubted her sanity, almost. She would lapse in to long periods of daydreaming of when she could be away from this world. Someday soon, she thought. Of my own making. (A homemade cake. From scratch. Chocolate.) Her body was weakening from its loss of food, her eyes were becoming darker and darker with the loss of sleep (as the Sharingan began to manifest), and everything about her was breaking down. Yet it didn't matter to her. She would test him. Surely, he would notice, if she thought he was real. In dreams, he noticed everything new about her. (Methinks this Erik fellow’s looking a bit too closely at an underage girl. Has anyone told Christine’s dad about this?) Maybe this time, he would see the condition that she was in. No one else so far had taken the trouble. Friends hadn't called or visited in days, and it no longer mattered to her as much as it had before. Now she could go back to her room after long hours of acting like she was just tired, but happy, to others, then she would writing in her journal and then crying herself to sleep. At times, she was proud that no one could tell, and at others, deeply hurt. Shouldn't someone be able to notice, other than the one who couldn't really help her? (I mean, at this point, the guidance counselor would surely “writing” something in her notebook about the sudden weight loss and the darkening eyes.) Her hand stilled at the page and instead she decided that she would try and sing along with Erik, smiling softly. The actor who played him was superb, but it was not really Erik. Erik had such a powerful voice, dark and sensual, and at times so soft that it felt like the voice was wrapping itself around her. (Yeah. Clearly, she hadn’t watched the movie. That’s not Gerard Butler, at all.) So now, she sung as the phantom commanded, higher, and higher, until she felt dizzy and had to stop.

(”She’s singing again,” said Christine’s mom.

(”Yes, dear,” said Christine’s dad, with a sigh. “I can hear her. The whole neighborhood can hear her.”

(”Should we do something about it?”

(”We’re parents in a fanfiction, honey. We’re not supposed to be competent.”

(Christine’s mom could only shrug. “Fair enough. You wanna go over to the guest bedroom, where it’s quieter?”

(”God, yes. At least, somebody around here should be getting laid.”) The tremors that came didn't bother her as they had before, she noticed. They almost stole her breath away, but she calmed herself long enough to blow out the candle at her side, aiding her in her writing that she was doing before. She would write in the dark quite often, and play classical music, sitting long after her legs began to cramp, neglecting other needs, such as food (and pooping. It was like sitting with a bag of charcoal briquettes in her, most nights). It no longer mattered, her hands flew from page to page in a blind passion, dark stories flying from her fingers onto the notebook paper. But now she just wanted to look at her reflection in the mirror next to her, until she could no longer feel this world, but feel a blurred daydream. (She saw nothing, for it was pitch black.) She warmed at that, and it had been so long since her body had warmed at the thought of something, even her heart felt warm. The daydream was beautiful, elaborate.until it suddenly seemed too real. "Christine." A voice softly whispered, a male voice so soft that no one could notice.

(A few minutes later, it spoke up again, this time more loudly. “Christine! Yo! I’m over here, girl!”)

She looked up from her spot, to notice a man standing in front of her, beginning to crouch to her level. His cloak folded behind him, his hands finding hers, she could barely hold back the tears in her eyes, noticing that the ones dropped on her fingers, were not of her own tears. (No, these tears were not formed of her own tears, but instead they were formed of... I dunno, a combination of pea soup and dollar store aftershave.)

"My love.I've waited a life time.it seemed so long without you." (”I hope you’re okay with me being an old man, now. I mean, I was an adult in the 1900′s, so... hope you like your men wrinkly!”)

She shuddered, the tremors in her chest becoming stronger, more powerful, and she had to strain to whisper, falling into his arms. It was her Erik, but no longer with his mask, or his deformed face. He had a face of an angel now, (specifically, that kid Angel from math class that she always had the hots for, but could never really gather the courage to talk to.) his eyes were the same golden beautiful color, and his beautiful black hair slicked back and shining in the (snuffed-out) candlelight of Christine's room. "Oh.Erik.You didn't leave me! You love me!" She clutched on to him, pulling his face down to hers and kissing him.

"I've loved you before, Christine. I can't help but love you as I do. We're one in soul and in mind. How can I forget my little angel?" His arms were warm and welcoming, as was his hot breath on her neck, holding her tightly to him. His soft cologne was soothing, alluring her.

"Is this real? Or am I dreaming.Erik.you're so beautiful."

(”Oh, Angel-I mean Erik! Erik. I’m in love with an elusive fictional character and absolutely nobody else. Now, shut up and neck me!”) She sighed, growing weaker and weaker in that embrace, the pains in her chest growing. As intense as they were, they were nothing compared to the soaring of her soul.

"Where I've waited for you, I no longer look as I did then. I came with that face in your dreams, speaking to you, singing with you to make you remember. Yes, those dreams were real. I would try anything within my power to have you with me once more. (”I would even try Zumba, even though that looks ridiculous.”) I remember our past, the man that I once was, the pain you caused when you left me that time, (”and the people I’ve killed. The many, many people I’ve killed.”) but you do not. And it doesn't matter, my darling, because I'll be with you forever now. As we were meant to be on earth." He said softly, kissing her whitening forehead.

"Promise me you'll never leave me Erik.forgive me for doing this, for letting myself go.. I just couldn't handle just dreaming of you anymore. I felt so unloved, and so.unwanted in this world. (”Sure, I never said anything to Angel about my feelings, but how dare he not read my mind and immediately return them... I mean...”) I wanted to surrender to our beautiful dreams forever."

"Christine.I'll never leave you, no matter what may come between us. I never left your heart, and you never left mine. Ah, that line from long ago, my darling, anywhere you go, let me go too.I never broke my promise." (”I also promised that you would rue the day you did not do all that I asked you to do. You’d better prepare yourself for some bullshit.”)

Despite her cooling body, she felt so warm, so filled with love for this man, remembering suddenly everything, that first time when they had found love, that it was too powerful a love for Christine to accept. (...she’s still underage.) She remembered her older form, in a wedding gown, crying tears as he was, finding strength to only give him her kiss. (It took everything she had not to screw him silly right there on the altar. What? It’s her older form, in this sentence.) Everything flashed back to her, as her eyes began to close as all reflexes went in her body (including twitch, gag, and those reflex saves you make in Dungeons and Dragons) and her hand slipped from Erik's. She could only murmur that she loved him as the last breath left her body, her face showing that she was happy and free.

Erik wept and then stood with her in his arms to the mirror, entering the place where all lived in happiness after a lifetime of pain. There she became alive again, (making Erik’s weeping premature and pointless,) and they loved forever, knowing that the Phantom and Christine did exist, because of an all-consuming love.

Her mother forced open the door, noticing that all sounds from her daughter's room had ceased. (It took her a while, admittedly; actually being able to hear herself think was such a welcome relief.) She came past many books, several pages of paper scattered about, and it was full of Christine's furious handwriting. And then she stopped short of the mirror, noticing her daughter's crumpled form beside it. She looked like she was sleeping, in a wonderful dream, softly smiling. It was only when she noticed that Christine's lips were blue, that her beautiful daughter (had terrible taste in lipsick. Also she) was dead. She cried out loud, picking up her cold body in her mothering arms, smoothing the dark gold curls, and then stopped, knowing that her daughter was suddenly at peace. (Upon learning her daughter was at peace, she dropped Christine’s body like a sack of potatoes and thought no more of her death.)

She picked up the notebook that she had never been able to read, noticing that it was flung open to one certain page. She wiped her eyes and tried to read it, trembling. (She then immediately closed it, realizing it was a collection of thinly veiled sexual fantasies under the pretense of fiction. Having been a teenage girl, herself, Christine’s mom knew better than to fall down that particular rabbit hole. Instead, she picked up a notebook that wasn’t titled like a cheap bodice-ripper and began to read.)

"When she loved him, he was her everything. He lived for her, for the light in her eyes, her voice. She loved him, it did not matter what he looked like, as long as he loved her with the same passion to which she gave him. To live without her, he would most certainly die.and in doing so, he waited in heaven to meet her again, where they would never be separated.. "

(”Of course, then the honeymoon began to peter out on their eternal love. It had been fun and exciting for the first few months, of course. How couldn’t it? She’d whipped herself into an all-fired frenzy, imagining what it would be like to have eternal love, and he’d been so incredibly flattered to have somebody that devoted to him that he couldn’t help but feel a sort of contact high from the emotions running rampant.

(”As time wore on, however, it started to become obvious that she had been so starved for her desires, she had merely come to adore what little her new heavenly husband could provide. Once the embers had managed to cool, she was left with the haunting realization that no man could ever hope to climb the incredible pedestal she had built, on which her lover was meant to stand. Oh, he would try. Like the devil, he would try. For all his effort, though, he would always be left... wanting.

(”The fights would happen, soon afterwards. Not that they were any one’s fault, in particular. They both were confused, and frustrated, and wondering why it was that love suddenly seemed so much more complicated than it was when they were simply daydreaming. It could only end one of two ways, from there: either they could reconcile their visions of love with the realities of life and the world, or theirs would be one of the thousands of relationships every day sacrificed upon the altar of their childish vision of “love.””)

Yes, her daughter most certainly did(”)love(”)the phantom of the opera...

[theatredirectors]

Michael Alvarez

Hometown?

Monterey, California.

Where are you now?

Los Angeles, California.

What's your current project?

Gearing up for the Drama League Fellowship at the Hangar Theatre this summer; and in the fall I will be directing Chekhov’s The Seagull.

Why and how did you get into theatre?

I distinctly remember being 4 years old at my grandma’s house and sitting about a foot from her old TV watching The Wizard of Oz for the millionth and a half time. As Dorothy returned back from Oz, I turned to my mom, who was at the kitchen table talking to my aunt, and pointed to the TV and said, “ I want to do that for the rest of my life.” I wasn’t aware at the time why I wanted that or what that meant – but I knew deep down it was what I was meant to do. Through all the old films, musicals and theatrical events I devoured as a child, I was able to experience a world beyond my own.  I saw parts of myself reflected in all the different characters and situations I engaged with. These various theatrical experiences were, in a way, extensions of my own self and consciousness. Of course as a kid my ideas were far less complex!

I was fortunate that where I grew up had some wonderful community theatres (a shout out to The Western Stage and Ariel Theatrical) that exposed me to the canon of theatrical work and taught me the discipline and rigor a life in the theatre would be. I was an actor, mostly, growing up – but was always far more interested in the enigmatic figure of the director and marveled in awe as to how they had created an entire production! I began directing in high school and instantly knew that this was my path.  It combined my love of language, music, visual arts, psychology, philosophy, metaphysics, history, fashion, dance, and plenty more!

What is your directing dream project?

My dream project would probably be a new work/ project with music – that I have yet to encounter - that experiments with theatrical form, demands a high level of visual spectacle that is balanced by intellectual engagement, engages/activates non-traditional theatre-going audiences, bridges the world of theatre into pop culture and is emotionally engaging. Any ideas?!

What kind of theatre excites you?

Visceral theatre from the soul! You always can sense the impetus for creation in a work – its DNA is palpable. Regardless of form or style, I respond to work that is authentic to its creators and is clear and specific in its execution. I very much appreciate work that pushes the boundaries of performance and plays with form. I am always asking myself how the American Theatre is evolving and am excited to encounter work that I feel is attempting to grow the genre!

What do you want to change about theatre today?

I want theatre to break out of its “theatre bubble” and continue finding its crossover into other mediums. Film, television, fashion, music – they all work in tandem together to keep evolving themselves in popular culture, but where is live theatre in this? How do we make theatre more relevant and accessible to a wider and more diverse audience? I would also want theatre to diversify itself – what and whose stories are being told, who is telling them and how are they being told and created? American theatre needs more risk and diversification.

What is your opinion on getting a directing MFA?

Everyone learns different and requires different experiences, but I think grad school can certainly be a great option. It offers time to invest in you. Yes, you will be learning about craft and gaining professional skills – but more importantly, it’s a space for you to explore ideas, aesthetics, approaches and yourself. We are always in a constant state of learning and evolving – as a person and artist - and that is reflected in our art-making. If grad school is something you are interested in, don’t just jump in. Know why you want to go to school and what you want to get out of it – I guarantee you, this will help you to navigate your journey through it. Work in the world first though, travel, experience things outside of your comfort zone; and see what you like, what you don’t like and what you want to change. Then go to grad school and figure out how you want to conflate all your experiences/ideas and continue developing your own unique style and approach to theatre making.

Who are your theatrical heroes?

So many!!! But here are a few:

Antonin Artaud, Tadeusz Kantor, Ivo van Hove, Marianne Elliot, Emma Rice:

Artaud and Kantor both cracked open my mind about what theatre and performance is and could be; and I find their writings, and the energy of them, completely inspirational. Ivo van Hove, Marianne Elliot and Emma Rice are three contemporary directors that I find very exciting. Each creates theatrical events that convey the heart and narrative of the piece, but in a way that is unique and surprising! They play with form, style and ways of audience engagement with the material.

David La Chappell, Steven Klein, Alexander McQueen, Chanel (and their runway shows)

Though maybe non-traditional to this question, I couldn’t answer it without them. These are highly theatrical artist and their use of visual storytelling is masterful! It’s fashion, art, pop culture, theatre, histories and iconography all rolled into one! Each creates highly stylized worlds that are rooted in our reality, but viewed/ experienced through different lenses. Looking at their work is always surprising and an adventure!

Any advice for directors just starting out?

Read, read, read!

Read all the plays and books you can!  Know the canon, know your theatrical history, know who trail blazed it and why! Anne Bogart, Katie Mitchell, Declan Donnellan, Antonin Artaud, Tadeusz Kantor, Peter Brook – all brilliant writers to read!

Create, create, create!

Get some friends together and make work! The best way to learn about directing, is just to direct! Don’t worry about outcome (that’ll come later!) just focus on the process of creating and keep a journal about what works and what doesn’t. Document everything and track your growth.

Experiment, experiment, experiment!

Don’t settle for existing forms or modalities of creating. Make your own. You are a part of the future of this medium – what will you contribute?

Lastly…

If you want to be a director, really get to know yourself as person – who you are, what you stand for, what you like and don’t like, what inspires you, what pisses you off, what makes you cry and so forth. The more in touch you are with what’s alive in you, the more you will be able to connect to what is alive in other people.

Plugs!

If you’re up to it, check out my website for more about my work:

www.michael-alvarez.com

And, if you haven’t already, check out the great work of the Drama League:

http://www.dramaleague.org/