Seeking A Friend For The End of The World... Procrastinate.

Okay... we procrastinated about seeing the film Seeking A Friend For The End of The World... which is probably PRECISELY what we would do if we were faced with this dilemna... put it off... think about Douglas Adams and why we we weren't blessed with an alien friend to allow us to hitchhike our way out of it all. But, here we are, all the better for having seen this film because... it gave us a tremendous insight into the human mind's inability to just "accept and be"... for now. It is indeed a speculative little film that provides plenty of psychological enigmas. But it also allows each of us to stare a tad bit longer a the oncoming stranger we might have never bothered to notice. So this is our answer to the film... procrastinate. But do it for all of the reasons you use to put things off. You see, when take the time to procrastinate, you wallow about in that which you never usually stop to notice.  Seeking a Friend For The End of The World provides a charming, emotional and thought-provoking ride through a somewhat confused apathetic society facing certain death; a beautiful story told with exceptional confidence by Scafaria.

And with any Carell movie, awkward humor is never far away. What's more, the Mayans aren't mentioned once— so... no ancient mesoamerican culture's thought was abused in the making of this film. Seeking Friend for the End of the World takes place sometime in the future— but not too far away. Writer/director Lorene Scafaria explains, "I always intended to be vague about it in the telling. The only time we see a date is on a bottle of cough syrup, and we don't know if the expiration date is coming up or it's already come and gone. "By being only relatively in the future, I had options to play with the look of the film. [Production designer] Chris Spellman and [director of photography] Tim Orr helped to create the entire aesthetic for the movie." Spellman remembers, "When Lorene and I first met up, we talked quite a bit about some films that she wanted me to see."

"I was inspired by films like Defending Your Life and Songs from the Second Floor, movies which created their own world," says Scafaria, who also discussed with Spellman how the design, sets and set dressing should not overpower the story and characters— as in many an end-of-the-world tale— but instead inform them. "Chris and I figured out the tiny little stories within our story, whether it was for an object or for a person you see only fleetingly." Producer Mark Roybal found that "the aesthetic that's been achieved is that of a future which is recognizable. Since things are not overdesigned, there is no detracting from the heart of the story. "Chris was so good at doing research when it was needed; for example, the plot point, of if a small plane could in fact transport someone overseas was something that he ratified."

Spellman notes, "We went with what the script dictated. Tim— whom I've worked with before— and Lorene and I went through it page by page, and discussed what the mood might be in terms of lighting, for instance." Scafaria reveals, "I had had high hopes we would get Tim for Nick & Norah's Infinite Playlist; I'd seen and loved his work. When that didn't pan out, I became obsessed with working with him some day, and I felt so fortunate when we landed him for this— my first time out as director. "We mapped out the entire shot list well before production started, then revised it as we went along, and certainly improvised when we had to on a given day. It was a very symbiotic collaboration. We agreed on our process together out of the gate, coordinating on shot composition. I come from a theater background, so I had to keep reminding myself to try to get as much coverage as possible. I learned more from Tim than from anyone else, and often referred to our time together as 'my film school with Tim Orr.'"

The writer/director also worked closely with Orr's actual film school classmate and longtime collaborator, film editor Zene Baker; during filming, Scafaria would watch all of the dailies as she went along and then discuss them with Baker, which in turn made the post-production phase progress that much more efficiently. Like Spellman, costume designer Kristin Burke was tasked with anticipating the near future. She notes, "When a script ventures even a little bit into the future, you naturally wonder, 'Okay, what are we going to be wearing? What fabric are we going to have that we don't have now?' "But Lorene wanted to make the clothing as classic as possible, so that the film doesn't date itself and also so it wouldn't be implausible. For example, where were we 10 years ago and how much is the fashion sensibility different from today's? Well, it's not that far; between 1972 and 1962, now there was a huge gap."

She elaborates, "What we were trying to do overall was 'retro future,' and as accessibly as possible for the viewer. As apocalyptic as this story might seem, it's not depressing, and our costuming reflects that." Burke was particularly pleased to be able to costume Knightley for a rare non-"costume" role. The designer says, "Penny is eclectically minded; we were looking to create a look for Keira which spoke to that. The way Penny dresses incorporates vintage elements and something of that mindset. "While there were no corsets for Keira on this movie, Penny is accessorized with something from the past— vinyl record albums." The Next and Last Songs You Hear— While Dodge totes along the scruffy dog Sorry, Penny hand-carries vinyl albums from her coveted record collection.

As Lorene Scafaria muses, "There's always that 'what if' question; in case of a fire, what are you going to grab when you're on your way out the door? What can you in fact physically carry? "Dodge by then feels responsible for the dog, but for Penny these all of these albums have long had meaning to her; her record collection is something that she's taken care of for years and years— in part because it is a real connection to her parents."

Scafaria reveals, "Music is important to me, so I felt that this story wouldn't be complete without it. Part of showing Penny's journey was through what— if not who— she has." Production designer Chris Spellman and his team didn't have to search far for the record albums that Keira Knightley would be clutching; Penny's urgently streamlined collection is curated from Scafaria's own. Specific songs, albums, and artists had been written into the script from the earliest drafts. When asked which albums she would rescue in case of fire— or worse— the writer/director says, "Lou Reed's 'Coney Island Baby,' some Gene Clark, The Beach Boys' 'Pet Sounds,' The Beatles." Knightley states that her top music picks would have to be, "Supertramp and Talking Heads. Also, if in fact the world were ending, I would get on the road to North Devon."

Steve Carell would not take "albums because my car lacks a turntable. My family would go to Disney World, with a steady stream of Justin Bieber and Selena Gomez; what the kids are listening to these days— "'What the kids are listening to these days?' I just sounded about an 85 year old would eat... a lot of junk food, but I wouldn't steal it; I would purchase cupcakes and brownies. Chinese food and pizza, too." Scafaria muses, "I might stay put; I'm happy in L.A. I might drive north. I do have a 'what if' box ready to grab, plus my dogs and the person I'm with. I would want to be with friends and family as much as possible."

Producer Mark Roybal says, "There would have to be one serious sized camper with full entertainment, and a limitless supply of gas so we could go anywhere we wanted. There would be debaucherous eating and drinking— within the confines of safety, since I have kids. But I do think there would be hot dogs for breakfast. "Our family road trip's soundtrack would include 'Harvest Moon,' by Neil Young. That was our wedding song. Also, U2's 'Joshua Tree,' The Band, and lots of Adele, because my kids love to belt out her songs." Producer Joy Gorman Wettels demurs, "I'd do anything within reason that's under a good rationale. If the idea of living on an island in Greece is moot, I would just try to relax." For everyone on the set, variations on these questions and answers were invariably put forth and debated on a daily basis. What Scafaria had described as the "wonderful group of actors," many of whom were on-set for just a couple of days, proved eager to chat with each other and the crew between takes, comparing notes on ultimate musical collections and cities of their final destinations. Actor Derek Luke offers, "I'd go and find people to help, or friends that I need to apologize to." Actress Connie Britton reflects, "I would probably drive across the country and I would listen to every single kind of music, especially music from my childhood and Prince's '1999,' even though he was off with the year by just a little bit."

Expanding on Britton's playlist, Scafaria's assistant Virginia Shearer "would take 'Purple Rain,' 'Sign o' the Times,' 'Dirty Mind,' and 'Controversy.' And, Prince himself." Actress Melanie Lynskey comments, "My husband and our dog and I would hopefully go to Savannah. I'd bring The Cure and The Smiths and Pavement, and just listen and feel comforted." Camera loader/production assistant Josh Novak picks "anything by Otis Redding— let's just say 'Greatest Hits,' for the sake of not carrying bulk on the road trip to somewhere peaceful and tropical." Opting for neither peaceful nor tropical, actress Gillian Jacobs enthuses, "I've never really broken any laws in my life, so I'd probably break a lot of them. I would probably destroy a lot of buildings using heavy equipment from construction sites. Maybe crash cars into medians on the highway, firebomb empty buildings— standard stuff." Actor Patton Oswalt states, "I would have the theme to the TV show The Facts of Life on a loop, and drive towards Elton John, wherever he was. Because I'd want to hear him sing 'Goodbye Yellow Brick Road' while the meteor was approaching us; I just don't think there's any better way to end the world." Gail Scafaria, the writer/director's mother, says, "Just to be with Lorene. Yeah, that would be it."

Abraham Lincoln Vampire Hunter— Immersive

Abraham Lincoln. Vampire Hunter. The very words simply evoke a juxtaposition that is totally unexpected, if not downright bizarre. Sure, it sounds like a really absurd idea: take the life of Abraham Lincoln, often cited as the greatest US president, and throw in some nasty, bad-ass vampires. It's certainly going to be very different from the Lincoln bio-pic that Spielberg is currently working on. When I first heard about the whole premise, I completely dismissed it just on principle, but the more I hear about the upcoming film, the more it seems like it takes itself as seriously as possible, using the vampires as a device to create a very social, yet character driven feature. Yet it's an idea to which the filmmakers have fully committed. Their work is a portrait of the man and leader we've all studied and the seminal events that defined him and our nation— interwoven with the immersive, visceral action of an adventerous vampire story.

At the same time, ABRAHAM LINCOLN: VAMPIRE HUNTER presents the Great Emancipator as the country's first superhero. Notes producer Tim Burton: "Lincoln's entire life mirrors the classic comic book superhero mythology. It's a duality: during the day he's the president of the United States; at night, a vampire hunter." That dichotomy is at the core of the Lincoln we meet in the film. "He was both ordinary and extraordinary at the same time," says director Timur Bekmambetov. Adds screenwriter Seth Grahame-Smith, who adapted his best-selling novel of the same name: "Lincoln's life story is an archetypal superhero origin story. He's as close to an actual superhero as this country's ever seen. Forget about vampires. Lincoln had neither family name nor money. His mother died when he was a youngster. In fact, everybody he loved had died. With no education, and armed with just his mind, he became president and saved the nation."

These themes grabbed the attention of Burton, his fellow producer Jim Lemley, and Timur Bekmambetov. Even before Grahame-Smith had completed the novel, Burton heard the title and his mind kicked into gear. "It sounded like the kind of movie I wanted to see," Burton claims. "It felt like it could have the crazy energy of the films of my youth, which had a lot of weird mash-ups of horror movies." Lemley, who had produced with Burton and Bekmambetov the animated film "9," says that Burton's sensibilities were a perfect match for this type of material. "What Tim does so brilliantly is to take conventional imagery and stories and turn them on their heads, and examine them from an unexpected perspective."

The "vampire hunter" portion of the story offers explosive thrills, scares, and stunts, but the filmmakers never forgot that they were also presenting a portrait of a beloved figure, as well as the monumental events that shaped our nation and continue to define contemporary discourse. "Everything had to be presented in a very straightforward way," says Grahame-Smith. "We never wink at the audience; not even once. Tim Burton really supported us and protected that vision." Grahame-Smith notes that his idea for his book Abraham Lincoln: Vampire Hunter came from an observation he made during a 2009 tour to promote his previous tome, Pride and Prejudice and Zombies, another unexpected connection between disparate cultural entities. The author/screenwriter recalls: "That year marked the bicentennial of Lincoln's birth, and many of the bookstores on my promotional tour had two displays: one featured books about Lincoln's life; the other was a vampire-themed display, including the Twilight and Sookie Stackhouse books [upon which the television show "True Blood" was based]. It led me to think about combining the two subjects."

Grahame-Smith's vampires were polar opposites to the romantic figures captured in the pages of the books he saw on display. His creatures of the undead pay proper reverence to the classic tradition of vampires in the movies. "The vampires in our movie aren't romantic or funny, and they certainly don't sparkle," he notes. "Our vampires are bloodthirsty, viscious and cunning— and most frightening of all, they've become a part of the fabric of everyday life, working as blacksmiths, pharmacists, and bankers." The vampires' principal foe is one of history's most beloved figures, whom many consider our greatest president. This story covers 45 years in Abraham Lincoln's life, from 1820 to 1865, and is set in Kentucky, Illinois, and Louisiana and, of course, the nation's capital. So, who would follow in the footsteps of some of our most accomplished actors, and play the iconic leader and fearless vampire slayer? The nod went to stage actor Benjamin Walker, who coincidentally already had accrued some "presidential" experience as the lead in the play "Bloody Bloody Andrew Jackson," which had a Broadway run in 2010.

"Ben brings humanity and a mischievous quality, which felt very real, to the role," says Tim Burton. Adds Jim Lemley: "Ben captures Lincoln's honesty, integrity, courage and sense of purpose." Most important to Walker was the opportunity to portray not only what made Lincoln a giant, but also a relatable human being. "What's dangerous about playing an icon is not allowing the character to be human," says the actor. "You must allow the character to be vulnerable or even silly. Luckily, Tim and Timur were open to making Abraham a flawed, funny and conflicted man."

"The human side is always the most important thing," Burton concurs. "And the character has to have a sense of humor because no one could survive as a vampire hunter without it." Walker, a 6'3" Juilliard-trained actor certainly had the physical stature to portray the lanky Lincoln. But could the young actor, 29 at the time, convey, physically, the Civil War-era figure whose iconic, aged visage graces our history books and currency? Bekmambetov, Burton and Lemley put Walker to the test— a screen test— during which the actor donned prosthetics that aged him to 55, and delivered one of the most renowned speeches in history, the Gettysburg Address. Walker more than impressed the filmmakers. "My reaction was, 'Oh my God, it's Abraham Lincoln delivering the Gettysburg Address!" Lemley exclaims. Looming ahead for Walker was the imperative to drop 30 pounds to achieve the requisite Lincolnesque leanness, as well as hundreds of hours of weapons training to turn him into the ultimate hunter of the undead.

Before Walker takes center stage as Abraham, we meet the character as a child. His journey begins when his mother Nancy is stricken with a disease of unknown origin— but recognizable to young Abraham as resulting from a vampire's bite. Nancy was a woman of intelligence and heart, imparting on her son the notion that, "until everyone is free, we are all slaves." Abraham never forgot those words, which came to define his views toward slavery. Nor would he ever forget the eternal evil responsible for his mother's death: a vampire (and local businessman) named Jack Barts, portrayed by Marton Csokas, against whom Abraham swears revenge. But his first attack against Barts fails, and Abraham narrowly escapes with his life. He is rescued by the charismatic Henry, a high-living and refined ladies' man. Henry, portrayed by British actor Dominic Cooper, is not interested in Abraham's simple quest for revenge. Instead, he instructs Abraham to control his rage, become stronger, and fight for the greater good of mankind. "It's a choice," Henry tells Abraham, "between doing something extraordinary or being satisfied with simple vengeance."

The combination of rich period atmosphere, a unique perspective on our 16th president, and the army of the undead he's hunting, makes for a motion picture experience like no other. For the writer who gave birth to it all, Seth Grahame-Smith, the film's release caps a journey that began with his best-selling book. A key element in capturing Lincoln's personality was making sure his humor came through. "He could be the life of the party, and was an exciting and entertaining man," Grahame-Smith sums up. "I think he'd love our movie."

Hitchcock's Notebooks— Film Virtuoso

I read this book when it was released back in 1999. I have always been fascinated with Alfred Hitchcock. He will always be, in my opinion, the greatest director that ever lived. From a couple desperately racing across the top of Mount Rushmore to a woman's final shower at an isolated motel, no other filmmaker has given movie fans more unforgettable images or heart-pounding thrills than Alfred Hitchcock. Now for the first time, you can finally share in the Master of Suspense's inspiration and articulate development, his entire creative process, his subtle brilliance... in Hitchcock's Notebooks. With the complete cooperation of the Hitchcock estate and unprecedented access to the director's notes, files, and archives, Dan Auiler takes you from the very beginnings of story creation to the master's final touches during post-production. 

Actual production notes from Hitchcock's masterpieces join detailed interviews with key production personnel, including writers, actors and actresses, and his personal assistant of more than thirty years. Mirroring the director's working methods to give you the actual feel of his process, the book explores the production files of 'Shadow Of A Doubt,' 'Strangers On A Train,' 'North By Northwest,' and others, as well as the legendary lost works: 'The Mountain Eagle' and the unfinished film 'Kaleidoscope'. Highlighted by nearly one hundred photographs and illustrations, chapters focus on finding and constructing the right story (featuring interviews with such renowned screenwriters as Charles Bennett, Samuel Taylor, and Ernest Lehman); envisioning the film (from storyboards to set design); the filming (spotlighting Hitchcock's innovations and trick shots); music; and so much more.  

No fan or film student should be without this definitive guide to the renowned filmmaker's art. From a couple racing across the top of Mount Rushmore to a woman's final shower at an isolated motel, no other filmmaker has given movie fans more unforgettable images or heart-pounding thrills than Alfred Hitchcock. Now for the first time, you can finally share in the Master of Suspense's inspiration and development— his entire creative process— in Hitchcock's Notebooks. With the complete cooperation of the Hitchcock estate and unprecedented access to the director's notes, files, and archives, Dan Auiler takes you from the very beginnings of story creation to the master's final touches during post-production. Actual production notes from Hitchcock's masterpieces join detailed interviews with key production personnel, including writers, actors and actresses, and his personal assistant of more than thirty years. 

Mirroring the director's working methods to give you the actual feel of his process, the book explores the production files of Shadow Of A Doubt, Strangers On A Train, North By Northwest, and others, as well as the legendary lost works: The Mountain Eagle and the unfinished film Kaleidoscope. Highlighted by nearly one hundred photographs and illustrations, chapters focus on finding and constructing the right story (featuring interviews with such renowned screenwriters as Charles Bennett, Samuel Taylor, and Ernest Lehman); envisioning the film (from storyboards to set design); the filming (spotlighting Hitchcock's innovations and trick shots); music; and much more. No fan or film student should be without this definitive guide to the renowned filmmaker's art.

Brittany Murphy— We Still Miss Her

Brittany Murphy, the bubbly, free-spirited actress who appeared in such films as Clueless and 8 Mile, died of natural causes back in 2009. She was only 32. Our favorite film starring Brittany will always be Little Black Book as the actress perfectly captured how we all sometimes feel when it comes to relationships and matters of the heart. This little gem of a film pulls together a stellar cast including Kathy Bates, Holly Hunter and Carly Simon [as herself]... 

This snippet from the feel-good film goes out to Brittany Murphy as she will always remain in our hearts. http://www.youtube.com/watch?v=NFF0tfzLqPE If you have an opportunity to snag up a DVD of Little Black Book, do so... as it brings out the dreamer in all of us... there's a spark of optimistic magic in the film that we could all use right now.

Murphy got her first big film break playing one of Alicia Silverstone’s high-school clique in Clueless. She followed this intuitive performance with a series of roles on TV, before again turning in a notable supporting performance in the Winona Ryder/Angelina Jolie starrer Girl, Interrupted. She also stood out in another challenging supporting role in the Michael Douglas thriller Don’t Say a Word, which no doubt helped to land her a starring role in 2002 in 8 Mile opposite rapper Eminem. Playing Eminem’s beautiful but unfaithful new girlfriend in Curtis Hanson’s powerful Detroit drama, Murphy turned in a raw and sympathetic performance in what was on the surface an unsympathetic role.

Brittany was a "breath of fresh air" compared to so many of the "mini divas" that permeate the film industry like so many parasites. She brought such a natural charm and genuine love/vulnerabilty to every character she played. One of the first things Brittany Murphy did when she showed up on the Oregon set of her independent thriller Something Wicked was acknowledge— and apologize... for her weight, which, to us, was absurd. "I met her on the first day she arrived in Eugene with her husband," explained Scott Chambers, a principal at Chambers Productions and an executive producer on the picture. "She looked ill, as much as 10 pounds underweight, and she's a small person to begin with. She easily could have made an excuse not to come to work, but she didn't. She said, 'I've got to get better, but I want to do this part.'"

A day after the death of the 32-year-old actress, people in the film business described a woman who continued to work tirelessly even as her star-wattage dimmed somewhat and health issues began to take their toll. Murphy spent about three weeks shooting her role as a psychiatrist in Something Wicked, a mystery thriller about a teenage couple experiencing supernatural phenomena. Chambers noted that although the part was not physically demanding— most of the scenes took place in an office setting— he nonetheless was struck by Murphy's commitment to her part given her fragile state.

Angelo Bertolotti, who says he is the late actress Brittany Murphy’s biological father, has filed suit this past year against the Los Angeles Coroner’s Office and the Los Angeles Police Department. He wants to force them to do additional toxicology testing on a sample of the star’s hair and to re-open the investigation into her death. Brittany's mother has also filed a lawsuit against the attorneys that represented her in a suit against the builders of the home where the actress died, claiming the lawyers never told her about a possible wrongful death suit due to mold growing in the house. The suit by Sharon Murphy in Los Angeles Superior Court came nearly two years after the December 20th, 2009 death of Brittany Murphy, which was followed by the May 2010 death of Brittany's husband Simon Monjack. Sharon Murphy apparently did not become convinced that toxic mold was a cause in the death of her daughter and son-in-law until this past summer, when she was in the process of selling the house in the Hollywood Hills.

"Due to the lack of investigative efforts by the Los Angeles Police Department," states one of the lawsuits filed in L.A. Superior Court, "and the failure to conduct toxicology tests on the specimens" of her hair, Bertolotti believes that "his daughter's death was incorrectly determined to have been allegedly caused by pneumonia and anemia." No word as to where the case stands at this point. 

When the final curtain came down for Brittany Murphy, the drama played out in the one room in her Hollywood Hills mansion that had become her refuge: her bathroom. This tiled, peach-colored sanctuary was where she went to get away from the mounting pressures of her life: a house she hated, a city where she no longer wanted to live, a career that was imploding and the constant burden of being a caregiver. Even though she didn’t feel well herself, Brittany was there to care for her mother, Sharon Murphy, a breast cancer survivor suffering debilitating neuropathy, and her ailing husband of three years, 39-year-old Simon Monjack. For nearly a year, the England native had been having seizures and a month earlier suffered an apparent heart attack. When he had a seizure, his arms and legs flailing on the big four-poster bed, Brittany would rush to his side. Although weakened by anemia and gasping for breath from her own ailments, Brittany held his 300-pound body down, using a spoon to keep him from swallowing his own tongue.

The tabloid noise had increased over the years as Brittany got thinner and blonder in a quest for leading roles in movies, which also raised the specter of anorexia, which haunts many Hollywood actresses who feel the need to be thin. Brittany was 115 pounds when she died, a healthy weight for her height, even though she looked fragile. "She had curves in all the right places," Simon said as he was terribly upset by all of the tabloid innuendos. "She was just miniaturized. She ate whatever she wanted when she wanted."

It was wonderful that Brittany never lost her childlike innocence and sense of wonder... or that infectious giggle she often displayed as she was indeed an eternal optimist. But what worked for her as an actress made for a confusing life: She never learned to drive or balance her own checkbook. She looked to her mother, business managers and finally Simon to care for her. It was the need for a father— as her biological father [Bertolotti] was rarely part of her life— mentor, teacher and anchor that finally led her to Simon, who, inevitably died just 5 months after she did.

Whatever becomes of the two seperate lawsuits, filed by each of her parents... nothing can EVER replace the smile, the acquiescent person we all came to know and care about. There is still a noticible void in the industry... a place that will never be filled in quite the same way. Brittany Murphy herself once said, "I've learned to be selective of the people in my world, because if I love someone, I will give them my blood, whatever they need. In doing so, one can end up with little left for themselves. It's a lesson in self-preservation that I'm still learning. If you don't have yourself, you have nothing to give." This statement could easily sum up Brittany's life... but we prefer to remember her as a compassionate soul who dared to be selfless when it came to love... and everything else that she left behind in every role she played. We still miss her terribly... and always will.

Hal Leonard Performing Arts Publishing Group continues its pop culture connectivity series If You Like with the newest volume, If You Like Monty Python… (Limelight Editions, $16.99) by Zack Handlen. From its perfectly insane television show to its consistently irreverent and riotous movies, Monty Python has owned the zany and absurd side of comedy since its debut and has a massive following to prove it. But there’s a finite supply of Monty Python in the world, and once you’ve finished going through that supply, what happens next? In a world of dwindling video stores— and instructive video store clerks— If You Like Monty Python… guides you through over 200 films, television shows, books, and other material that will satisfy your Python withdrawal. If you have graduated from the Ministry of Silly Walks and want more, this book is for you.

One thing I have to say right off the bat is how much I enjoy the variety the company is employing here. The Beatles is a pretty obvious choice, but The Sopranos is a little out of left field. And as great as Python were, they are still (at least in the U.S.) considered relatively obscure. One thing I really enjoyed about this book is the way Handlen opens it— with a discussion of the roots of the comedy of Monty Python. While it may not be a stunning revelation that the members of the troupe found inspiration in the Marx Brothers, his mention of Charles Schulz's Peanuts was a tad bit unexpected— as was Bob Newhart's 1960 debut comedy Album LP; The Button-Down Mind of Bob Newhart.

As the book progresses, Handlen details the history of Monty Python's various works, plus the many other programs and such that they inspired. It is little surprise that Saturday Night Live and SCTV are included. But there are some pretty cool connections the author makes which I intend to look into as well. Although I have seen Stanley Kubrick's A Clockwork Orange (1971) many times, the mention of it in this context is interesting— and provides me with yet another excuse to watch it (as if I REALLY needed one). 

If You Like Monty Python… navigates readers through Python’s influences from Charlie Chaplin to the Flying Circus’s predecessor on British television, At Last the 1948 Show. Handlen also looks at Python’s contemporaries, other works by the individual Pythons, and those inspired in some way by Monty Python including mockumentaries like The Office and satirists like George Carlin. The book also includes useful appendixes like “Famous Monty Python Quotes, and How to Use Them” and “Master Lists of Musts for Python Addicts.” Surprising connections one may not have initially made are what make the If You Like Monty Python... book such a worthwhile read. This is a great series, and I certainly hope that the publisher continues with it.

Bradley Cooper— An Edge Among Actors

Recently voted "The Sexiest Man in Hollywood" Bradley Cooper is grateful that he gave up drinking— because he would be dead if he hadn’t. The actor openly admits that he feared his love of booze might actually kill him. Ironically, Cooper starred in both "The Hangover" and "The Hangover II" but when asked about his own drinking habits, he was very stoic and serious, "I don’t partake any more," he said. "It just got to a point where it was like, ‘You know what? I’ve got to stop’ It was just the kind of thing where if I wanted to continue to live… I couldn't continue to drink." We applaud Cooper for both his candor and his healthy attitude. 

"Oh, God, I love therapy," he also explained. "It was not really a major crisis I went in with, just getting turned on to that aspect of wanting to grow as a person. I thought it was fantastic." Beating the start of alcoholism, is a noble and often difficult decision. Not every actor or actress has the ability to exercise the sheer will that Bradley Cooper did. More times than often you will discover that you require help. Having a goal that you want to achieve will indeed help make it a lot easier as the alcohol will pull all of the energy away from your goals, and will slowly ruin your life. If you can understand this enough to be fully aware of how your life is deteriorating, then you HAVE to quit alcohol. Alcohol in mild moderation is fine, but when you arrive at the point of getting smashed sideways at every opportunity... this is a sign [actually a massive billboard] your partying is out of control and it is time to quit alcohol.

According to The Hollywood Reporter, Cooper's latest film, "The Words", which previewed to packed shows at Sundance and was tossed immediately into a heated bidding war for distribution, eventually went to CBS. "The Words" centers on a hot young author (played by Cooper) who plagiarizes from a forgotten manuscript; the film also features Jeremy Irons, Dennis Quaid, Olivia Wilde, Zoe Saldana and Ben Barnes. A source said that the field of bidders was winnowed down quickly after the team behind the film decided it wanted a traditional theatrical release rather than a day-and-date VOD release. Ultimately, the decision to go with CBS came down to "commitment in the awards season" and the back-end deal.

Some Helpful Links:
  

http://www.hopebythesea.com/

http://www.aboveitalltreatment.com/

http://www.thelastcallprogram.com/

Will We See The Justice League in 2013?

Well, just as we expected, we're hearing a plethora of stories and rumors everywhere that are stating conclusively— there will be a "Justice League" film onscreen in 2013. When we decided to conduct some of our own speculation, we took the time to send top secret messages and e-mails to a few people who were in a position to know whether or not the film was really going to happen, and we all caught abit of shut eye... comfortable that we were right in stating as of this very moment [which could change so we are hedging all bets] that there's PROBABLY not going to be a "Justice League" film in 2013. Not with Joss Whedon's "Avengers" kickin' it very soon [this summer].

So then... our daring comrades over at theThe LA Times published part two of a Jeff Robinov piece recently, and again, they state rather confidently... the film's going to happen in 2013.  They don't leave much room for doubt, either. Here's the thing… we still don't believe there's a "Justice League" film coming that close on the heels of the "Superman" reboot.  We just don't.  We do believe that 2013 will be an extremely productive year for the Warner Bros. superhero business, and we would not remotely be shocked to see "The Flash" come out that year as well.

My guess is that Warner Bros. is going to wait to see if our very own Super Hero Joss Whedon's "The Avengers" works at the box-office (and creatively) before they finally make the commitment to a giant-budget team movie like this, and there's no guarantee they'll even be able to use Superman in it. If Christopher Nolan is going to be in charge of what happens to Batman after his trilogy of films concludes, as the Times piece also asserts, what would make him suddenly decide after years of saying that he hates the idea of Batman running around with other superheroes?  Also, is it just us, or does it seem like a huge punch in the face to an audience to start talking about a reboot right before anyone's started production on the current film?  We are sure they'll create more Batman films once Nolan isn't directing them... which is actually absurd [they need to just pony up and pay Nolan whatever he asks]... but if there's any way you could sap our enthusiasm for what you're about to do, it's telling us that you're already moving on. Focus on one at a time, okay?  If the third film is just a speedbump on the road to a reboot for the studio, why should we treat it any differently?

So can you make a "Justice League" without Superman and Batman? Sure they could do that. And they don't even have to make origin movies for the heroes involved first.  What they do need to do is tell a compelling story which completely justifies putting that many iconic characters together... and that's not an easy task to pull off..  If they're in development on a script already, great.  That directly contradicts what I've heard, which is that they're focused on individual films only at the moment, and that a certain red-suited hero has the inside track on being the next one in front of a camera.  These aren't cheap films or easy films to crank out in a year, though.

So I repeat… 2013?  Not [as Spike trhe vampire would say] bloody likely.  No matter how many times the Times keeps repeating it.  And in two years, let's meet back here and see who was right.

Brands Becoming Studios?

In many ways, product placement and entertainment is becoming indistinguishable. I think of just last year, when we watched ads for films which appeared to be just like any other YouTube video, like "Ape With AK-47," which was an ad for Rise of the Planet of the Apes. In my humble opinion, what advertisers are realizing is that traditional commercials are losing their impact more than ever before. We're in the midst of a digital revolution, and we don't pay much attention to commercials very much anymore. And the ones that we do pay attention to are getting more and more ridiculous. Advertisers know now they MUST create compelling content, something that stands on its own as being entertainment, while still advertising the product.

I think there's no doubt whatsoever that brands are going to become their own studios. They'll always have to remind themselves, though, that content comes first, which is what the Coca-Cola strategy is becoming. What I think we might see is, long-form content (episodes) on a particular brand's website or channel, and short-form content (ads) on traditional TV directing people to the website/channel. That's nthe othing new, but I think we're going to see much much more of it. The short-form content will be the length of regular commercials, but there will be a cinematic quality, or story, that will make people want to see the longer version.

The ultimate goal is to convince consumers that they are NOT just getting a reminder to buy a product. The idea will always be to use the product in such a way that an emotional connection is made with both the product and the story.

The Three Musketeers— A Thrill Ride!

The Three Musketeers is the latest film by Paul W S Anderson, writer and director of two Resident Evil films and the recent Death Race remake. If the thought of this man mangling an Alexandre Dumas novel is making your hair fall out, you might be surprised to hear that in plot terms, his version’s surprisingly faithful: Porthos (Ray Stevenson), Athos (Matthew MacFadyen) and Aramis (Luke Evans), along with their young disciple d’Artagnan (Logan Lerman), are sent to retrieve a diamond necklace belonging to the French Queen (Juno Temple), with the mysterious yet talented in the art of the sword Milady de Winter (Milla Jovovich) in tow.

The tone, however, is different. A well-balanced mixture of action pantomime, a thrill-infused pantone-gone-multi-colored steampunk comic, Anderson’s Musketeers is packed with flying galleons and hike ‘em-up bodices, both of which are exploited to the fullest by his colossal-cool 3D cinematography. Some films must engage you in a way that allows a vicarious plunge into another dimension, another time. And I believe we need to feel as though we too can swash-buckle and move with the sleek yet noble pace. It’s a thrill ride. Enjoy it!