TMR: The Sacha Baron Cohen Method and memories of Marilyn
Welcome to The Morning Read.
Like I said, I'm out the door and on my way to E3 today, so I'm going to try to get this done and still not shortchange you guys at all.
First, I'd just like to say that this trips me out.
There's an incredible piece over at The Art Of The Title about the opening credit design for Alex Winter's "Freaked," and that may sound like an odd subject for one of the best pieces I've read in a while about any aspect of film production, but it shouldn't be a surprise at this point. That website is so good so often on such a diverse group of subjects that it better be in your bookmarks.
One thing that comforts me is that we are constantly discovering new life on this planet, and a great deal of it is just plain weird.
I really like this piece from The New York Times about how filmmakers have chosen to portray the near omnipresence of technology in our lives, and specifically the way communications have changed the nature of our relationships. I think there's a lot still to be said on the subject and filmmakers are just scratching the surface. It's interesting to see how that portrayal has evolved.
[more after the jump]
There is little I resent more than the surrender of any degree of privacy. I am near pathlogical about personal space and privacy of a personal nature, and my constant air travel sets off pretty much every anxiety trigger I've got. And in the last few years, going to screenings in LA has become a similar experience. I guess if I'm honest, I just find it insulting that anyone thinks that a critic is going to try to videotape or otherwise pirate a movie. And the idea of a search while going into a theater that led to a fairly intense family crisis... well, it's little wonder this lawsuit shook out the way it did.
I hope every single one of my super-paranoid friends... and you know who you are, because the Trilateral Commission is watching you... reads this particular story today. Ooooooh... creeeeeeepy...
Here's a link within a link. Guillermo Del Toro gave a very provocative interview to Wired recently, and now the Guardian has responded, and they actually seem to take great issue with what Guillermo talked about regarding the future convergence of games and movies.
Marilyn Monroe would have been 83 years old this week. Theoretically, she could still have been part of pop culture in some way if she hadn't died when she did... seems sort of impossible to me, like Monroe is from an era that's so removed from now that nothing could exist both then and now. Silly, of course, because there are plenty of '50s survivors still in the mix. Different sites have celebrated her would-have-been-birthday different ways, but for my money, all you need is the photo gallery over at Life and Kim Morgan's piece at Sunset Gun. Mission accomplished.
I think I sort of caused some problems with my Bruno/Eminem story the other day, and that makes me sad. I don't like it when something I run gets someone in trouble with their employers or even their prospective employers. But I'm not really sure why people got so crazy. I know Sacha Baron Cohen is like a magician, in that he doesn't like to give away the trick, but there's got to be room for some discussion of what he does as an actor and performer. One of his main collaborators, Dan Mazer, has a new book coming out and there's a chapter in there all about "the Sacha Baron Cohen method," which Vanity Fair just excerpted.
Some good conversations online today about what, exactly, a producer does. You can either read a roundtable discussion about that, or Ted Hope's latest column on the same subject. Either way, it's good stuff.
One video game trailer before I'm out of here, and I'll make it an appropriate one considering the sound of fat raindrops hitting the skylight above my head right now:
I like the atmosphere of that trailer, and everything I've read about it sounds like a really ambitious mystery thriller.
Finally, let's talk about movie posters. Just for a minute. Right now is one of the first times I've ever lived without movie posters adorning all my walls. The closest thing I have is a poster for "La Fin Absolue Du Monde" that hangs in my office. But as long as I've been able, I've always used movie posters as decoration. My teenage bedroom was so densely papered in one-sheets that you couldn't see the walls. I love great poster art, and at some point, I'll rehang some of my favorite framed posters that are languishing in closets right now, like "Miller's Crossing" or the original "Full Metal Jacket." Over at Empire, they're talking about how what you hang defines you... is that true? If so, what poster art do you consider essential? What do you have on your walls right now?
On that thought, I'm out the door and on my way downtown, and then I think I'm seeing AICN's Quint and some other friends this evening. Should be a fun geeky day, and I'll be back this evening with "Land Of The Lost" interviews and much more.
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