I'm reminded of a coach
who taught health class
in my high school.
>
He looked like a cross
between Peter Lorre
and Patton Oswalt.
>
And he never failed
to lecture the class
on "survival of the fittest."
>
There was a disconnect
between his public and private behavior.
But I didn't know it at the time.
>
Back then, gossip didn't spread too fast.
You had to stand still in a selected place
to use a telephone
>
and there was no texting
or personal computers
or any of the stuff that now
>
enables us to know hyperquick
about hypocrites, homilies and
counting on the public to swallow it whole
>
Be careful of how many bodies you bury
and all the skeletons you stack in storage.
There's always someone
>
who will take as much time as necessary
to bring petrified sin to the earth's surface
and hit the switch of a giant fan
>
so everyone can sample the putrid aroma.
Monday, January 30, 2012
New critical trend--judging Steven Spielberg (fairly or not) as passe.
http://www.slate.com/articles/briefing/the_completist/2012/01/steven_spielberg_a_ranking_of_all_of_his_movies.html
Haven't seen WAR HORSE, but I'm willing to buck the prevailing tide and say that Steven Spielberg's work as hired-hand director on the Peter Jackson-produced motion-capture-animated THE ADVENTURES OF TINTIN is as good as a lot of the Spielberg-in-his-prime entertainments.
A few assessments of random Spielberg films that I've seen:
CLASSICS-E.T., JAWS, CLOSE ENCOUNTERS OF THE THIRD KIND (77 version), RAIDERS OF THE LOST ARK, SCHINDLER'S LIST
GOOD-TO-VERY GOOD: MUNICH (first two-thirds), WAR OF THE WORLDS, EMPIRE OF THE SUN, POLTERGEIST (apparently overseen by Spielberg although Tobe Hooper got directorial credit), THE SUGARLAND EXPRESS, JURASSIC PARK, THE ADVENTURES OF TINTIN, CATCH ME IF YOU CAN
OVERBLOWN: 1941 (theatrical version), HOOK, THE COLOR PURPLE
UNEVEN: ALWAYS, AMISTAD, A.I., MINORITY REPORT
MUCH OVERRATED: SAVING PRIVATE RYAN
FLAT-OUT LAZY: THE LOST WORLD: JURASSIC PARK.
Haven't seen WAR HORSE, but I'm willing to buck the prevailing tide and say that Steven Spielberg's work as hired-hand director on the Peter Jackson-produced motion-capture-animated THE ADVENTURES OF TINTIN is as good as a lot of the Spielberg-in-his-prime entertainments.
A few assessments of random Spielberg films that I've seen:
CLASSICS-E.T., JAWS, CLOSE ENCOUNTERS OF THE THIRD KIND (77 version), RAIDERS OF THE LOST ARK, SCHINDLER'S LIST
GOOD-TO-VERY GOOD: MUNICH (first two-thirds), WAR OF THE WORLDS, EMPIRE OF THE SUN, POLTERGEIST (apparently overseen by Spielberg although Tobe Hooper got directorial credit), THE SUGARLAND EXPRESS, JURASSIC PARK, THE ADVENTURES OF TINTIN, CATCH ME IF YOU CAN
OVERBLOWN: 1941 (theatrical version), HOOK, THE COLOR PURPLE
UNEVEN: ALWAYS, AMISTAD, A.I., MINORITY REPORT
MUCH OVERRATED: SAVING PRIVATE RYAN
FLAT-OUT LAZY: THE LOST WORLD: JURASSIC PARK.
Post-mortem to the 2012 SAG Awards.
http://hollywood-elsewhere.com/2012/01/tired_blood.php
After last night, I'm prognosticating THE HELP as winner of the Best Picture Academy Award for a simple reason: it's an uplifting (haven't seen it, but taking its fans' viewpoint into consideration) commercial hit, which will be seen by more people than THE ARTIST (which I did see, and it will probably be too strange/esoteric and "why aren't they talking" for non-big-city audiences).
Was also sad for Steve Carell to lose yet another award opportunity for playing Michael Scott on the US version of THE OFFICE. Guessing that the uneven quality of Season 7 (which has persisted into the current episodes of the show) might have been a big factor.
http://www.deadline.com/2012/01/labor-law-expert-criticizes-sag-aftra-as-the-merger-that-solves-nothing/
And, as for the SAG/AFTRA merger (a fait accompli partially accomplished by AFTRA underbidding SAG on certain TV projects), it's a bad idea that was a long-ago bad idea when I was more active in SAG in the 90s (working as background actor/stand-in) and the membership-at-large frequently voted it down despite the tireless efforts of people like ex-SAG President Richard Masur to force it into reality.
But a recession economy is doing the unfortunate trick of making SAG actors sign onto the merger of an actors' union with a union that represents a lot of radio/television employees (anchorpeople, etc.) who are not actors.
All I can say is good luck trying to make all the merged actors generally happy with what could result (remembering all too well SAG's acquiring of jurisdiction over background actors in 1992, leading to the demise of the Screen Extras Guild and, temporarily, causing lower per-day rates because SAG wanted to "get the jurisdiction.").
After last night, I'm prognosticating THE HELP as winner of the Best Picture Academy Award for a simple reason: it's an uplifting (haven't seen it, but taking its fans' viewpoint into consideration) commercial hit, which will be seen by more people than THE ARTIST (which I did see, and it will probably be too strange/esoteric and "why aren't they talking" for non-big-city audiences).
Was also sad for Steve Carell to lose yet another award opportunity for playing Michael Scott on the US version of THE OFFICE. Guessing that the uneven quality of Season 7 (which has persisted into the current episodes of the show) might have been a big factor.
http://www.deadline.com/2012/01/labor-law-expert-criticizes-sag-aftra-as-the-merger-that-solves-nothing/
And, as for the SAG/AFTRA merger (a fait accompli partially accomplished by AFTRA underbidding SAG on certain TV projects), it's a bad idea that was a long-ago bad idea when I was more active in SAG in the 90s (working as background actor/stand-in) and the membership-at-large frequently voted it down despite the tireless efforts of people like ex-SAG President Richard Masur to force it into reality.
But a recession economy is doing the unfortunate trick of making SAG actors sign onto the merger of an actors' union with a union that represents a lot of radio/television employees (anchorpeople, etc.) who are not actors.
All I can say is good luck trying to make all the merged actors generally happy with what could result (remembering all too well SAG's acquiring of jurisdiction over background actors in 1992, leading to the demise of the Screen Extras Guild and, temporarily, causing lower per-day rates because SAG wanted to "get the jurisdiction.").
Saturday, January 28, 2012
Re multipoet bills: Yes, I'm good enough a poet to be included.
Here is a paraphrase of Facebook posts I wrote yesterday and earlier today:
If you are a poet/booker, please consider me for your next multi poet bill that's not a publication reading or marathon.
And I ask this of you whether or not you like me personally.
I can do ten to fifteen minutes and be as good as most poets on these bills. And I'm certainly not denigrating the caliber of talent booked.
Whether it's LA, LBC or OC, I will deliver.
All you have to do is ask.
Tuesday, January 24, 2012
Random reactions to today's Academy Awards nominations.
1. Where's Albert Brooks (DRIVE)?
2. Guessing the animated film winner will probably be one of the two mostly-unknown quantities--
either CHICO AND RITA or A CAT IN PARIS.
3. Why didn't one or both of Werner Herzog's documentaries (INTO THE ABYSS and CAVE OF FORGOTTEN DREAMS) make the final Best Documentary list?
4. I haven't seen WE NEED TO TALK ABOUT KEVIN--but I'm thinking Tilda Swinton's more deserving
of being on the Best Actress list than Rooney Mara (good, but not as good as Noomi Rapace).
5. Haven't seen THE HELP, but I'd almost rather see Kate Winslet (CARNAGE) or Shailene Woodley/Judy Greer (THE DESCENDANTS) on the list rather than Jessica Chastain.
6. Regardless of its detractors in the film review community, EXTREMELY LOUD AND INCREDIBLY CLOSE deserves the Best Picture nomination it received.
7. Would have preferred the Cliff Martinez score for DRIVE in place of one of the two John Williams
nods.
8. Where's Charlize Theron (YOUNG ADULT)?
9. Hoping Nick Nolte's deserved Supporting Actor nomination brings more sales/rentals to the video release of last year's overlooked-by-audiences WARRIOR.
10. Congratulations in advance to Emmanuel Lubezki for what looks like an inevitable win for his fine cinematography in Terrence Malick's THE TREE OF LIFE.
2. Guessing the animated film winner will probably be one of the two mostly-unknown quantities--
either CHICO AND RITA or A CAT IN PARIS.
3. Why didn't one or both of Werner Herzog's documentaries (INTO THE ABYSS and CAVE OF FORGOTTEN DREAMS) make the final Best Documentary list?
4. I haven't seen WE NEED TO TALK ABOUT KEVIN--but I'm thinking Tilda Swinton's more deserving
of being on the Best Actress list than Rooney Mara (good, but not as good as Noomi Rapace).
5. Haven't seen THE HELP, but I'd almost rather see Kate Winslet (CARNAGE) or Shailene Woodley/Judy Greer (THE DESCENDANTS) on the list rather than Jessica Chastain.
6. Regardless of its detractors in the film review community, EXTREMELY LOUD AND INCREDIBLY CLOSE deserves the Best Picture nomination it received.
7. Would have preferred the Cliff Martinez score for DRIVE in place of one of the two John Williams
nods.
8. Where's Charlize Theron (YOUNG ADULT)?
9. Hoping Nick Nolte's deserved Supporting Actor nomination brings more sales/rentals to the video release of last year's overlooked-by-audiences WARRIOR.
10. Congratulations in advance to Emmanuel Lubezki for what looks like an inevitable win for his fine cinematography in Terrence Malick's THE TREE OF LIFE.
Best films of 2011--third and final draft
In no specific order: MONEYBALL DRIVE GAINSBOURG YOUNG ADULT TINKER TAILOR SOLDIER SPY INTO THE ABYSS BUCK THE DESCENDANTS THE GUARD MARTHA MARCY MAY MARLENE JANE EYRE THE TRIP HUGO RANGO SUPER 8 EXTREMELY LOUD AND
INCREDIBLY CLOSE
SORT-OF GUILTY PLEASURES: IRONCLAD TRANSFORMERS: DARK OF THE MOON HOBO WITH A SHOTGUN DRIVE ANGRY CARS 2
HONORABLE MENTION: BRIDESMAIDS CAVE OF FORGOTTEN DREAMS PROJECT NIM RISE OF THE PLANET OF THE APES RESTLESS RAMPART CONTAGION SARAH'S KEY MY WEEK WITH MARILYN THE IDES OF MARCH CRAZY STUPID LOVE CARNAGE THE ADVENTURES OF TINTIN THE SKIN I LIVE IN WARRIOR ATTACK THE BLOCK
OUR IDIOT BROTHER
INCREDIBLY CLOSE
SORT-OF GUILTY PLEASURES: IRONCLAD TRANSFORMERS: DARK OF THE MOON HOBO WITH A SHOTGUN DRIVE ANGRY CARS 2
HONORABLE MENTION: BRIDESMAIDS CAVE OF FORGOTTEN DREAMS PROJECT NIM RISE OF THE PLANET OF THE APES RESTLESS RAMPART CONTAGION SARAH'S KEY MY WEEK WITH MARILYN THE IDES OF MARCH CRAZY STUPID LOVE CARNAGE THE ADVENTURES OF TINTIN THE SKIN I LIVE IN WARRIOR ATTACK THE BLOCK
OUR IDIOT BROTHER
New poem: SELF DEPORTATION
(thanks to Mitt for the title)
gonna leave the nation of hate
before it sends a 30-day notice
in the mail asking me
WHICH SIDE ARE YOU ON?
ARE YOU WITH US OR THEM?
>
to be honest,
I'm with THEM
because they see
stars and rainbows
and cats and dogs
and men and men
and women and women
and men and women
all living together
not caring about what US say
>
gonna leave the nation of conditional love
(which isn't real love at all)
before the demagnetizer
enters my brain
and erases memories
of all those times
I didn't have to guess
what other people felt and thought--
I just knew
and they knew
I cared
no matter what
>
you can reach me on the other side
anytime you want
I'll throw you a tin can
with a long string
over the fence
so we can listen to each other speak
and be certain that
no one else is listening
to us
but us alone
.
gonna leave the nation of hate
before it sends a 30-day notice
in the mail asking me
WHICH SIDE ARE YOU ON?
ARE YOU WITH US OR THEM?
>
to be honest,
I'm with THEM
because they see
stars and rainbows
and cats and dogs
and men and men
and women and women
and men and women
all living together
not caring about what US say
>
gonna leave the nation of conditional love
(which isn't real love at all)
before the demagnetizer
enters my brain
and erases memories
of all those times
I didn't have to guess
what other people felt and thought--
I just knew
and they knew
I cared
no matter what
>
you can reach me on the other side
anytime you want
I'll throw you a tin can
with a long string
over the fence
so we can listen to each other speak
and be certain that
no one else is listening
to us
but us alone
.
Sunday, January 22, 2012
Newt Gingrich: South Carolina gives an angry old man a further 15 minutes.
Probably the lowpoints of the political coverage I sat through last night:
1. On CNN, Erin Burnett trotted out her superfabulous CEO poll that showed that 11 out of 15 CEOs prefer Mitt Romney to Barack Obama.
2. On MSNBC, Chris Matthews was practically drooling over the Gingrich victory because it extends
the horserace (which Matthews seems to like covering more than the issues beneath it) a few more months.
As far as the Republican scrapfest of back-to-the-past ideological/economic titans is concerned, this primary cycle could climax in the GOP's first down-to-the-convention-floor nomination fight since the Gerald Ford vs. Ronald Reagan duel of 1976.
Let's leave Ron Paul and his scary no-government minimalism off the table. Consider the Big Three candidates carefully.
If you're not at least a millionaire (either through inheritance or actual work), Mitt Romney doesn't give a damn about you.
If you're not a heterosexual/literal-minded (aka Fundamentalist) Christian, Rick Santorum doesn't
give a darn about you.
And then there's Newt Gingrich, who, in essence, is every scowling, snarling, point-at-the-clock, fake-pious, never-ever-wrong boss (who keeps at least two sets of books) you've ever had the misfortune to work for.
Thanks to John King's Bernard Shaw-esque "gotcha" question (which should have been phrased as a more subtle query on the financial/sexual morality Gingrich asks of people that aren't named Newt Gingrich) and the angry voters of South Carolina (guessing a mix of anger/resentment/overdoses of Fox News/fierce dislike of being told to fall into line behind Mitt Romney), we're stuck with the frightening, monstrous blowhard behavior of ultimate nonwinner Newt into at least the late spring.
1. On CNN, Erin Burnett trotted out her superfabulous CEO poll that showed that 11 out of 15 CEOs prefer Mitt Romney to Barack Obama.
2. On MSNBC, Chris Matthews was practically drooling over the Gingrich victory because it extends
the horserace (which Matthews seems to like covering more than the issues beneath it) a few more months.
As far as the Republican scrapfest of back-to-the-past ideological/economic titans is concerned, this primary cycle could climax in the GOP's first down-to-the-convention-floor nomination fight since the Gerald Ford vs. Ronald Reagan duel of 1976.
Let's leave Ron Paul and his scary no-government minimalism off the table. Consider the Big Three candidates carefully.
If you're not at least a millionaire (either through inheritance or actual work), Mitt Romney doesn't give a damn about you.
If you're not a heterosexual/literal-minded (aka Fundamentalist) Christian, Rick Santorum doesn't
give a darn about you.
And then there's Newt Gingrich, who, in essence, is every scowling, snarling, point-at-the-clock, fake-pious, never-ever-wrong boss (who keeps at least two sets of books) you've ever had the misfortune to work for.
Thanks to John King's Bernard Shaw-esque "gotcha" question (which should have been phrased as a more subtle query on the financial/sexual morality Gingrich asks of people that aren't named Newt Gingrich) and the angry voters of South Carolina (guessing a mix of anger/resentment/overdoses of Fox News/fierce dislike of being told to fall into line behind Mitt Romney), we're stuck with the frightening, monstrous blowhard behavior of ultimate nonwinner Newt into at least the late spring.
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