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The Hot Blog Archive for February, 2006

The TV Seems To Be Heating Up

After a lot of bitching and moaning about TV, there seems to be a great moment cooking here. The medical profession has been turned upside down with House of the dramatic comedic side and Grey

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On Ebert & Crash

You know, Roger may be pushing it to call a Crash win likely… and I got the vibe that the film is going to come up a little short of beating Brokeback Mountain on Sunday night… but it is far, far, far from crazy.
Crash is not a longshot to upset Brokeback. My guess – and that is all it can ever be – is that the two films will end up within single digits of one another in the voting. So I see it as a matter of a few hundred votes one way or the other. You BBM obsessives should be more than a little nervous.
The only wide open category in the Top Eight is Supporting Actor, though some people are pushing the idea of upsets in the two Actress categories.
And at the end of the night, let’s not all be shocked at the same time if Memoirs of a Geisha ends up with the second or third highest Oscar total.

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Who Wants You To Know How Much Stacey Makes?

My first rule of journalism: If someone is telling you something you aren

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The WSJ Story On The Par/DW Merger

I rarely do this, because it is, for all intents and purposes, illegal. And it will come down with the flcik of one e-mail from the Wall Street Journal. But many who don’t get the Saturday WSJ or the WSJ Online have been asking to see the content of this excellent Marr/Kelly story.
So… take a look after the junp. A couple days old, I think it is safe…

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Sunday Estimates by Klady – 2/26/05

If Madea

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MCN Trouble… Has Passed… (10:!5a)

We are, somehow, locked out of the front page of MCN. Our ISP is working on the problem… but that’s why there is no tribute The Night Stalker or any of the Sunday papers this morning…

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Special Delivery

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Words escape me.
Close-up sfter the jump…

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Klady's Friday Estimates – 2/25/05

Well, if you want a clear, crisp answer to the press

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"I Wish I Knew How To Quiet You…"

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More Duty Today

Fight amongst yourselves… please draw no blood.

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1 Week to Go

When the Academy shortened the awards season two years ago, they had the right idea.
Tthe simple idea that the season was going on way too long was dead on. And this year, with the Oscars pushed later by almost two weeks, the only real response has to be, “Can you make it much, much shorter next year?”
And the Rest…

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Getting My Attention

This SXSW short film maker, Brad Neely, assured that I would watch his short film within minutes of it arriving on my doorstep by offering up an example of his creative talent before I even opened the envelope.
The short, which appears to be a Flash animation, is a very funny rap about George Washington. Unfortunately, the quality control on the sound on the DVDs he sent out was not so good and the mix is way too hot to be able to understand a lot of the clever lyrics. I was waiting for my speakers to explode at any moment. This has been a problem with a lot of homemade DVDs, including one I received of one current Oscar nominee. So take me advice and do that quality control, filmmakers.
Still, I could see how clever it was and look forward to seeing and hearing it with the right sound. So, it worked.
sxswpromo.jpg

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KFC Goes Viral

In a display of the power of the web, KFC has joined the growing list of marketers trying to go hip and viral. The still below is from a fairly traditional ad for a new product. Like Mel Gibson’s surprise frame of his smiling face in his movie trailer, this is just one frame in an ad that, if you find it, sends you to a web site where you can give up your personal information in exchange for a coupon for a free sandwich.
Of course, this is also a traditional media play as well, because you can expect to see every outlet in the country running stories about this still frame for the next couple of days.
Interesting

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Jury Duty

Oh the joy of jury duty…
I’ll try to think clearly before the night’s out…

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And news on another Oscar nommed short doc…

DreamWorks and Parkes/MacDonald Prods. have acquired the rights to
Oscar-nominated documentary “The Life of Kevin Carter: Casualty of the Bang
Bang Club.”The producers will use the film and tap the research of director
Dan Krauss for a feature about the Pulitzer Prize-winning photog. Carter
dodged bullets to capture images of famine and violence in the waning days
of apartheid.Walter Parkes and Laurie MacDonald, who’ll produce, closed the
rights deal with Krauss just before his docu drew its Oscar nom. Doc had
several suitors as the role of Carter has the potential to attract a big
male star.Exec Alisa Tager brought the project to Parkes, who got the upper
hand partly because Krauss’ Berkeley film professor shot part of Parkes’ own
docu, “The California Reich.” Krauss, whose docu will air on HBO, will be
exec producer.South African-born Carter grew up loathing apartheid, and
through photography found an outlet to show its impact to the world. He
became famous when his photo of a starving Sudanese child stalked by a
vulture won the Pulitzer Prize. When he described waiting for 20 minutes for
the starving child and vulture to fit perfectly in his frame, critics called
him a vulture for not interceding. Carter committed suicide at 33.”Beyond
dramatizing a courageous life at a historic turning point, we hope to
explore why Kevin ended things the way that he did; in some ways, that photo
both made him and destroyed him,” Parkes said. “Even though his work brought
international attention to the struggles in South Africa and the Sudan, the
end of Kevin’s life was dominated by the controversy surrounding one
picture, and his decision to document rather than intercede. His story is
particularly relevant now, as we’ve become a world hooked on visual
information. As the violent reactions to the publishing of the cartoons in
Denmark last week suggest, the power of the image has never been more
evident.

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The Hot Blog

Quote Unquotesee all »

“The core fear is what can happen to you, personally. Your body. That’s what horror films deal with, precisely. We are a very thin skin wrapped around a pumping heart and guts. At any given moment it can come down to that, be it diseases, or somebody’s assault, or war, or a car wreck. You could be reduced to the simple laws of physics and your body’s vulnerability. The edged weapon is the penultimate weapon to disclose that reality to you.”
~ Wes Craven, 1996, promoting Scream

MAMET
Well, that, to me, is always the trick of dramaturgy; theoretically, perfectly, what one wants to do is put the protagonist and the audience in exactly the same position. The main question in drama, the way I was taught, is always what does the protagonist want. That’s what drama is. It comes down to that. It’s not about theme, it’s not about ideas, it’s not about setting, but what the protagonist wants. What gives rise to the drama, what is the precipitating event, and how, at the end of the play, do we see that event culminated? Do we see the protagonist’s wishes fulfilled or absolutely frustrated? That’s the structure of drama. You break it down into three acts.

INTERVIEWER
Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

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