Though this entire movie and cast are great, the thing that most surprises me still: that’s Burt Reynolds. The mustache really changed him.
In an alternate universe I wish I was as cool as Burt Reynolds is in this film. But maybe not as stupid.
Great peep-based memorial to Law School Films, the film society I worked at and ran for a time back at the University of Chicago. We showed only movies pre-1971 - students could go see an actually good film on Saturday nights instead of the modern Hollywood second run detritus available elsewhere on campus.
I can’t find much reference to its existence on the net, and the Law School ran the film society out of existence (they didn’t want stinky undergraduates in their precious Law School). So stumbling onto this weird diorama really warmed my soul.
Random fact: the auditorium in Damage Incorporated is modeled on the LSF auditorium. Without the peeps.
Diorama by Anthony Borton (hey Tony!), Beth Iserman
A Top 10 List of Writing Tips from Famous Writers…
10. Work according to the program and not according to mood. Stop at the appointed time! (Henry Miller)
9. Never use a foreign phrase, a scientific word, or a jargon word if you can think of an everyday English equivalent. (George Orwell)
8. Don’t sit down in the middle of the woods. If you’re lost in the plot or blocked, retrace your steps to where you went wrong. Then take the other road. And/or change the person. Change the tense. Change the opening page. (Margaret Atwood)
7. Never use the words “suddenly” or “all hell broke loose.” (Elmore Leonard)
6. Forget the books you want to write. Think only of the book you are writing. (Henry Miller)
5. Finish what you’re writing. Whatever you have to do to finish it, finish it. (Neil Gaiman)
4. Take a pencil to write with on aeroplanes. Pens leak. But if the pencil breaks, you can’t sharpen it on the plane, because you can’t take knives with you. Therefore: take two pencils. (Margaret Atwood)
3. Break any of these rules sooner than say anything outright barbarous. (George Orwell)
2. Don’t overuse exclamation points!! (William Safire)
1. Leave out the parts readers tend to skip. (Elmore Leonard)
Read the article in by Jim Higgins in the Milwaukee Journal Sentinel.
Heat | Michael Mann | 1995
Just when you thought you’d escaped Trumbull County for good…
Out today on 360 XBLA and Steam, Breakdown is the new “infinite play” DLC for State of Decay from the fine people at Undead Labs. The game you thought you’d finally conquered, it’s back to suck you in with ramping difficulty (and watch out, it’s a steep ramp), new missions, new challenges, new weapons, and some fun takes on tons of characters you will recognize from your first tour of Trumbull.
I was lucky enough to play a bit of it before it came out. One of the things I really like about it is how it makes me see new parts of the world, that distinct, believable world that frequent readers will know I like quite a bit. So many corners I never knew existed…
And now I’m going to start the whole thing over.
From Official Xbox magazine, this past summer. An article about game franchises “in need of a reboot.” I’ll take #9, yes I will.
Alfred Hitchcock and Ingrid Bergman on-set of Spellbound.
Does this have something to do with knitting?
Hitchcock Woman the Second: Ingrid Bergman as Constance Petersen in Spellbound
Between 1945 and 1949, Alfred Hitchcock and Ingrid Bergman made three films together, making her one of his key acting collaborators, and along with Grace Kelly the most prominent of the Hitchcock women. If you focus on the Bergman/Hitchcock collaborations, you are bound to think of Notorious, and rightly so - it’s a fabulous film, and their best together. But when looking at this key Hitchcock woman, I chose Spellbound because it gets talked about less, and because it may be the first Hitchcock movie I saw, it being one of my mother’s favorites. Most people recall the famous dream sequence designed by Dali, but it’s also interesting as a proto-feminist work. Ingrid is the star throughout, a pillar of strength and determination trying to save Gregory Peck’s John Ballantyne, an amnesiac who is framed for a murder he didn’t commit (but is convinced he did). John is weak and broken, utterly doomed without Constance’s help, and the other stronger men all ultimately can’t stand up to Constance’s intelligence, craftiness, and determination. Repeatedly, Constance’s motives are undermined by the men she encounters, who accuse her of trying to save John only because she is irrationally in love with him. And the way she’s written, they are half right. Things are further muddled as the only other female character of note in the story is a nymphomaniac thrown in for color at the beginning. But in the end Constance prevails, on her own terms, strong professionally as well as personally. (Maybe that’s why my mother likes the movie so much.) Interestingly, as one of Hitchcock’s strongest female characters, Constance’s light-brown hair is also the farthest from the classic blonde look he favored in his leads. But for anyone who has watched her work with Hitchcock, Bergman is far from just an ideal, she is independent, uncompromising and utterly unlike any other woman who appeared in his movies.