Wednesday, July 30, 2008

Looking forward to the 2010 Olympics in Vancouver...

Ever since 1980 and the Winter Olympics in Lake Placid, New York, I have been an Olympic nut. I love the Olympics and can tell you the locations of every Olympics ever held and the year. Some of my favorite movies include Chariots of Fire (about the 1920 Olympics in Paris) and Cool Runnings (about the Jamaican Bobsled team that competed in the 1988 Winter Games in Calgary). I have not missed a single televised opening ceremony since 1984 and I personally attended the games in 2002 in Salt Lake City, watching bobsled, luge, ski-jumping and skeleton events. So it is with a heavy heart that I must admit that I will be boycotting the 2008 Olympic Games.

I will not watch any of the televised coverage. I will not buy any Olympic related merchandise. And I will not show my Olympic colors during the entire affair.

I am not one of these johnny-come-lately free tibet bandwagon jumpers. That's a political issue. I happen to have a strong opinion about it, but ultimately it has nothing to do with the Olympics. And I could care less that the athletes will be sucking down premium smog for 17 days - that's an issue the IOC should have considered before giving the games to Beijing. No, surprisingly, the issue that was the final straw was when China began bullying other nations and depriving other people of their living so that they could make a political statement and wrap it in the Olympic flag.

"Rumors circulating in our national and international media that Mt. Everest will be closed to climb from the Tibet side are false. China will also not limit the number of expeditions in 2008," Ang Tshering Sherpa stated last year, following a meeting with CMA & CTMA attended by high level delegates from Beijing and Lhasa.

This morning however, the President of the Nepal Mountaineering Association too got the pictured notice sent Monday by CTMA to Everest north side expedition leaders. The mountain will be closed, and according to another reliable source, no group visas to enter will be issued until May 10.

Considering the need for acclimatization and infrastructure, climbing Everest north side this spring will be short of impossible. This is a serious blow to Everest climbers and related personnel, many of whom got the notice only one week before their Everest approach is due to begin.

Protests are now being put forward by mountaineers to Chinese officials. "I don't blame CMA/CTMA in Lhasa," a western organizer told ExWeb over phone from KTM this morning, "Beijing is taking over."


This blatant tampering with the Mt. Everest climbing season comes as a result of China's "need" to have a secure route to and from the summit of Mt. Everest so that they can carry the torch to the top. Not only did China close their side of the mountain, but they also pressured Nepal officials to do the same. While this only affects some 70 groups of international climbers in one sense, it also affects the Sherpa communities on either side of the mountain who rely on the income from these expeditions to live. 90% of their yearly income is derived from the very short climbing season. All of which has now been affected by this blatant act of political posturing just so that China can show the world that Mt. Everest is in their domain.

We've seen this act before from a nation trying to show its Iron Will and Political Posturing during an Olympics. It was 1936. And the location of the games was in Berlin.

Quite frankly, I hope the rest of the world shows Beijing that there's more to hosting an Olympics than just pretending that everything is alright. I hope the rest of the world teaches the Chinese government a lesson.

But beyond that, and beyond my personal boycott of the games, I do hope for a peaceful and quiet games. This is the one unique world event where athletes from around the world can compete in unity and in peace. It should remain as pure as it possibly can for as long as it can.

Tuesday, July 29, 2008

The Dark Knight (2008) 3.5 Wigs


I wanted to like this film more than I did. Really. I wanted to love it like everyone else. But how can you love something so dark? I admit to liking root beer barrels and chocolate covered candies and anything sweet over Sour Tarts any day of the week. This movie, while well made, is the ultimate Sour Tart.

There have been many well written reviews of this film and I can honestly say that they are all true. Because like all incredibly well made films there is no question that what you are watching is quality, top-notch, maybe even epic film making. In that way, the only aesthetic one can choose to evaluate a film of that type is to describe what you took away from it. I get all the Joker is the Devil explanations and I thought the writing to be quite astounding. But in the end, what I took away from this film, was darkness - way too much darkness.

Batman is a troubled character. Harvey Dent is a troubled character swimming in a troubled sea. Joker is Trouble. Period. So, what are you supposed to do with a film that is filled with three dark figures swimming in ever tighter circles around each other - go down the drain with them? No, you throw at least one of them a life vest. There is no life vest in this film and that is perhaps what has gained the film so much well deserved attention. We follow these characters down the drain, into the darkness, into the black hole of their existence. And that's where the film goes. It doesn't come out the other end in some nice pond somewhere. No. It stays in the dark sewer of mankind.

And so, ultimately, that's why I couldn't get into this film as much as I wanted. I could have stayed at home and watched CNN or picked up a copy of No Place Like Home - a documentary on the Iraq war - or tried my hand at figuring out how much money I owe and how long its going to take me to pay it all off - all equally as entertaining as this film. You see, that's what I want for my entertainment - some entertaining. Some humor in places, some romance in others, some ray of hope, some beacon of humanity, some sign or signal that in the end all will be good once again. This movie was The Return of the King without the last half hour or so - it was ROTK with Sam and Frodo being immolated on Mt. Doom by a volcano and the audience wandering out thinking, "Wow... that whole mission was pretty pointless!" I wanted some damn eagles at the end of this movie. But they never came.

And that's why I gave it 3.5 Wigs. A great movie, but too damn depressing in the end.

X-Files: I Want To Believe (2008) - 3.5 Wigs


Um... what I really want to believe is that there was an X-File here, somewhere. But, quite frankly, there wasn't.

The basic plot involves a missing FBI agent and a former defrocked pedophile priest who has psychic visions. That's it. There is no greater mystery here other than the details of the rather sick science experiment (which is SO twisted that it has a web site that Scully reads... ;) and how the girl is abducted. Yet, in trying to evaluate whether this priest is legit or not, they need to call in an expert and so bring Fox Mulder out of retirement while forgiving him all of his crimes. Excuse me? What happened to the glorified idea of Fox Mulder in hiding? Or of vast government conspiracies and doppelganging aliens who have been out to get him for the last ten years or so? Nope. Come in and evaluate our run of the mill psychic and everything is forgiven.

That said, I have to admit that unlike Indiana Jones and the Kingdom of the Crystal Skull, Mulder and Scully are still Mulder and Scully - not some updated versions of the characters. It was nice to spend two hours with them, catching up on what they've been doing since they've been off the air, and getting to share one last adventure with them - no matter how lame. If this was a set up for further adventures, count me in, so long as there is actual adventure in these future adventures. If not, then it was kind of like watching one of those ten year reunion episodes where the characters come back and tell you what they've been up to and we reminisce about how good the show used to be and you get a slight warm and fuzzy feeling inside before the show ends.

Ultimately I gave the flick 3.5 not because of the plot or because of the scary X-File, but because of Mulder and Scully, back on the screen, doing what they always do. That's the only reason to see this film. If you're looking for some deep revelation about the mysteries of the universe, try the Discovery Channel.

Step Brothers (2008) 3.5 Wigs


This is the first of three short movie reviews.

I saw Step Brothers on Sunday when I really needed to decompress from filming and a good solid laugh sounded like a good idea. Well, that's what I got.

The film is no great shakes. Its plot is threadbare and, well, you know what any Will Ferrell movie can be like. That being said, I've never not laughed at one of his movies. It might not be Oscar caliber, but it was still pretty darn funny.

The first third of the movie was mostly what you see in the preview. The second third took a slightly more serious turn (which means there was a plot), and the last third of the film resolved the conflicts and, actually, was quite hilarious. In fact, if I could have just walked in on the last twenty minutes or so, I would have really enjoyed the movie - but it was funnier with the set-up. The ending during the closing credits is one of the funniest parts of the movie.

3.5 Wigs, go check it out if you need a laugh.

Monday, July 28, 2008

Production Diary: Day Two (Lack of Spoilers!)

What a problem to have! When I sat down last night to start syncing sound with picture for the latest footage of the film, I also began to contemplate what footage I'd like to post here on the blog, and I realized that all of the footage shot was from the pivotal second plot point of the film (where we reveal the true nature of all the characters). Suddenly, I concluded that I couldn't post any film because it would all be spoilerific! What a problem! I actually have spoilerific footage! Whoohoo!

Okay, that was one of only two whoohoo moments of the entire weekend. Most of the weekend's moments were actually more of the "whoah nelly!" variety.

We ended the first day's production with a sudden need to reschedule the entire remaining production schedule to deal with new scheduling problems. One actor had work to attend on Saturday at 3:30pm, two other actors couldn't arrive until 3:30pm because they had a wedding to attend. So I completely revamped the entire schedule and we moved up the pivotal scene 28 to Saturday's schedule. The scene, as written, is pushed by one character who makes a "breakthrough" and urges all of the other characters to similar "breakthroughs". Basically its a character driven reveal-fest where we find out the reason all of the characters are in the mental facility. Its got some of the best dialog of the entire film.

Um... except for the fact that the character who does all the pushing suddenly couldn't make it either - this after we pushed the start time to 4:30pm and changed the scene.

Oh, and the actor who plays Winestein - this might be the only night he's available until the second week of August, which is the week another actor is gone to Utah.

Whoah, Nelly! What's a producer to do?! Throw his hands up in despair and cry out to the moon for Holy vengeance?! Yeah, well that didn't work either, so I will just have to figure something out.

In the meantime, actual production news:

We met on Saturday at 4:30pm and we started rehearsing immediately. Its a long and complicated scene because we have four characters basically giving us their big performance moments (long monologues). The director, Andrew, ran them through the scene and continued to fine tune their performances while Mort and I figured out how we were going to film the scene with the one major actor we needed missing. We were also short one crew member, so I was going to have to be creative with the sound recording (the problem was actually solved by Mort, who is a genius!).

At about 6:30pm, we finally set up for the first shot. Tony, who was not in the first night's shoot, was our featured first actor and we ran him through his scene. It's a complicated scene and we started him off with it as the first thing he did. But he pulled it off admirably in only six takes (this was to be a theme).

Next up was the long monologue of Jeff - which was one of the last things that we wrote in the script (and one of the funniest). Andre played this perfectly, almost as if we'd written it with him in mind. If anyone needs a Grand Mof Tarkin impersonator for their Star Wars themed birthday parties, I'll see if he's available. Due to the long monologue that he has to deliver, though, it took seven takes to get it down.

Gabriel was the last to have a crack at it in this scene - and indeed its his reveal that's most important to the nature of the film because everything leads up to this moment. Josh, who plays Gabriel, gave it just the right amount of gravitas for the scene and I can't wait to actually watch the dailies of this scene since I was mesmerized watching his performance from the side (where I was holding the boom pole). I'm dying to see what it looks like from the camera's perspective. Josh took eight takes to get his scene down, but that was mostly because my brother-in-law who was doing quite a good job as the Doctor in this scene, was so taken by Josh's performance that he kept forgetting that he had a line to deliver.

We also shot some quick cut-away shots (a few lines here or there that we wanted to emphasize - mostly for comic effect) and a good portion of Winestein's opening scene in Scene 4 since Tony wouldn't be available again until the second week of August (it must be good to be in demand!).

Throughout the entire shoot the back and forth jokes of guys who are working together continued to fly. Everyone was bonding in a way that only guys can bond and we all spent most of the time laughing or smiling and having a good time. Still, we were plenty tired when we finally wrapped for the night around 10:30pm. It was hard work, but we had a great time anyway.

It got me to thinking about the nature of Jesus's disciples. You really can't get 12 guys together without the typical ribbing and good natured bickering going on. You can well imagine that even with the Son-of-God in their midst, there were probably a full well-placed "pull my finger" and a number of not-so-subtle nicknames thrown around. And I wouldn't even be surprised to discover that Sons of Thunder was an inside joke known to only the most "holiest" of men. My point is that you can't have that much fun and good times and not have it be of God. Laughter and camaraderie are both heaven-sent, no matter what the nature of the high jinx involved.

Anyway, we shoot bedroom sequences on Thursday and it looks as if I might be stepping into the major part that one actor couldn't perform due to other problems (so there goes the acting quality! ;) But we have added another actor and another crew member this weekend (the other whoohoo moment!) so things aren't entirely bleak yet. Come heck or high water, this movie is going to... glub, glub, glub!

Friday, July 25, 2008

Production Diary: Day One

So my film day begins with a humorous anecdote. At 4:45pm, fifteen minutes before I'm supposed to leave to start filming, I get an e-mail from Angry Filmmaker - an independent film maker who used to be a Hollywood sound guy. The title of the e-mail is, "Your Screenplay Sucks!" Wow! Here I am about to start shooting my film and some film guy in Portland is weighing in on my screenplay, and how the heck did he get it anyway?!

Well, it turns out that the e-mail subject line was also the title of a new script writing book this guy was reviewing. One had nothing to do with each other.

Anyway, at 5:15pm I pulled up in front of Lakeside with a truck full of half of the equipment and we began to unload the stuff - tripods, cameras, paint tarps, sound gear, costumes, food... everything. I thought we were invading a small country.

The second I walked in the door, I immediately was pulled in at least three directions. First, I inspected the food and began cooking the veggies (they were the easiest). Then I was asked to help out with costuming a couple of the actors. Soon they had their robes on and they looked really good and perfectly patient-ish. But I had to run back to check on the veggies. Then my cameraman showed up and wanted to start playing with the "toys". So I showed him where all the goodies were kept and he started unwrapping tripods and cameras and cords and asking me where we were going to shoot and what and... The veggies were really steaming by now.

The rest of the cast arrived and started the whole process all over again, only more so. One of them was my main actress, Audrey, who looked stunning already. But then she brought her own makeup guy and wardrobe lady (both dear friends) and I suddenly had to advise on makeup selections and wardrobe choices and cook the fajita steak and chicken and get the tables set up and do a white balance adjustment on the camera and...

I won't lie and say I loved every minute of it. I was too busy to notice most of the time. As I finally put the food on the table and we all sat down to nibble, I was able to watch as my co-director, Andrew, began the painstaking process of refining the actors' performances to match his vision of the script. He'd give them some direction, let them read the line, then fine-tune their delivery. Over and over again, each actor bouncing off the other, and the performances building and crescendoing until the "tune-up" was complete and the actors were ready to go. Except for the make-up and the set up.

We had to completely "redecorate" the Lakeside Church social hall, which mostly consisted of removing church related items and reorganizing some furniture. The scenes we shot were narrowly focused however so we didn't have to decorate the entire space the entire time. We were basically shooting two scenes on the opposite ends of the emotional spectrum. The first scene was basically when the two main characters, Gabriel and Monica, finally fall in love. And the second scene took place after they had broken up. A third scene where they finally get back together was canceled because we ran out of time.

We didn't start filming until nearly 9pm. My friend, Mort, from City College was the cameraman and my Dad ran the sound recorder while I hefted the boom pole over my head and placed that microphone right on target. The first scene went by pretty well, but we had sound issues from the fish tank (it's filter was slightly out of whack and we were getting a grating mechanical sound throughout). We did about five takes of that scene until we were happy with it, and then about 10pm, we took a break and started to set up for the next shot.

By the time we were ready to film the second shot, energy was starting to fade. We did a few takes before we finally petered out. So we took another short break, and then continued until we had the scene. At that point, we called it a night and started packing everything up and putting everything back the way we'd found it.

By the time I dropped off the last person on the crew and then drove myself home, it was about 12:45am. My legs were killing me and my arms were grumbling about killing me. But the strangest indictment of all came from my stomach which was growling with its disapproval. Apparently, I hadn't eaten enough dinner.

Anyway, the first day's shooting went well and tonight I'll sync up the footage and the sound and see how it all matches up. I have a feeling we got one good scene out of the night's work and that we'll probably have to go back and re-do the first scene because of the sound issues. But I'll worry about that later.

We'll begin Saturday with a showing of the Dailies.

With any luck, and some time, I'm going to see about getting some sort of video online for you all to watch by Monday. If not that then I'll at least try and get some production photos.

Have a great weekend.

Thursday, July 24, 2008

Double Speak is Torturing Me

It has been popular probably since the first person set themselves above others as a leader, but in the last forty years or so, the use of double-speak has become an art form. Quite frankly, I'm sick of it. It contravenes just about every reason for communication, trust, and direct human relationship. Any time we enter a conversation where double-speak is being used, we're going to end up on the losing end of that relationship.

I read today of the Top Secret document that the ACLU has finally obtained that outlines the use of double-speak standards for torture overseas. The document is basically a directive to American interrogators on how to circumvent torture laws by placing the emphasis on how the torture is delivered to captives. In other words, if you injure with the intent to do physical harm, its not torture. I'm assuming that means that this injury is considered something other than torture. Either way, when the captive finally spills the beans, you have achieved the successful interrogation of the prisoner without torture no matter how badly bruised, beaten, and bloody your prisoner has become.

Double-speak. I didn't torture the prisoner because I meant to cause physical harm. Therefore its not torture by legal definition.

I've always thought that these kinds of word games were beneath Americans. In fact, these are the exact kind of arguments that I expect from Cold War Soviet Era doctrines, Nazi and other fascist regimes, and current strong arm dictators accused of genocide. "I am innocent of genocide because according to international law, I have every right to put down an insurrection in my own country and this group, (The Hutus, or whatever), was trying to start an insurrection, so I slaughtered every last one of them." But I see now that when push comes to shove, Americans can be every bit as brutally legalistic as every other thug nation on the planet.

Double-speak has got to go. We've got to remove it from our political halls and our law rooms and our hospitals and our schools and our every day language. We've got to stop using communication to obfuscate, distract, or otherwise trick each other into doing things that are against our better self-interest. And we've got to stop supporting laws and governments that allow for these kinds of mis-direction to occur.

The simple answer is: Let's let the interrogators turn their currently government sanctioned tactics on the politicians who authorized them to do these things and see if they can get these politicians to admit wrong doing. Don't worry. It won't be torture... not legally, anyway.

Poultrygeist: Night of the Chicken Dead (2006) - 5 Wigs


A Review of

"Poultrygeist: Night of the Chicken Dead"

by

Jay Raymond

If you can make a movie about chicken zombies, you can make a movie about anything. This is my line and I'm sticking to it. I arrived an hour early at the Roxie to wait in a large line filled with attendies for a 48 hour film festival. Artsy Fartsy types clogged the sidewalk while conversations about supporting the arts floated to and fro'. Yet, they were mere neophytes to the real art laying in wait behind the 25 seat theatre of the smaller auditorium for those of us intrepid enough to risk out sanity on such a true masterpiece, "Poultrygeist: Night of the Chicken Dead" (2006), directed by Lloyd Kaufman.

Our movie is set in the ancient graveyard of the Tromahawk tribe of Tromaville where a national restraunt chain has evicted the local dead native residents, throwing them literally in the trash. Of course, an evil curse ensues, carrying out hero, Arby, and his one true love, Wendy into the mix of horror and laughter, singing wildly through the movie. Yes, in true form, Troma made a musical and the songs rocked while undead chicken pieces possessed and consumed all, turning people into giant human chicken zombies. Yay. Finally a real movie.

Our hero spends this movie trying to pry his beloved from the conniving arms of her lesbian lover, Mickey who is secretly working for the General, owner of the evil chain fast food joint, American Chicken Bunker to deliver the town's populace right into their store. Paco Bell, Humus, and "chicken-lover" Carl Jr. working for manager Denny, try to work through their very first shift without being eaten alive. Paco Bell becomes a living "Sloppy Jose" (who happens to be on a "roll" ;)) while Carl Jr. turns into a giant mutant chicken! Blood and guts splatter this film wall to wall and finishes with a giant car explosion. Giggles and laughs abound in this great flick. 5 inverted stars from this dark lord. Cluck, sorry, check it out.

Tuesday, July 22, 2008

My legs are back underneath me.

I'm getting older and wiser and tougher to move. I can guarantee you that even five years ago, having my car fold on me like that, even three days before a shoot, would have caused me to collapse like a house of cards. The waves come in, batter you down, and sweep you out to sea. And then its time to start all over again at something else.

Well, not this time, Bucko! The show must go on cause when the going gets tough, the tough get going. Over there! Over there! We will fight for our rights, over there! Give 'em Hell! Hang 'em high! From the Halls of Montezuma to the Shores of Tripoli. Its not just a job; it's an adventure! Ooh Rah!

Okay, but seriously, it'd be nice if this film went off without another hitch.

Thanks, God.

Monday, July 21, 2008

Coming at me with both barrels!

Philip Henslowe: Mr. Fennyman, allow me to explain about the theatre business. The natural condition is one of insurmountable obstacles on the road to imminent disaster.
Hugh Fennyman: So what do we do?
Philip Henslowe: Nothing. Strangely enough, it all turns out well.
Hugh Fennyman: How?
Philip Henslowe: I don't know. It's a mystery.

Producing is a job not for the feint of heart or the thin of pocketbook or the gumption-challenged or the heart attack prone. So far, in this last weekend, the Enemy has come at me with both barrels blazing and I've had a pretty tough time of it dodging the blasts, but darn it, I'm sticking around until the end - come heck or Water World, which ever comes first.

Last week, I started buying props for my film, while I listened to my co-director overcome one obstacle after another in casting this film. Scheduling conflicts being the most serious set-back, we worked around the problems and finally set most of the cast by Friday evening - which was good since the (first and final) script reading was on Saturday afternoon.

On Thursday night, I went to Kinko's to print scripts and to get them bound. I was given folders that would allow the script pages to easily be added and subtracted from the total. I took the copied scripts and the folders with me to work on Friday to fix up the scripts and discovered that none of the folders actually worked. So back to Kinko's Saturday morning in a mad scramble to have scripts ready for the reading just in time.

The reading went incredibly well and it was a thrill to hear the words I'd co-written and the characters I'd co-created come to life. I even laughed more than a few times, which is a good sign for a comedy - and even better for a comedy where you've been writing the script for several months (if you can still laugh, the joke must be good).

Saturday night my enormously expensive and pampered little beast of a vehicle decided that it didn't like its coolant, so it got rid of it all and my car overheated and started steaming. Replacing the coolant, it then decided to have transmission problems. All this less than a week after I spent $300 on preventative maintenance on my coolant and transmission. Now, I'm out another $250 just to find out what has possessed my normally reliable vehicle.

So I spent Sunday being chauffered around while I tried to find robes for my actors. Robes. That's it! Simple. A nice simple costume that you can find anywhere, right? Wrong! I spent three hours before I finally found robes that my characters could wear and that only cost me a whopping $130 to outfit five characters. *sigh*

Everyone's asking me what I plan to do with all this film-making expertise in the near future. I think I might start answering them with, "I'm going to file for bankruptcy."

Next time, I use somebody else's money. That's where the real smart film makers go.

Oh, and I will buy a foreign car as well. Maybe a Lamborghini to save some money!

*UPDATED*

I just got a call. My thermostat and my tranny are both shot. Repairs will cost me $3000. I still owe $2700 on this thing. I would like to include a swear word or two here plus mention the unsavory parentage of FORD Motor Company and all who work for it. But I will refrain, cry into my beer, and figure out what to do next.

It might be time to crack out my bicycle and take my lumps physically as well as fiscally. And every drop of sweat will remind me never to buy American again!

Tuesday, July 15, 2008

Hellboy II - The Golden Age (2008) - 3 Wigs


I think Guillermo Del Toro might just be one of the most creative and outlandishly visual directors alive today - which is tall praise when you look at some of his competitors; James Cameron, Luc Besson, Peter Jackson, Baz Luhrman, Terry Gilliam, etc... His work on Blade II, Cronos, the first Hellboy, and Pan's Labyrinth shows that this guy has an amazing ability to bring fantastical worlds to life. Unfortunately, for him, I didn't particularly like any of those films I just mentioned. I'll lump in Hellboy II with the first lot.

Visually, the movie is stunning. There is a bit of animation in the opening sequence that is some of the best animation I've seen in years (even though its obviously animation). The creatures are all amazing - but I was especially enamored with the new German agent on the team and the elves. One of the bad guys also had a really cool appendage that was a star in its own right. Everywhere that Del Toro used one of these practical effects (vs. CGI) I was mesmerized. Unfortunately, I was not mesmerized by the plot.

Story, story, story! How many times do I have to repeat myself?! The story, in this case, was so very basic and so very cliched that within about five minutes you know how the movie is going to end. There are some wonderful character moments in the film - like Hellboy and Abe getting drunk - but overall, this was a fairly unimaginative storyline. If the story was half as creative as the visuals, the film would have been Oscar worthy.

The good news is that while Del Toro is directing the next two LOTR films (Hobbit and Hobbit II - Electric Boogaloo), he is not writing the scripts - the brilliant screenwriting team from the first LOTR trilogy will be doing the honors. Also, he'll be working with WETA and with a cast and crew familiar with LOTR. Combine that with his insane ideas for visuals, and I think the Hobbit is in very capable hands - different that Jackson's, but spectacular in their own right. I just hope that PJ gets the final cut and manages to keep the humanity in the films that seem to be lacking in any of Del Toro's films so far.

Next week... BATMAN!

Hancock (2008) - 3.5 Wigs


Hancock is the latest Will Smith movie to hit on July 4th. I don't like all Will Smith movies, but I've always liked Will Smith. It must be a name thing. He is perfect in this role, as he usually is in every role he's in, whether I like the movie or not.

In Hancock, Will Smith plays a reluctant super-hero with a mysterious past. To reveal more than that would ruin some of the fun of this movie. Suffice it to say, its not a "real" comic-book movie, but thankfully the writers didn't spend a whole lot of time developing the back story because it was a rather weak story and the fun of this movie is the present - the here and now.

By far, the best reason to see this movie, is to see Jason Bateman. As the guy who offers to change Hancock's image from "A$$hole" to "Super Hero," Jason plays the role with nuanced perfection. This guy reminded me of so many people I know who totally believe in their failed causes that every new opportunity that comes along in just one more chance to relaunch their old idea. There's an optimism in Jason's character that gives the movie a lot of heart and that really makes the ending much better.

Of all the superhero movies I've seen this summer (four out of five so far), I'd say that this one has the most heart. It wasn't the greatest movie. It had its flaws, but it was still the one that kept me interested in the characters all the way through.

Go check it out.

The President's Real Goal in Iraq

The official story on Iraq has never made sense. The connection that the Bush administration has tried to draw between Iraq and al-Qaida has always seemed contrived and artificial. In fact, it was hard to believe that smart people in the Bush administration would start a major war based on such flimsy evidence.

The pieces just didn't fit. Something else had to be going on; something was missing.

In recent days, those missing pieces have finally begun to fall into place. As it turns out, this is not really about Iraq. It is not about weapons of mass destruction, or terrorism, or Saddam, or U.N. resolutions.

This war, should it come, is intended to mark the official emergence of the United States as a full-fledged global empire, seizing sole responsibility and authority as planetary policeman. It would be the culmination of a plan 10 years or more in the making, carried out by those who believe the United States must seize the opportunity for global domination, even if it means becoming the "American imperialists" that our enemies always claimed we were.

Once that is understood, other mysteries solve themselves. For example, why does the administration seem unconcerned about an exit strategy from Iraq once Saddam is toppled?

Because we won't be leaving. Having conquered Iraq, the United States will create permanent military bases in that country from which to dominate the Middle East, including neighboring Iran.

In an interview Friday, Defense Secretary Donald Rumsfeld brushed aside that suggestion, noting that the United States does not covet other nations' territory. That may be true, but 57 years after World War II ended, we still have major bases in Germany and Japan. We will do the same in Iraq.

And why has the administration dismissed the option of containing and deterring Iraq, as we had the Soviet Union for 45 years? Because even if it worked, containment and deterrence would not allow the expansion of American power. Besides, they are beneath us as an empire. Rome did not stoop to containment; it conquered. And so should we.

Among the architects of this would-be American Empire are a group of brilliant and powerful people who now hold key positions in the Bush administration: They envision the creation and enforcement of what they call a worldwide "Pax Americana," or American peace. But so far, the American people have not appreciated the true extent of that ambition.

Part of it's laid out in the National Security Strategy, a document in which each administration outlines its approach to defending the country. The Bush administration plan, released Sept. 20, marks a significant departure from previous approaches, a change that it attributes largely to the attacks of Sept. 11.

To address the terrorism threat, the president's report lays out a newly aggressive military and foreign policy, embracing pre-emptive attack against perceived enemies. It speaks in blunt terms of what it calls "American internationalism," of ignoring international opinion if that suits U.S. interests. "The best defense is a good offense," the document asserts.

It dismisses deterrence as a Cold War relic and instead talks of "convincing or compelling states to accept their sovereign responsibilities."

In essence, it lays out a plan for permanent U.S. military and economic domination of every region on the globe, unfettered by international treaty or concern. And to make that plan a reality, it envisions a stark expansion of our global military presence.

"The United States will require bases and stations within and beyond Western Europe and Northeast Asia," the document warns, "as well as temporary access arrangements for the long-distance deployment of U.S. troops."

The report's repeated references to terrorism are misleading, however, because the approach of the new National Security Strategy was clearly not inspired by the events of Sept. 11. They can be found in much the same language in a report issued in September 2000 by the Project for the New American Century, a group of conservative interventionists outraged by the thought that the United States might be forfeiting its chance at a global empire.

"At no time in history has the international security order been as conducive to American interests and ideals," the report said. stated two years ago. "The challenge of this coming century is to preserve and enhance this 'American peace.' "

Familiar themes

Overall, that 2000 report reads like a blueprint for current Bush defense policy. Most of what it advocates, the Bush administration has tried to accomplish. For example, the project report urged the repudiation of the anti-ballistic missile treaty and a commitment to a global missile defense system. The administration has taken that course.

It recommended that to project sufficient power worldwide to enforce Pax Americana, the United States would have to increase defense spending from 3 percent of gross domestic product to as much as 3.8 percent. For next year, the Bush administration has requested a defense budget of $379 billion, almost exactly 3.8 percent of GDP.

It advocates the "transformation" of the U.S. military to meet its expanded obligations, including the cancellation of such outmoded defense programs as the Crusader artillery system. That's exactly the message being preached by Rumsfeld and others.

It urges the development of small nuclear warheads "required in targeting the very deep, underground hardened bunkers that are being built by many of our potential adversaries." This year the GOP-led U.S. House gave the Pentagon the green light to develop such a weapon, called the Robust Nuclear Earth Penetrator, while the Senate has so far balked.

That close tracking of recommendation with current policy is hardly surprising, given the current positions of the people who contributed to the 2000 report.

Paul Wolfowitz is now deputy defense secretary. John Bolton is undersecretary of state. Stephen Cambone is head of the Pentagon's Office of Program, Analysis and Evaluation. Eliot Cohen and Devon Cross are members of the Defense Policy Board, which advises Rumsfeld. I. Lewis Libby is chief of staff to Vice President Dick Cheney. Dov Zakheim is comptroller for the Defense Department.

'Constabulary duties'

Because they were still just private citizens in 2000, the authors of the project report could be more frank and less diplomatic than they were in drafting the National Security Strategy. Back in 2000, they clearly identified Iran, Iraq and North Korea as primary short-term targets, well before President Bush tagged them as the Axis of Evil. In their report, they criticize the fact that in war planning against North Korea and Iraq, "past Pentagon wargames have given little or no consideration to the force requirements necessary not only to defeat an attack but to remove these regimes from power."

To preserve the Pax Americana, the report says U.S. forces will be required to perform "constabulary duties" -- the United States acting as policeman of the world -- and says that such actions "demand American political leadership rather than that of the United Nations."

To meet those responsibilities, and to ensure that no country dares to challenge the United States,the report advocates a much larger military presence spread over more of the globe, in addition to the roughly 130 nations in which U.S. troops are already deployed.

More specifically, they argue that we need permanent military bases in the Middle East, in Southeast Europe, in Latin America and in Southeast Asia, where no such bases now exist. That helps to explain another of the mysteries of our post-Sept. 11 reaction, in which the Bush administration rushed to install U.S. troops in Georgia and the Philippines, as well as our eagerness to send military advisers to assist in the civil war in Colombia.

The 2000 report directly acknowledges its debt to a still earlier document, drafted in 1992 by the Defense Department. That document had also envisioned the United States as a colossus astride the world, imposing its will and keeping world peace through military and economic power. When leaked in final draft form, however, the proposal drew so much criticism that it was hastily withdrawn and repudiated by the first President Bush.

Effect on allies

The defense secretary in 1992 was Richard Cheney; the document was drafted by Wolfowitz, who at the time was defense undersecretary for policy.

The potential implications of a Pax Americana are immense.

One is the effect on our allies. Once we assert the unilateral right to act as the world's policeman, our allies will quickly recede into the background. Eventually, we will be forced to spend American wealth and American blood protecting the peace while other nations redirect their wealth to such things as health care for their citizenry.

Donald Kagan, a professor of classical Greek history at Yale and an influential advocate of a more aggressive foreign policy -- he served as co-chairman of the 2000 New Century project -- acknowledges that likelihood.

"If [our allies] want a free ride, and they probably will, we can't stop that," he says. But he also argues that the United States, given its unique position, has no choice but to act anyway.

"You saw the movie 'High Noon'? he asks. "We're Gary Cooper."

Accepting the Cooper role would be an historic change in who we are as a nation, and in how we operate in the international arena. Candidate Bush certainly did not campaign on such a change. It is not something that he or others have dared to discuss honestly with the American people. To the contrary, in his foreign policy debate with Al Gore, Bush pointedly advocated a more humble foreign policy, a position calculated to appeal to voters leery of military intervention.

For the same reason, Kagan and others shy away from terms such as empire, understanding its connotations. But they also argue that it would be naive and dangerous to reject the role that history has thrust upon us. Kagan, for example, willingly embraces the idea that the United States would establish permanent military bases in a post-war Iraq.

"I think that's highly possible," he says. "We will probably need a major concentration of forces in the Middle East over a long period of time. That will come at a price, but think of the price of not having it. When we have economic problems, it's been caused by disruptions in our oil supply. If we have a force in Iraq, there will be no disruption in oil supplies."

Costly global commitment

Rumsfeld and Kagan believe that a successful war against Iraq will produce other benefits, such as serving an object lesson for nations such as Iran and Syria. Rumsfeld, as befits his sensitive position, puts it rather gently. If a regime change were to take place in Iraq, other nations pursuing weapons of mass destruction "would get the message that having them . . . is attracting attention that is not favorable and is not helpful," he says.

Kagan is more blunt.

"People worry a lot about how the Arab street is going to react," he notes. "Well, I see that the Arab street has gotten very, very quiet since we started blowing things up."

The cost of such a global commitment would be enormous. In 2000, we spent $281 billion on our military, which was more than the next 11 nations combined. By 2003, our expenditures will have risen to $378 billion. In other words, the increase in our defense budget from 1999-2003 will be more than the total amount spent annually by China, our next largest competitor.

The lure of empire is ancient and powerful, and over the millennia it has driven men to commit terrible crimes on its behalf. But with the end of the Cold War and the disappearance of the Soviet Union, a global empire was essentially laid at the feet of the United States. To the chagrin of some, we did not seize it at the time, in large part because the American people have never been comfortable with themselves as a New Rome.

Now, more than a decade later, the events of Sept. 11 have given those advocates of empire a new opportunity to press their case with a new president. So in debating whether to invade Iraq, we are really debating the role that the United States will play in the years and decades to come.

Are peace and security best achieved by seeking strong alliances and international consensus, led by the United States? Or is it necessary to take a more unilateral approach, accepting and enhancing the global dominance that, according to some, history has thrust upon us?

If we do decide to seize empire, we should make that decision knowingly, as a democracy. The price of maintaining an empire is always high. Kagan and others argue that the price of rejecting it would be higher still.

That's what this is about.

By JAY BOOKMAN

29 September 2002.


(Interesting stuff... I was looking for some quotes about Iraq pre-election from Bush and came across this article. Pretty prescient stuff, neh?)

Friday, July 11, 2008

I can't make this hurt less...

"You don't know how hard it was for me to sign your death warrant." Grand Moff Tarkin - Star Wars.

Sometimes, no matter what you do, you just can't fix something. It's beyond your power. Beyond your intelligence. Beyond your love and support and nurturing. You can bang your head against the wall, worry and fret, scream at the moon, plead with God, but nothing changes the fact that as frustrating as it is, you can't do anything to fix the problem.

I have been struggling against the wind for months now, looking for any angle, any approach that might make this easier, but I think I've known in my heart that there is no way to reach my objective for now. My novel is broke and I don't know how to fix it.

Oh, I've come up with hundreds of ideas, each one sketchier than the last. But after each idea is embraced then slowly rejected, I lose a little stamina. The project seems more insurmountable than before - the task that much more daunting - and the solution that much more out of reach. And I've begun to lose faith in this novel, which has started me down the path of doubt, despair, and depression.

I write not to make a bazillion dollars (though that would be nice) nor to win friends and influence enemies, but because I need to write. Its a primal instinct, a form of therapy, and an urge that can't be excised in any other way. So to sit on the sidelines and wait for some earth shaking revelation to come along that will fix all my novels problems and propel me into writing superstardom is killing me by small degrees, like a man waiting for a bus while standing in a wading pool filled with pirhanna.

I have decided to move on. Not to abandon my novel to the trash heap, but to let it simmer for a while so that I might come back at it someday and take it up again. I think this is the healthiest alternative for me.

In truth, my first objective was to write a novel. I have accomplished that. And I have learned so much in the ordeal that I now consider myself a real writer. Freeing up my creative juices again to go after some different game is probably a good thing. But I will leave part of me behind with the novel, and I will never be complete until it is. It hurts even more to have come so close - like a certain ex-Giant who was within four outs of a World Series ring. I was so close that I could taste it, and that is perhaps why I let it drag out for so long. But six years of my life is too much time to devote to one novel, especially when there is no end in sight.

Unlike some people, I do have an exit strategy.

And now... sigh... for something completely different...

Monday, July 07, 2008

Excitingly Busy

So what have I been up to lately? Would you believe I've been co-writing and co-producing a 45 minute film with a cast of 14 people and a crew of 5 people, so far?

This all came about a while back and I've mentioned it from time to time here. And I'll admit that sometimes things I write about here are... well, sometimes they're downright wishful thinking (like that whole finishing the novel thing ;) But this movie, like most movies, was always a go for launch in my mind pending the outcome of several things - like a finished script and a willing cast and crew and a budget and a place to film. One by one, the dominoes have fallen in place and now, I'm actually going to production.

Wow - that is honestly something I wasn't sure I'd ever get to say.

It started a week ago tonight. The final approval for use of my church's social hall was needed and I had to go before my church's governing body to explain my film and ask permission. Now, I admit to a lot of prayer before this meeting. On the one hand, I really wanted to make this movie for a variety of reasons but believe it or not, I'm not sure that any of the major reasons were selfish. I wanted to make the movie so that the youth in two different film programs would have the opportunity to make a film they could call their own. And so that they'd have some time to spend together in community pursuing a common endeavor. But I also was praying for my church, because I wanted them to have the opportunity to host this event and to get back out in the community where the church resides. I felt that this was what God wanted as well and so, I went to this meeting with a hopeful spirit and presented my case. And do you know what happened? Well, obviously they approved the filming. But beyond that, they approved it for exactly the reasons I had hoped they would. They had come to the same Christ-centered conclusion as I had.

Suddenly, I had a complete movie in my lap and countless numbers of people counting on me to get this done. It wasn't that I hadn't prepared for this, but to have it suddenly happen when I had failed to take that step so many times before, the feeling was a bit overwhelming. I immediately set about working on the Producing of the film.

We contacted cast and crew and I started breaking down the script and scheduling the shoot and pricing the equipment and raising the funds and... it's been overwhelming and I've still got three weeks of preproduction left.

So, that's what I've been up to. My co-writer and I sat down and cranked out the final draft of the script on Saturday and we now have one funny script. He and I were also on the same wavelength when he turned to me and said, "Do you think we could film ourselves as we write for a Making Of film?" I had been thinking the same thing for months, but I didn't want to intrude on the writing process. So, we cracked out the camera and tripod and started filming and then went right back to writing and within seconds forgot the camera was there. I watched about two and a half minutes of the thirty minutes of film and I found it to be fascinating (and extremely funny - in the way that a church wouldn't appreciate ;) .

Anyway, I'm just rambling now. Its that pre-traumatic stress disorder that's going around. I'd better go and get back to work.

And yes, if you live in the area (and you know who you are ;) and you want to be in my film, the answer is yes. Just contact me. No experience necessary. Se Habla Espanol. We accept green stamps.

Wednesday, July 02, 2008

Wanted (2008) - 3.5 Wigs


These people can curve bullets. What's there not to love?

Well, for one thing, in the history of movies I've never been to a movie that scored a 5 on all of its elements but one - plot - and lived to tell the tale. Even a movie as jacked up as The Fast and the Furious had a plot with some semblance of reality in it - but we didn't care because we were just too busy watching people drive really, really, fast and do incredibly cool things. All flash, little substance.

Well, Wanted is the first film in movie history with all flash and no substance - and really, we don't care that much. If it really bothers you, then you'll probably hate this film. If you really don't expect any, then you can just enjoy the ride.

So basically, the film follows a rather likable though completely post-modern jerk who considers his life to be a complete waste - until he finds out that he is the son of one of the world's most deadly assassins and that it is his destiny to become one as well. Fairly straight forward and, to be honest, had they left this alone and just made the rest of the movie from that point onward, the film could have been a great hit. But, after a good first half of the movie in which our hero learns to curve bullets, amongst other anti-social skills, the entire first half is squandered in one scene - the scene where we learn the true plot of the movie, and you can hear a collective groan from the entire audience. Wait. You're not serious, are you? I've seen better plots in a Sponge Bob Square Pants episode. In fact, I think Sponge Bob already spoofed this plot before you even made the movie. In terms of dumb plots, this ranks right up there with The Making of Dumb and Dumberer as one of the worst in history. This is the cinematic equivalent of all those WMD's in Iraq. Anyway, the cast apparently thought so as well because they asked the producers to make sure that none of them could ever come back for a sequel and the writers obliged.

This movie has more holes in it than any of the films many victims. Yet, its hard not to like. I mean, they curve bullets! What more do you need to know?

Wall-E (2008) - 4 Wigs


As with most Pixar films I am bereft of words to describe the film or my reaction to it. Like most great Disney animation, Pixar films, in general, are so wonderful that you come to expect greatness. You would be shocked if they weren't great. For most of my grown up years there were only two certainties in film - James Bond would be back and Disney was making an instant classic. Both of those certainties have been tested since my youth, but Pixar has certainly taken up the slack from where Disney left off. And I'm happy, though not in anyway surprised, that Wall-E is an instant classic.

So, why the four wigs and not five? Not all classics are created equal? No, but like most Disney animated films, we all have our favorites. I prefer Sleeping Beauty to Cinderella and Peter Pan to Snow White. While I can easily put Wall-E in the realm of these classic animated films, part of the film left me cold (and its probably not the part you would imagine). There isn't anything wrong with the film and I was thoroughly entertained and I totally recommend the movie for all audiences who will enjoy it year after year after year, but I still think Finding Nemo was better. And that's just my opinion.

There are some incredible things I wish to point out for those of you who will see this movie, but I don't want to spoil anything for you. So I will only mention the one thought I had while watching the movie that took me only for a second out of the narrative - "Wow! That looks so real!"

Oh, and I want to commend the filmmakers for using live actors for a couple of sequences. Normally, I'd be against such a thing in an animated movie - but the choice of actors was so perfect and comical, that I'm certain no animated character could have had the same impact.

DEFINITELY GO SEE THIS FILM.