Commentary
December 2, 2010: My Brush with an Agent
There are many paths to getting a book published. The more traditional route is to find an agent that can hawk your book to the various publishing companies that will put you on the shelves of Barnes and Nobles. Many of my colleagues who are familiar with the process, suggested this course of action.
I nodded in agreement, but thought, how am I going to find this person? How will I find someone I trust to represent me. Shall I let my fingers do the walking and call hundreds of agents and present them with a synopsis and explain why my book will be a hit?
I didn’t want to waste my time chasing after someone, who will then in turn chase after publishing companies, while I wait on the sidelines watching my book collect dust. I have no patience to search for a person who will slow down the process and want a big piece of the pie for basically an introduction.
However, Providence intervened and an old colleague surfaced to usher me into the back door of his agent’s office. My old crony could not make guarantees, except that his agent would read my pages. With nothing to lose I sent her the first three chapters.
A few weeks later the predictable email arrived. “I enjoyed your pages Lenny, but at this time there are many such books on the market and it would be hard to push yours since you are an unknown author.”
That sounded like the standard rejection response. I may be an unknown author, but there isn’t a book like mine. The question of weather it is good or not will of course be a subject of debate by the critics, but I promise you it is unique.
Howard Aiken the computer visionary of the mid 20th century once said, “Don’t worry about people stealing your ideas, if your ideas are any good, you’ll have to ram them down people’s throats.” It is true. It is very difficult for people to recognize quality. People only find out about your talents after you’ve made money, society’s scorecard.
November 24, 2010: Why Self Publish?
You might say the road to self publishing began when I wrote the first word of my book. From the time I envisioned my book, until now I have never seriously entertained an established publisher. Self publishing always seemed to be the only direction for me.
I have been in the same situation when it comes to movie distribution. The distributor is in the catbird seat, and even if the company decides to pick up your film, there is no guarantee you’ll make a dime. They also expect you to turnover your rights on a project that has taken two years out of your life. The odd thing is most filmmakers end up signing it all away and never see dollar one. Have we learned nothing from Creedence Clearwater Revival?
To even get to a distributor or a publisher, which is more relevant to this conversation, I would have to pound some big pavement, talk a big game, and prepare for a huge expenditure in time. I can’t even talk to a publisher; I have to secure an agent. The agent is there to serve the publisher, so the pie gets smaller.
Since I have already pre-sold a hundred books and more orders are coming in daily I anticipate many more will be sold in the first week, I stand to make a lot more money. I have a fairly large warm market. There are people who know me, like me, and are already interested in buying a book. I would be giving away 80% of the profit on the first round of books that I have already sold.
While the author base is growing the Publishers are publishing less books. The odds have increased against scoring with a publisher. So what happens if I strike a deal, and the book is out in the world? I still have to hustle my butt off at bookstores for a very small return. Unless the publisher has a good reason to think my book will fly off the shelf, there will be minimal PR around my book.
There are many advantages going with a publisher. I am not opposed to the idea, just the idea of trying to find one willing to get behind my work. That mountain I am unwilling to climb. Self publishing is the only choice for me. I am forced to take matters into my own hands. At least I know who to yell at if things go wrong.
November 17, 2010: The Subtle Art and Craft of the Rewrite
I have been writing all of my life. The first time I had a conscious thought of becoming a writer was at age ten. I banged out a couple of stories, to which my mother commented, “Very good Len.” I walked away with a proud smile, and moved on to my next fantasy career. Don’t get me wrong, I was serious at the time, but I lacked many of the qualities needed to be a writer, such as attention span, discipline and perseverance.
Of course one needs talent, but even with talent, or natural ability, in the end it will still boil down to the meticulous, time-consuming and sometimes painstaking task of rewriting. For many years I have recorded my thoughts, ideas and inspirations. Most of it is in the same condition as the day I wrote it. Some of my early stuff had potential, if flushed out, but even the thought of going through my work in order to rewrite was a mountain I was unwilling to climb.
Rewriting had seemed so unmanageable to me, or maybe I was just lazy, but I could never bring myself to re-hash any of my work. What changed? I started to rewrite, that is the short answer. The long answer is that my writing was getting better, and the fixing part of it wasn’t as hard. I also finally had a desire to complete my work, to finish an article or story.
Once I started to complete projects I began to enjoy the process. I like going back and finding the right word, or changing a mundane phrase into a fluffy piece of language. I now liken these changes to a painter, whose final subtle brushstrokes make the painting come to life in its completion.
I prefer to rewrite first thing in the morning. It takes more energy to rewrite. The first draft pours out the easiest. Inspiration strikes at all hours, but the hard-boiled task or rewriting must be done with the most energy and the clearest state of mind. Though it is still work, I enjoy and embrace it now. I enjoy the satisfaction of completion. Completion – that is another story for another time.
November 12, 2010: Above the Line –The Checkered Flag, Yeah!
I am in my final pass of my final draft for my new book Above the Line. I have been in the final draft for a while now, but I can say with confidence that it is the last time through before I call the editor. That person has not made himself or herself clear yet. I am in the hunt for the word magi, and hope to find one before I finish writing in order to keep the flow going on the smooth path to publishing.
When I first started on this road almost year ago, I had no idea of the amount of time it would take for me to complete this book. I kind of hoodwinked myself when I finish the first draft in less than a month. Obviously I knew I had to rewrite, but I didn’t realize that the ensuing drafts would take so much longer. The second draft was closer to two months and upon completion of each draft I was forced to walk away from the manuscript. I needed time to clear my head and move away from the work in order to have more objectivity.
Since this is my first book it has also been a learning process. After each draft my skills became sharper. I saw patterns develop of over used words and phrases. My basic grammar improved, and each time I passed through the book I wondered how I was able to miss such glaring issues with content and transition. Also with each pass I was able to expound on the manuscript
Before I decided to write professionally, I never re-wrote anything. I found it tedious and uninteresting. I have years of unedited work in notebooks and documents. There is another reasons I never did re-writes – my stuff wasn’t worth it. It took me almost 30 years to be able to write and feel good about it, and being able to embrace and enjoy re-writing has allowed me to forge through.
I am in the home stretch now, and though the checkered flag is in sight, there are a few more hurdles to jump through. Soon, I’ll be dealing with an editor, another process in which the time factor is unclear to me. The only thing I can do is keep pushing forward and eventually Above the Line will be ready for mass consumption.
October 14, 2010: Above the Line, Coming Soon To Print
Many things are happening on the Lenny Manzo front. For the last 11 months I have been writing a nonfiction book about the movie business called Above the Line. I am currently in the final pages of the final draft. I can see the light at the end of the tunnel as I persevere toward publishing.
I didn’t think it would take this long. I cranked out the first draft in three weeks last December. The second draft proved to be a lot more work than I anticipated. After each draft I was forced to take several weeks off to muster up some objectivity. Though it was helpful to take some time off from writing the book, it has delayed the process, even though the delay is part of the process.
Much like making a movie, it takes a lot longer than anticipated. Time is something I have no control over. I write several hours every day until I hit a point where nothing comes out. I get up the next day and to hit the keys again. It’s one page at a time, it’s all about the book, it’s not a sprint it’s a marathon (baseball clichés are universal).
The end is in sight, but still no release date. I am aiming for Thanksgiving right now, but I’m not betting on it either. The final copy is imminent and that is very exciting. Of course, I’ll keep you posted and you’ll be the first to know when Above the Line hits the bookstands or at least Amazon.
October 1, 2010: Au Revoir Tony, We’ll Miss You
Today we say good-bye to one of the great actors or our time, Tony Curtis. I’ve seen Mr. Curtis show great range over the years, and have always enjoyed his work. He’s made some great films, playing a wide variety of characters that ran the gambit from the singer of songs slave Antoninas in Spartacus, to the serial killer The Boston Strangler.
Tony came into this world as Bernie Schwartz, changed his name much in the same vein as Archie Leach, who ended up as Cary Grant. Many actors today go with their given name, but in the old days it was highly common to change it. Tony’s story is the American dream, he grew up in the Bronx, a poor kid with his immigrant parents. He was inspired early in life to be an actor, and found his way into his first Hollywood movie by the age of 24, and the rest is history.
On his way up the ladder he co-starred with greats like Kirk Douglas and Burt Lancaster. He gave a great performance in Sweet Smell of Success, a film that really put him on the map. He starred with Marilyn Monroe, in Some Like It Hot, an all-time classic by anyone’s standard.
Tony came in at the end of the Hollywood Golden Age, and did most of his great work earlier in his career. He would still keep his feet wet by doing a bit every few years, but as he got older he turned toward painting. I have always respected people who could re-define themselves at any juncture of their life. He had a great career and he moved on at the right time without the need to reamain in the spotlight. He moves on again leaving a great legacy of work behind him.
September 4, 2010: Manzo Update: Deadlines Make Great Motivators
I am feverishly trying to finish my film. There is nothing like a deadline to light a fire under one’s pants. I am trying to make the September 21st final cut-off for Sundance. Having less than three weeks is cutting it close, but the last thing is the music and it should be done next week. The Park City fest is a long shot for any filmmaker, but why not go for all the marbles. One can only hope the person in charge of viewing my movie hasn’t had a domestic squabble the night before. Skill is important, but a little luck couldn’t hurt.
In other big news I started my fifth and possibly final draft of my book Above the Line. This book chronicles my life in the business, the movies I’ve worked on and the crazy and bizarre experiences I’ve had over the last twenty years. Working in every facet of the industry has allowed me to see the business from every angle. The book is filled with movie information, eyewitness accounts and my perspective on the inner workings of the industry.
It has taken me a little longer than expected to complete this task. I knocked out the first draft in just over three weeks. The re-writes have been time consuming, but of course necessary. I don’t have a hard date yet, but the end of the fall looks promising for a release date. I will keep you updated with my progress. I have several projects stacked up on my desk, but that is where they must rest until the book release later this year. The future is looking good with my two major projects coming to completion this year. If everything goes right next year I will be …
August 18, 2010: The Voice Through the Noise
There has been an explosion of media in our new millennium. Never before has the man on the street had so much opportunity to explore the art of movie making. On one hand it is a great leap forward, people can explore the craft and experiment with their inner voice in the hopes of making something meaningful, at least to them. The downside is that for every new feature, short or documentary that has something to say, there are thousands of movies that do not pass go, but must head directly to the trash and do not collect $200.00.
The technology has been a friend to the common person. If you can make something good and manage to market it yourself to the masses you might be able to penetrate the Hollywood inner sanctum and jump-start your movie-making career. In the past this chance in a lifetime was only open to people with money or fast talkers who could wangle it.
Even though the possibilities of making a good movie that can compete and receive recognition have increased, the odds of getting one’s voice heard above all the noise have gone up. It is a dogfight to make the public aware of your talents, let alone an investor who believes in your vision. With so many people having vision these days it’s difficult to find others to believe in yours. Everyone else is too busy making their dreams come true, shooting for the stars in the all or nothing society we live in.
I have seen pearls on YouTube, but without a recommendation you could sift for hours and not turn up anything worth watching. There are so many more bad movies made than ever before. I encourage anyone to pursue their artistic side if it calls them. I would only ask that my fellow artists to look in the mirror and examine their work. Stare at it, analyze it and tear it apart. Look at it objectively and take off the rose colored glasses. If you do that, and realize you are not the Spielberg you thought you were, then you can begin to grow as a filmmaker. No sense in diluting yourself, there is enough illusion to go around.
August 13, 2010: Guy Ritchie and His Wisecracking Crooks
When crime meets comedy and it is done with style and intelligence, then I’m having a fun night at the movies. This could be said for several films made by director Guy Ritchie, who put himself on the map with Lock, Stock and Two Smoking Barrels, a slick heist movie with buffoonery as its centerpiece. Lock, Stock’s quick pace, great dialogue and bizarre circumstances created a new off shoot in crime films. Ritchie juggles the seriousness of gunplay with the comedy of errors by his band of tough, but not very bright guys.
When one screws up in the criminal world the repercussions run deep, as it does in Ritchie’s sophomore feature Snatch. This is my favorite of the bunch. Ritche was able to up the ante by using high-end actors like Brad Pitt and Benicio Del Toro, while re-using Jason Stratham who hasn’t looked back since Lock, Stock. Clearly Ritchie has a keen eye for talent.
I recently saw RocknRolla, the last film in his crime-comedy trifecta, another solid job portraying the London underworld. It slipped past me at the theater and most of America, as it only grossed 5.7 mil at the box office. Despite the low turnout at the theater, it is a highly entertaining and well-crafted movie with a great ensemble cast.
Guy Ritchie has since hit the big time, given up his screenwriting pen for the time being in order to direct the big Hollywood blockbuster. Coming off the success of Sherlock Holmes, he is currently wrapped up in the sequel. I can appreciate the necessity to make such films as he bolsters his credentials. Besides working with top-flight actors such as Robert Downey Jr. and Jude Law, he has buckets of cash to play with to help him sculpt his current canvass. I do hope he returns to his hard-hitting roots at some point with his cheeky dialogue, cool atmosphere and funny bad guys.
August 6, 2010: Story or Look, Must We Choose?
In the modern era there has been a movement in independent film that puts story first, as compared to Hollywood, where the bulk of the movies are about special effects, formula plots and CGI. This is nothing new, but what is new is the lack of care toward the technical side of the art in independent cinema.
In recent times technology has made it easier for Joe College Kid to make his own movie and express himself artistically. This is something I applaud for anyone. Everyone should be able to find their artistic side and be able to express their thoughts and ideas. Why must it come at the expense of bad lighting and poor camera movement?
As filmmakers we are doing much more than recording a play on tape. We use camera and light to move the story forward and create mood. When these subtle effects are done correctly the audience is usually unaware of the effect and they are naturally drawn deeper into the fictional world. If it is done poorly it is like cold water in the face.
I do understand the forgiveness by the audience for the filmmaker who foregoes the technical portion of the craft and just focuses on content, especially an intelligent audience that craves a good story with a tightly layered script. The irony in all of this is that the technical end is the easier portion to accomplish. Getting a good story and telling it properly is the hard part. It’s unfortunate that young moviemakers who have something to say don’t know how to apply simple techniques to help the look of their movie. My first suggestion would be the use of a tripod. It has worked for well over a century and it really helps to stabilize an image.
Some would disagree and say that story is the most important. I would not argue with that statement; story is a crucial part of the movie, unless you’re watching Iron Man 2. However, with just a little care and less angst movies can still look good, even on a low budget.
July 30, 2010: Man, Myth and Legend: Humphrey Bogart
Humphrey Bogart is one of the biggest Hollywood legends. Who doesn’t know Bogie? I’ve been a fan since I was a kid. My favorite childhood movie was Angels with Dirty Faces. At that time Bogart still had not reached prominence. He was still playing second fiddle to my other childhood hero James Cagney. The bodies of work by the two men certainly rival each other, but in legend Bogie’s legacy is larger.
Casablanca has done a great deal to make his indelible mark on us. As a film aficionado you owe it to yourself to see this one on the big screen once. Bogart kicked around Hollywood for over ten years before he made The Maltese Falcon, the film that pushed him into a new level and made him into the leading men we know today. The story goes that George Raft turned the role down because he didn’t trust his career with a first time director, John Huston. Well, we all make mistakes. Raft was big box office at the time. Even if Raft had made the film it would not have done the same thing for him. It was Bogart’s persona that contributed to the greatness of that film.
To Have and Have Not, enters Mrs. Bogart or should I say Lauren Bacall. This is an old favorite of mine that I’ve watched over twenty times. It still works, a fun, enjoyable and a well-crafted film, which has the tête-à-tête that launched the Bogie and Bacall phenomenon. “You know how to whistle, don’t you, Steve? You just put your lips together and…blow.” If you enjoy the couple here, you will also enjoy them in Key Largo and of course The Big Sleep, one of my all time favorite movies and arguably the best noir film of all time.
Other must see Bogie movies are, The Caine Mutiny, High Sierra and The African Queen. This time he is paired with the remarkable Katharine Hepburn and it is the only film in which he won the academy award for Best Actor. Finally, another absolute must see for anyone’s cinema education is The Treasure of the Sierra Madre. He hooks up with Huston a second time and delivers a stunning performance as the infamous Fred C.Dobbs.
There are nine Bogie flicks here to wet your whistle or whet your appetite. If you haven’t seen many Bogart movies this is your easy to assemble Humphrey Bogart start-up kit. Batteries are not included.
June 16, 2010: Distribution Inauguration Day
Hello everyone and welcome to LennyManzo.com on this momentous occasion. I am pleased to announce the start of my distribution company Lenny Manzo Presents.
This move forward to distribute movies has been in the pipeline since the inception of LennyManzo.com. I have been waiting to find the proper title to launch this enterprise. I found a great film that has been getting a lot of notice recently. The Beatnicks is a unique film starring Norman Reedus, Mark Boone Jr., Eric Roberts and Elodie Bouchez.
This has actually been a vision of mine for several years. One of the biggest problems that today’s producers face is getting their movies distributed. I want to grow this end of my company in order to bring good pieces of work to the public’s awareness.
The Beatnicks did not get proper attention initially, but it is getting more recognition now. It is a pleasure to get behind this film and spread the word. The Beatnicks is just the beginning in the line of good movies I will find and let you know about.
May 6, 2010: Caddyshack & Young Frankenstein at Ten Paces
On one late frosty evening in mid January of ought eight, I was already in double overtime working on the stage for The Box. Calling it a stage would be polite; it was a dilapidated warehouse with sets. With the heat at full blast it hovered up around 50°. I was working in the sound department alongside the video playback guy. Rehearsals and lighting took forever on this show, so us folks stationed along the back wall had our fair share of down time.
What does one talk about on a movie set? Why, movies of course, and thus, the debate was born; which is a funnier film Caddyshack or Young Frankenstein? My friend and colleague, let’s call him, the “Video Guy”. The Video Guy was fast out of the gate in support of Caddyshack. I contended that Young Frankenstein was not only funnier, but was a better-crafted film. My astute colleague did not contest the craftsmanship of Mel Brooks and Gene Wilder, only to say that Caddyshack was just downright funnier.
As the debate heated, the soundman chimed in by backing me up in support of Young Frankenstein. Calling upon the set medic just 20 feet away, he evened up the score as the medic casted his preference toward Caddyshack. Well, you could see where this was going. One by one we polled fellow crewmembers and the race was on. It was fairly even at first, but as we went from one person to the next, Young Frankenstein pulled out in front. The men were split straight down the middle, but what tipped the scales and made the difference was the female sector of the crew. Over 90% of the women polled thought Young Frankenstein was indeed a funnier movie.
We also approached several of the actors to put in their two cents. Jimmy Marsden was polled, but asked that his ballot remain silent. Cameron Diaz was unable to take part in the survey due to her prior commitments to Warner Bros. It doesn’t get more official than that, the uncontested official Late Night Big Show Poll of ought eight is now revealed to all. Ooooooooooh sweet mystery of life at last I’ve found you!
March 17, 2010: Happy St. Patrick’s Day!
Top of the morning to you lads and lassies, truth be told Lenny Manzo is part Irish. I didn’t want you to think I am some sort of Irish poser. I’m completely legit. I’d like to dedicate today’s article to my dear old Mum. She’ll be out in full regalia in honor of the snake chaser. I’ll be wearing my shamrock socks in veneration to St. Patrick.
My first stop of the day is at the local florist to don my lapel with a green carnation, after that I’ll head right to the bar, just kidding. In years past I’ve enjoyed the festivities down 5th Avenue. Eventually they closed down Central Park for the afternoon. It was quite rambunctious in the old days, Marquess of Queensbury rules of course. By the way one of the best Irish Brawls recorded on film is John Wayne and Victor McLaglen in The Quiet Man.
It seems to be a more universal holiday now; you don’t have to be Irish to participate. The spirit of the day is all you need. My advice is too enjoy the day Irish or not. It is an excuse to be festive and be in the company of friends. Maybe one short one won’t kill me. Please indulge me a moment; Happy St. Patrick’s Day Mom.
March 4, 2010: What I Really Want to Do Is Direct, Part II
Before embarking on your first feature you should make a short. Go through the whole process on a small scale. When you see all the problems you have on your short multiply that by 10 for your feature. Get the bugs out early don’t rush into a movie. It’s better to take the ten thousand dollars you have and put it toward making a good short then trying to stretch your budget and coming up with a bad feature. There are very fewEl Mariachi’s out there. I know this is a rags to riches biz but, you can’t believe it’s going to happen to you. Make your mistakes on something small. Even if you have access to cash, you don’t want to botch it and ruin your financial connection. You may be able convince someone to back your film once, but without financial success they won’t do it again.
As you make your way to the director’s chair I recommend becoming the director’s assistant for large movies. To be able to trail a director for a whole movie would be invaluable. First you would be able to learn so much from a seasoned pro and you would get to see how the whole machine operates at the top. As the directors assistant you will also constantly be around all the muckety mucks. Not only will you be learning you will be making potential contacts for the future. Find out what movies are coming to your area call the production and apply for that position. It is not easy but, not as hard as you think. What a director is looking for in an assistant is someone who is intelligent, can carry out tasks and someone who listens. You can do that, you just have to convince the director you can do that.
Another approach is to produce. If you become a successful producer you can segue into directing or you can produce your own work right from the beginning. In today’s competitive world you are forced to take some role as a producer to get your movies made. It would only make you a better director to understand the nuts and bolts of what it takes to put a movie together. It’s good to know reality from fantasy. Many people try to make a movie that is bigger than their means. You must learn how to work within your budget and resources.
Directing is more than a job; it is a lifetime commitment to your art.
March 3, 2010: What I Really Want to Do Is Direct, Part I
Upon entering the film business everyone wants to direct, unfortunately there are not that many jobs available compared to the amount of people who want them. If directing is something you think would be fun or cool, you would be right. However, this is not the right approach; it has to be a true calling for you. You really have to want it more than anything else.
You need drive, knowledge and vision. First you have to have the drive to get where you want to go. Anything besides total commitment will not bring success. It is similar to professional athletes, they have a specific focus and the good ones put in the time perfecting their skills. Knowledge, that is obvious, without it you are nothing. One way or another you need to learn the craft thoroughly. This would include reading books and more books, taking classes, workshops and most of all getting hands on set experience. The only way you can cruise in this business if your uncle is an executive at Warner Brothers. If you are not that hooked up you will be forced to work and learn. Vision is the most elusive of the three. You can develop your talent by learning and doing, but you must see the whole movie play out in your head and be able relay that vision to your actors and your key crafts people.
Ok, you know you have drive, you’re soaking knowledge up like a sponge and you have vision, what next? What are you going to make? Can you write your own scripts or do you need a screenwriter? If you can’t write, it is going to be a little harder. You’ll have to find scripts or get a partner to write for you. It’s easier to find a good lover than a good screenwriter. Either way you have to have a good script. It all starts with the script. Without a script you got nothin’.
Read Part II tomorrow, same bat time, same bat channel…
February 22, 2010: The Sex Scene
The sex scene has gone through many phases over the years. For years Hollywood had to be content with the fade out. A passionate kiss into a dark screen meant the deed had been done. The characters reflected a relationship shift and the movie continued without seeing what really goes on behind closed doors.
The sixties knocked down these doors and revealed the graphic nature of intimacy between humans. I believe it was a necessary step in cinema; the boundaries needed to be pushed and explored. Over the years we have developed an anything goes policy, which has now made the sex scene harder to do.
If it just gratuitous T&A that takes the quality of the movie down, but if it moves the story along, or conveys information about our characters then I think it is relevant to show what is needed.
In An Unmarried Woman, Jill Clayburgh is newly divorced. She has made a firm decision to put herself out there in order to break the ice of being with another man. The scene shows her nervousness as she procrastinates the inevitable. She is going through a range of emotions including fear and confusion. Finally she makes the snap decision of throwing herself headlong into the experience. The scene gave us much information and was necessary for that movie.
In Betty Blue the movie opens with a naked couple at the height of the sexual encounter. One of the most intense sex scenes I have seen on the big screen. That scene is a microcosm of the movie. The intense sex scene symbolized their torrid and insane relationship. There was also a shock value of something that had never been done.
The problem now is that we have broken all the barriers. There is very little new sexual ground to break on the big screen. I am of the feeling that less is more; implication is enough unless the sex can push the movie forward, learn something from the experience or is intrinsic to the story.
February 18, 2010: Paul Thomas Anderson, A Modern Master
Paul Thomas Anderson is easily one of the best directors of our time. He has already made some extraordinary films in his young career, and is one of the few directors whose work I anticipate. His last film There Will Be Blood is one of the best films of the Decade.
Through out all his films his casting is impeccable. In Boogie Nights Burt Reynolds was perfect as the pornographic movie producer and Mark Wahlberg does his best work in the lead role. Normally Wahlberg is a solid actor but when working with a helmsman like Anderson his talent shines to new heights. The bar is often raised when working with a great helmsman like Anderson. In Punch-Drunk Love he shows us a side of Adam Sandler that has never been exposed on the big screen. I never would have known that Sandler had such range. Is it Sandler’s range or Mr. Anderson’s directing prowess?
What I like most about P.T.’s work is the deep personal characters he creates as the actors become completely submersed in their roles, he finds the emotional chord on every level combining sadness, humor and everything in between that resonates for the audience. Every word is deliberate, every frame has significance, and when the print is finally cut it is nothing short of perfection.
P. T. Anderson is just a natural born filmmaker oozing with pure talent; everything he does is thought out and planned much like Hitchcock. He has gleaned from other directors to weave his own unique tapestry of cinema, a great writer who understands pacing, camera, editing and every aspect of his vocation, a filmmaker who truly lives his craft.
February 8, 2010: James Cagney: My Childhood Idol.
I was talking to a young budding screenwriter and she told me that she had never heard of James Cagney. I was astonished. I never thought that I could walk down an American street and meet someone who didn’t know Cagney. It was this random young filmmaker who inspired me to write about my adolescent idol. Cagney is on the same level as the Duke and Bogie. Even though Humphrey Bogart is bigger in legend, in the day Cagney was a major star before Bogart hit it big. Humphrey Bogart actually supported Cagney in my childhood favorite Angels with Dirty Faces.
Cagney made a big splash in 1931 with The Public Enemy, a great movie that set the tone for Cagney as the quintessential gangster. This contains the classic scene where he shoves a grapefruit in Mae Clark’s face. He made many a gangster film, but his tour de force was White Heat, a film he didn’t even want to make. He was getting tired of playing that role and he did it for the money. His production company had not worked out as planned so when Warner Brothers came knocking at the door he had to take it. As Chilly Palmer (John Travolta) says in Get Shorty, “sometimes you do your best work when you have a gun to your head.”
Cagney was definitely a tough guy, born on the lower east side of Manhattan, he was also a song and dance man and had a flair for comedy. Cagney had a light touch and was very natural on the screen. An old time favorite of mine is The Strawberry Blonde which co-stared Rita Hayworth and Olivia de Havilland. Another virtually unknown film is City for Conquest, where he plays a good-natured boxer in a corrupt sport. This one brings a tear to my eye.
Cagney had a natural swagger and could run with anyone on the big screen. His body of work is extensive, and you couldn’t go wrong if you picked any of them. He could carry a film. I’ll make it easier for you, besides the movies I already mentioned here are a few more to whet your whistle:Mr. Roberts, One, Two, Three, The Roaring Twenties, Love Me or Leave Me and Yankee Doodle Dandy. That’s a good start.
January 18, 2010: Today We Celebrate King Day
Happy King Day to one and all. I missed the first two King Days because I was out of the country. I celebrated Martin Luther King Jr. Day for the first time in New York City. A good friend and I took in the film Mississippi Burning with Gene Hackman and Willem Dafoe, which is an excellent movie and quite apropos for the day.
Today we honor Dr. King, a great and courageous man, who lived by his convictions and was a true man of the people. It wasn’t until 2000 that the holiday was finally accepted in every state. Progress does not come as fast as we would like and change isn’t easily accepted. Dr. King pushed us through the doors of change. Today I am thankful for the breakthroughs that have happened and the foundations of hope that Dr. King has laid.
Men like Dr. Martin Luther King Jr. are rare, a man who never wavered or compromised his moral fiber. He was the kind of man that we can admire and try to emulate in some fashion. I take my hat off today in honor of Dr. King, his life and philosophy.
January 1, 2010: Happy New Year!
This is the way to start the year off, with a holiday. I’m a fan of all holidays, but this is at the top of my list. It would be a holiday by default as half the country is hung over anyway. It is also the ultimate brunch day. In the ‘80’s there was a movement to call it National Brunch Day, there were too many traditionalists against it.
I believe the origin of brunch happened on New Year’s Day. It only made sense since the restaurateur was taking a bath at breakfast. The gimmick of slapping the two meals together was only a matter of time. Make no mistake, this is an American invention.
The Academie Francaise fought tooth and nail to keep it from their lexicon; they call it le grand petit dejeuner, translation the big little meal. I wonder why that didn’t catch on.
Beyond brunch, it is a day to look at things fresh. Many of us join the gym, quit smoking, start some new fangled diet and make a slue of promises we can’t keep. Sometimes we do keep them and we become better for it. Whether we shed some weight or stop kicking the dog, self improvement is the theme of the day and yes, we discuss it at brunch.
I embrace such opportunities to start again and renew my chances of success in the world. It reminds me not give up, and even though one must accept some bad cards from time to time, a clever poker player still finds a way to win.
I’ll take the jump start the New Year has to offer. I’m going to get out of the gate quick, hug the rail and never look back. When choosing between the two siblings of life outlook, optimism or pessimism, I lean towards the one that offers hope and possibility. A wise man once said to me “What you think, you create.” I will embrace that philosophy this year. Again, Happy New Year!
