“For five seasons I was stuck doing this character [on [The Simple Life]. It was kind of hard always having to play that character when it’s not who I am.”“I just say jokes but they think I’m serious, which I think is funny, and I think I kind of play up the image sometimes because – whatever – it’s just entertainment.”
I just got back from the Sex and the City movie. Before I share my thoughts on the movie I wanted to share some of the AMAZING sound bites from the night.
“Is this the line for Sex and the City?”
–Said by a woman. She apparently couldn’t see the line of women that was wrapped around the perimeter the Loews.
“I love Sex and the City. But this is too much estrogen…even for me”
–My friend Chrissy, who also goes to Mount Holyoke.
“Holy crap. That’s a lot of women.”
–Me, when I pulled into the parking lot.
“I don’t care what I have to do. I will fuck someone up for good seats.”
–A lady, on the phone. This is definitely New Jersey.
“Are those seats taken?”
–Said repeatedly to the woman sitting in front of us who was saving FOUR seats.
“Hey look… A guy.”
“He’s probably gay.”
–Exchange between Chrissy and myself
“La, la, la”
–Some woman, while holding her ears as she walked past people who just left the movie.
“I can’t go see this with my mom. She’s not supposed to know about sex.”
Sir Laurence Olivier was born on May 22, 1907.
Since we’re going to be subjected to a new Indiana Jones, then George Lucas and Steven Spielberg taking their bromance on the road is a fair consolidation prize. These are some of my favorite parts of this sweet interview with Steven Spielberg and George Lucas (from Entertainment Weekly). They shared a number of insights on the franchise, the new characters and filmmaking. My favorite excerpt is on the changes to the film industry thanks to the Internet (who me?)
EW: You guys first became filmmakers at a time when European directors were arguably the most inventive and the most artistically acclaimed in the world. Do you miss that atmosphere?
LUCAS: When Star Wars was being made, all the independent art films [still] came from Europe. There were practically no American independent films being made. Now about 30, 40 percent of American films are independent. And the films coming out of Europe, a lot of them look like American films. You can’t really tell the difference. There’s a globalization of entertainment, and it’s good, because you still have personal art films and big audience pleasers.
SPIELBERG: You also have films being made and released on the Internet, little films, five- to six-minute shorts. They come from all over the world, and it’s really interesting to see and to sense how this world has shrunk down to size of a single frame of film…. More people can pick up video cameras, and more individuals can express who they are as artists through this collective medium. That’s what’s so exciting. What makes me really curious to see as many short films, especially, as I possibly can, is that everybody is coming out of a different box, and is free to express themselves because budget is no longer a limiting factor. You can make a movie for no money and basically get it out there on YouTube for everybody to see.
LUCAS: Movies are now becoming like writing, like books. It’s opened up to the point where anybody who has the urge or the talent to do it, there’s not that many impediments to making a film. And, there are not that many impediments to having it be shown. That’s where the Internet comes in. Now you can actually get it in front of people, and have them decide whether they like it or not. Before, that depended on the decisions of a very, very small group of people — executives who in a lot of cases didn’t even go to the movies, and didn’t even like ’em. And they were deciding what the people were and weren’t going to like. It’s much more democratic now. The people decide what they want.
EW: Of course, there are downsides to the burgeoning Internet age — and one of those downsides is, when a popular movie is coming up, people sort of peck it to death before it even opens. There’s been a huge amount written on the Internet about the development of Crystal Skull, including lots of spoilers on chat boards — though most of it is clearly labeled. Is it getting harder to protect the development process?
SPIELBERG: It really is important to be able to point out that the Internet is still filled with more speculation than facts. The Internet isn’t really about facts. It’s about people’s wishful thinking, based on a scintilla of evidence that allows their imaginations to springboard. And that’s fine.
LUCAS: Y’know, Steven will say, ”Oh, everything’s out on the Internet [in terms of Crystal Skull details] — what this is and what that is.” And to that I say, ”Steven, it doesn’t make any difference!” Look — Jaws was a novel before it was a movie, and anybody could see how it ended. Didn’t matter.
SPIELBERG: But there’s lots and lots of people who don’t want to find out what happens. They want that to happen on the 22nd of May. They want to find out in a dark theater. They don’t wanna find out by reading a blog…. A movie is experiential. A movie happens in a way that has always been cathartic, the personal, human catharsis of an audience in holy communion with an experience up on the screen. That’s why I’m in the middle of this magic, and I always will be.
I love or really like every Best Picture nominee this year. Seriously. Each film has so many memorable moments that I’m having the hardest time picking a favorite! While I figure this out by Sunday, here are some of my favorite quotes from the Best Picture nominees.
What’s the most you ever lost on a coin toss?
I’ve abandoned my child! I’ve abandoned my child! I’ve abandoned my boy!
Do I look like I’m negotiating?