Paul Thomas Anderson on Dropping Out of Film School (1999)

“I enrolled in NYU and I went there for literally two days. What happened was I walked into this class and this teacher said, ‘If anyone is here to write Terminator 2, just walk out … just get right out the door.’ And I thought, That’s not a good way to start. What if I do want to write Terminator 2? What if someone sitting next to me wants to write it? Y’know, you’re sort of instantly saying, ‘We write serious films here.’ Well, Terminator 2‘s a pretty awesome movie. So there was an assignment to write a page that has no dialogue in it, but you gotta make sure that you explain something about a character – you show a character trait through action, with no dialogue. And I had read this great script by David Mamet, which was Hoffa, which was not yet made at the time. And there was a great scene that Mamet had written where Danny DeVito’s character is driving along, and it shows what he’s going through by the method he’s using to keep himself awake while driving, which is he lights a cigarette and he holds it between his hands and he lets it burn down to his fingers to keep himself awake. It’s just so perfect and simple and lovely, and it’s Mr. Pulitzer Prize himself, David Mamet. So I took that page and I handed it in. And it got a C+. And I said, ‘Well, now I know I’m right.’ And it’s a wonderful thing that if you drop out quick enough you can get your tuition back. So I had this money that my father had given me, and I just sort of lived off that and made a short film.”

(Excerpted from the Elvis Mitchell interview.)

Jerry Seinfeld Really, Really, REALLY Wants You To Recognize Him As a Great Stand-Up Comedian

Last Tuesday, Jerry Seinfeld performed a brief five-minute set on Jimmy Fallon’s new Tonight Show. The material was milquetoast (“What’s the deal with cellphones?” “How outdated is the Post Office?”); the reception, mediocre. And yet, the only thing that mattered was significance – Jerry Seinfeld, a man who credits Johnny Carson with putting him on the map, appearing as the first-ever stand-up comedian on a brand new iteration of The Tonight Show (an iteration that returned the vaunted franchise to New York, no less).

As far as Jerry Seinfeld was concerned, this appearance represented a coup, a lark, a resume builder for the man who needs no introduction. More to the point, Jerry’s Tonight Show appearance represented the latest in an ongoing string of career moves aimed at reinforcing a point. Namely, that Jerry Seinfeld sees himself as the platinum standard in comedians, and he’d like it very much if the general public would agree.

The problem isn’t Seinfeld’s dedication. He’s been a constant on the stand-up circuit for well over 30 years. He can sell out an auditorium, he can kill inside a night club. And yet his public persona will forever be linked to some amped-up version of himself presented via the most popular – if not quotable – situation comedy of all-time.

Forget about the fact that Jerry Seinfeld co-founded and co-wrote that treasured sitcom, that Seinfeld‘s still a juggernaut in syndication. Forget about the fact that Seinfeld overcame a dreaded laugh track, that it was the last great network comedy to maintain a spot atop the ratings. What people will – and do – remember is that character – Jerry. Jerry, the straight man, Jerry, the neighbor, Del Boca Vista Jerry, Uromysitisis Jerry, These-Pretzels-Are-Making-Me-Thirsty Jerry.

Jerry.

Jerry. Jerry. Jerry. Jerry.

Jerry.

Not the stand-up Jerry whose passing bits were used as bumpers. Not the stand-up Jerry who feels under-appreciated as a comic. Not the Jerry who, at the height of his sitcom’s popularity, released a cobbled-together collection of old bits entitled SeinLanguage. Not the Jerry who embarked upon a whirlwind tour during the same year as Seinfeld‘s curtain call. Not the Jerry who was the focus of a 2002 documentary entitled Comedian. Not the Jerry who agreed to host several seasons of Comedians In Cars Getting Coffee. Not the Jerry who did a 2012 video piece for the New York Times entitled “How to Write a Joke“. Not the Jerry who very recently followed that piece up with an interview entitled (get this), The Ballad of Leno and Letterman, Told by Seinfeld.

No, sir. Stand-up Jerry … now that’s another Jerry entirely. Continue reading

Moving On: Graduation

children-1937.jpg!BlogIt had been an average prom as far as such things go – the police chief’s daughter showed up wasted, the would-be queen ran out in tears. The kids danced fast, the kids danced slow, third-generation stalwarts from The Starlight Ballroom. I spent the evening by a dry bar, a constant bridge between what is and what should never be. No one would’ve cared that I was 21, assuming I was charming, or chiseled, or my default vibe was anything beyond “fuck you”.

Either way, the prom was over now, and the after-prom was in full-swing. I stood alone inside a two-room suite, staring out across backyards. I should just go home, I reasoned. I live two fucking blocks from here.

My girlfriend had run downstairs for 15 minutes. That was a little over an hour ago.

I filled a book bag full of beer, headed downstairs to the commons. I leaned my weight against the guardrail, stealing glances from above. I moved from Tina Bada to Alanna, Steve Del Monte, Dave Del Conte … the entire class of 1995. All except for my young girlfriend, who had vanished like a sneak thief in the night.

“She’s probably waiting upstairs in your room,” one senior offered. “You should just go back and wait,” another added. I grew anxious, and then surly, then impetuous enough that my false dread gave way to anger. I doubled back up to our bedroom, down again into the commons.

The crowd was loose and thinning now; the conversation, drowsy. I sat alone along the stairwell, scanning Crescent Court from side to side. There was a door along the northeast wall, a strip of light amidst dark shadows. I wandered down across the lobby, put my ear up to the panel. I rapped the door with peaked knuckles, forced the issue till it opened.

I stood alone inside an archway, staring blankly at my girlfriend. We were three inside a room for two now, and three meant one person too many.

***

Jimmy. Meghan was holed up in that private room with Goddamn Fucking Jimmy. Gorgeous, blue-eyed, peach-fuzz Jimmy, with the flop-sweat blotches and the pristine hair. Jimmy, with the spit-shine smile and the stylish mole. Jimmy, the all-county athlete; Jimmy, the all-catholic boy. Jimmy, the coulda-been-shoulda-been-but-never-was best friend; the guy who Meghan held a torch for right up until she first met me.

Jimmy was the platinum standard, safe and secure, family-friendly to an embarrassing degree. Jimmy was the same age and same year as Meghan, honor roll, en route to college. Jimmy made Meghan laugh despite not being funny, and he shared Meghan’s assessment that a window in their lives was closing. Only Jimmy had a girlfriend, and Meghan had a boyfriend, and the entire thing felt awkward, like some subplot from Sweet Valley High.

All of which explains my sense of letdown upon entering that room. I’d witnessed nothing compromising … no fragrante delicto, so to speak. And yet, it was obvious I had wandered in on something, a pair of kindreds acting in accordance with some now-or-never principle, perhaps. In the end I could not say for sure, save for the fact the two of of them were sequestered … at 4 am … on prom night … for well over an hour … half-potted … having abandoned their respective dates.

The prevailing wisdom had it pegged that I was jealous, an outsider, the jilted boyfriend full of vitriol. There had been incidents – an entire litany of them – to support this argument. Over the course of two long years I had grown overbearing to an extent I regularly guilted Meghan into skipping routine outings with her friends. Excuses ranged from not wanting her to get arrested for drinking to flat-out shitting on her closest buddies. Every emotional response came plagued by insecurity – acute fear of losing Meghan to the next best thing that came along.

On the morning of Meghan’s sister’s funeral – way back in 1993 – I threw a fit upon discovering Jimmy would be arriving at the service before I did. It’s not his place, I stammered, it makes no fucking sense. Half-an-hour worth of pretzel logic, neatly wrapped inside some myth about the all-American boy in his all-American suit, masquerading as a surrogate for me – the mingy, doe-eyed dropout, wearing hand-me-downs from relatives.

By May of 1995, Meghan knew that she could do much better. Consequently, she had settled in as a lame duck, irretrievably committed to either riding matters out until September – at which point she’d be leaving for Immaculata – or accepting severance terms along the way. The last time we’d had sex was somewhere back in mid-December, an unmemorable event that came and went on Meghan’s kitchen floor. Ever since, mon cheri appeared repulsed by me, so much so that provocation proved no asset. Meghan no longer cared about the winning or losing. Meghan no longer cared about the anything at all.

***

Meghan’s graduation took place in the evening, during that auburn hour when the sunlight’s slowly fading like so much yolk into the bay. Twilight shadows fell at angles, stretching out like dueling lances. There were gowns, a glowing stream of gowns, Atlantic Avenue lit up in satin. I was wearing the same suit that I’d had on when Meghan’s sister died, and it reminded me of being with Meghan on that morning. Long-term, that incident had drawn the two of us much closer. Only now the weight had shifted, forcing stress upon the whole.

I walked home after the graduation, changed into denim jeans and a T-shirt. Meghan pulled up out front an hour later, motor running, car in park.

“I’m heading to a party,” Meghan told me.

“Oh, wow,” I said. “OK. Well, just let me grab some beer and the two of us can … ”

“You can’t,” Meghan commanded. “It’s seniors only. Not my call.”

Silence. The sound of asphalt under foot.

“How long have you known?” I wondered.

“How long have I known what?” Meghan asked.

“How long have you known about this party?”

“An hour,” Meghan responded. “Maybe two.”

“What about Orlando?” I said.

“What about Orlando?” Meghan soured.

“We’re supposed to be leaving for Orlando tomorrow morning,” I said.

“So what?” Meghan told me.

So what?” I said, mockingly. “So now you’re gonna wind up totally hungover, and I’m gonna wind up doing all the driving.”

“I’ll be fine,” Meghan insisted. “Maybe you should worry about yourself instead.”

“What the fuck is that supposed to mean?” I asked.

“Look, I gotta go,” Meghan said. “I’ll be back to pick you up tomorrow morning.”

“What time?” I said.

“Eleven.”

Eleven?” I chortled. “I thought we were supposed to be leaving around eight?”

“OK,” Meghan conceded. “How ’bout 12?”

She flicked her cigarette out the window, leaned her elbow on the seal.

“Are we done yet?” Meghan asked.

“Will Jimmy be there?” I said.

“I don’t know, Bob,” Meghan told me.

“Oh, I’m pretty sure you do.”

Meghan tapped one finger on the mirror, exhaled a mouthful through her nose.

“Can I trust you?” I asked.

“What type of question is that?” Meghan responded.

“Can I trust you?” I repeated.

“Yes, Bob, you can trust me,” Meghan whispered. “Can I go now?”

“Promise me you won’t do anything stupid tonight,” I bargained. “Anything that might put our relationship at risk.”

“We’ve been together for two years,” Meghan berated. “How could you even propose something like that?”

“If it’s really such a given then it shouldn’t be an issue.”

“I’m not promising you anything,” Meghan said.

“You what?” I responded.

“I’m not promising you anything,” Meghan repeated. “For once in my life, I’m gonna go out and I’m gonna have a decent time and I’m not gonna end up feeling sorry for myself because of you.”

“This is fucked,” I pouted. “This is absolutely fucked. That’s what this is.”

“Yeah, well, you’ve got that right,” Meghan told me. She craned her head out through the window, leaned in to kiss me on the cheek. “I’ll see you in the morning,” she offered.

Meghan swung the gearshift, headed east toward the shore. I could hear the pistons churning, gaining strength into the turn.

Day 801

(Moving On is a regular feature on IFB.)

©Copyright Bob Hill

Galleria: ‘Save The Village’ by Fred W. McDarrah @ Steven Kasher Gallery

41815_h2048w2048gtGreenwich Village – a constant battle between classes, with the Old Guard all but gutted by an onslaught from the New. To this day, there are very few places that evoke a changing time so vigorously. This exhibition – featuring images by deceased Village Voice photographer Fred McDarrah – captures the iconography of that period by way of its protagonists, antagonists, outliers and queers. Here we find Robert Moses, making mincemeat of the Battery. There we find Bobby Kennedy, on a day trip to the slums. Here is Andy Warhol. There is Bobby Dylan … their times-already-changin’, preserved forever via lens.

(Save The Village continues at Kasher Gallery through March 8th, Free,
521 West 23rd Street.)

Five More For The Offing: 

  • The Image Gallery by Larry Siegel @ Howard Greenberg Gallery (Free, through 2/22, 41 East 57th Street, Suite 1407)
  • Ambassador for the New by Ileana Sonnabend @ The Museum of Modern Art ($25 general admission, through 4/21, 11 West 53rd Street)
  • Armchair Parade by Julian Crouch, Mark Stewart, Ragnar Freidank and Christophe Laudamiel @ Dillon Gallery (Free, through 3/30, 555 West 25th Street)
  • Spool by Andrew Graves, Marco Palmieri and Neil Rumming @ Ana Cristea Gallery (Free, through 3/17, 521 West 26th Street)
  • Supernatural by Todd James @ Sandra Gering, Inc. (Free, opens 2/27, 14 East 

    63rd Street)

Tony Kushner on Writing Under Panic (2012)

“I find writing very difficult. It’s hard and it hurts sometimes, and it’s scary because of the fear of failure and the very unpleasant feeling that you may have reached the limit of your abilities. You’re smart enough to see that there’s something that lies beyond what you’ve been able to do, but you don’t know how to get there, how to make it happen in the medium in which you’ve decided to work. I can be very masochistic, but that kind of anxiety is something I tend to want to avoid … The lesson I learn over and over again – and then forget over and over again – is that writing won’t be so bad once you get into it. One’s reluctance is immensely powerful. It’s like what Proust says about habit – it seems tiny in the grand arc of a person’s life narrative, but it’s the most insidious, powerful thing. Reluctance is like that.  When you feel most terrified – I think this is true of most writers – it’s because the thing isn’t there in your head. I’ve found it to be the case that you’ve got to start writing, and writing almost anything. Because writing is not simply an intellectual act. It doesn’t happen exclusively in your head. It’s a combination of idea and action, what Marx and Freud called praxis, a combining of the material and the immaterial. The action, the physical act of putting things down on paper, changes and produces a writer’s ideas.”

(From Kushner’s Paris Review interview.)

‘House of Cards’: A Semi-Maddening Drama That Makes Its Bank On Casting

house-of-cards-banner-630x167Kevin Spacey may well be the most talented actor featured on House of Cards, but his portrayal of Frank Underwood pales in comparison to Robin Wright’s portrayal of Claire, as well as Michael Kelly’s portrayal of Douglas Stamper. No surprise when it comes to the former. At the age of 47, Robin Wright is very quietly approaching the mantle of icon – Forrest Gump, The Princess Bride, a 20-year relationship with Sean Penn. I mean, c’mon. And the lick of it is how ravishing Robin Wright appears on film. Chalk it up to new love, combined with botox, a rabid sex life and some dietary changes. Whatever the case, the fact remains, Robin Wright’s on-camera persona is absolutely spell-binding, a loyal sword wearing stilettos, wrapped in a variety of pencil skirts.

Meanwhile, the hidden jewel of House of Cards – its secret weapon, so to speak – has always been vet actor, Michael Kelly, a perennial sidekick best known for playing Agent Goddard on The Sopranos and Captain Patterson in Generation Kill. As Douglas Stamper, the key to Kelly’s performance resides in its powers of restraint. Every nuance comes off tempered, every movement, strictly measured. The result is a more amplified – if not infinitely more daunting – presence. The fact that Stamper’s been resigned to fixer duty for the better part of two seasons says little for the writers’ room at House of Cards, an ailing institution that treats its lynchpins more like puppets, preening as need be based on the whims of Francis Underwood.

Continue reading

A Word Now, Regarding Canadian Director Sarah Polley

Sarah-Polley-Stories-We-TellThe mid-to-late 90s represent a blind spot for me, at least in terms of cinema. I was drunk, for the most part, without money or means. I was living alone, which meant no cable, and I was in between relationships, which meant no movie nights. It was the winter of my discontent, a full five years before I took up writing about A&E.

It is for this reason I often find myself returning to that period, mining for great movies I might have missed along the way. This explains how – and why – I finally got around to watching The Sweet Hereafter late last week. The movie was fantastic, but I found myself distracted by one name during the opening credits.

Sarah Polley

I know Sarah Polley. That is to say I recognize her as the autobiographical voice behind 2013’s Stories We Tell. Polley downplayed her background throughout that documentary, passing herself off as a better-late-than-never B-actor. Upon further investigation, it turns out Sarah Polley was actually a teen sensation, having landed the lead role in CBC’s Road to Avonlea before she turned 11. That series was rebroadcast via Disney, a corporation that would eventually black-ball Polley for refusing to remove a peace symbol during a White House gala. The symbol was a sign of protest, a silent dig against the first Gulf War. Having seen fame’s early compromise, Polley’s focus began shifting.

In the mid-90s, Polley became an indie starlet, then an activist. She lost a pair of teeth during a protest in Toronto. Over the course of the next decade, she made a formidable transition into directing. Her feature-length debut, Away From Her, racked up seven Genie Awards in 2007, while appearing on more than a dozen major critics’ “Top 10” lists. Next came Take This Waltz, a touching meditation on relationships, the pre-publicity of which became overshadowed thanks to talk of an appearance by Sarah Silverman’s vagina.

Last May, Roadside Attractions released Stories We Tell – a documentary that chronicled Sarah Polley’s extensive search for her biological father. Polley positioned the film as a narrative about the everyday fictions people construct to keep the distant past at bay. Championed by critics, Stories We Tell has since been awarded Best Documentary by The National Board of Review and Best Documentary Screenplay by the Writers Guild of America (among other things).

At 35, it would seem that Sarah Polley is only now beginning to appreciate the long-term fruits of all her labor. For here we find an actor who lost her mother at 11, got spurned by Hollywood at age 13, and spent her entire childhood being raised by a man who it turns out was not her biological father. Yet, Sarah Polley has consistently proven bold enough to rise above, to oppose the Hollywood machine, to bypass an easy road at every turn along the way.

Consider this: During the late 90s, Sarah Polley famously turned down a role in Almost Famous that made Kate Hudson an Oscar-worthy name. Fast forward 15 years, and Kate Hudson’s making cameos on Glee. Sarah Polley, on the other hand, is a highly-respected actor, director, political spokeswoman and writer. Polley’s an atheist, and yet a true believer; a divorcee, newly married. She’s a staunch advocate for Toronto, her constant home and place of origin. She’s emerged at middle age a constant testament to her own assertion that less corporate backing results in more creative freedom.

Anyway, that’s a little bit of what I learned after watching 1997’s Sweet Hereaftera unanimously-acclaimed motion picture featuring Sarah Polley as its moral conscience.

Joan Didion on The San Bernardino Valley (1966)

“This is a story about love and death in the golden land, and begins with the country. The San Bernardino Valley lies only an hour east of Los Angeles by the San Bernardino Freeway but is in certain ways an alien place: not the coastal California of the subtropical twilights and the soft westerlies off the Pacific but a harsher California, haunted by the Mojave just beyond the mountains, devastated by the hot Santa Ana wind that comes down through the passes at 100 miles an hour and whines through the eucalyptus windbreaks and works on the nerves. October is the bad month for the wind, the month when breathing is difficult and the hills blaze up spontaneously. There has been no rain since April. Every voice seems a scream. It is the season of suicide and divorce and prickly dread, wherever the wind blows.

The Mormons settled this ominous country, and then they abandoned it, but by the time they left the first orange tree had been planted and for the next hundred years the San Bernardino Valley would draw a kind of people who imagined they might live among the talismanic fruit and prosper in the dry air, people who brought with them Midwestern ways of building and cooking and praying and who tried to graft those ways upon the land. The graft took incurious ways. This is the California where it is possible to live and die without ever eating an artichoke, without ever meeting a Catholic or a Jew. This is the California where it is easy to Dial-A-Devotion, but hard to buy a book. This is the country in which a belief in the literal interpretation of Genesis has slipped imperceptibly into a belief in the literal interpretation of Double Indemnity, the country of the teased hair and the Capris and the girls for whom all life’s promise comes down to a waltz-length white wedding dress and the birth of a Kimberly or a Sherry or a Debbi and a Tijuana divorce and return to hairdressers’ school. “We were just crazy kids,” they say without regret, and look to the future. The future always looks good in the golden land, because no one remembers the past. Here is where the hot wind blows and the old ways do not seem relevant, where the divorce rate is double the national average and where one person in every 38 lives in a trailer. Here is the last stop for all those who come from somewhere else, for all those who drifted away from the cold and the past and the old ways. Here is where they are trying to find a new life style, trying to find it in the only places they know to look: the movies and the newspapers.”

(Excerpted from “Some Dreamers of the Golden Dream“)