LosAngeles Tagged Articles at Cinematical

First, he gets a mainstream comic actor to act in a contemplative art house narrative with Punch-Drunk Love. Now, he's putting two of them on a stage. According to cigarettes and red vines, Paul Thomas Anderson has written and directed a play in Los Angeles with Saturday Night Live stars Maya Rudolph (Anderson's partner) and Fred Armisen. It premieres at the Largo on August 5, but specific details about plot remain unrevealed. Still, the prospects of seeing Anderson's eerily detached style in a live performance are intriguing, to say the least. As Slashfilm points out, the production has a few logical attachments to the filmmaker's past: Anderson directed a short film for SNL back in 2000, and Rudolph starred in Robert Altman's A Prairie Home Companion, which Anderson may or may not have ghost-directed in parts.

Now that Anderson has proven he can craft epic period pieces of the raunchy (Boogie Nights) and morose (There Will Be Blood) kind, he's reached a point where audiences will basically allow him to take them wherever he wants to go. The dynamics of the stage, however, differ greatly from those of the cinema. Since the name and subject matter are a mystery, there's a lot left to the imagination. Will Anderson allow Rudolph and Armisen to unleash their comic potential? Or is that a milkshake I hear brewing?

When it comes to sifting through all actors responsible for portraying the most powerful man on the planet, there's no shortage of options. John Travolta did a great Bill Clinton impersonation in Primary Colors and Timothy Bottoms delivered a near-perfect imitation of George W. Bush in both D.C. 9/11: Time of Crisis and That's My Bush! Neither one comes across as particularly flattering, so presidential nominee Barack Obama has chosen a safer bet: At a recent party in Los Angeles, Obama revealed that he prefers Jeff Bridges' conflicted commander-in-chief in The Contender. Granted, he may have said this simply to keep his audience happy -- in this case, Contender director Rod Lurie, one of the attendees who was willing to plop down $28,000 for the event. "'I just plugged your movie," Obama told Lurie, according to a report the director sent to Hollywood Elsewhere's Jeffrey Wells.

Still, when you're under the kind of intense scrutiny that Obama currently endures, Bridges actually seems like a pretty safe choice. Choose Anthony Hopkins in Nixon and it sounds like you're endorsing the bad guy. Choose Kevin Kline in Dave and you come across as disingenuous. Choose Peter Sellers in Dr. Strangelove and somebody will call you incompetent. Bridges, on the other hand, plays a fierce leader bound to his moral convictions. Of course, Obama also expressed sympathy over Lurie's short-lived television show Commander-in-Chief, which featured Geena Davis as the first woman president. Perhaps it's no coincidence that he and Hillary have publicly made amends.

Starting tonight and running through December 17th, Edgar Wright is taking control of the New Beverly Cinema in Los Angeles. Wright, director of Shaun of the Dead and Hot Fuzz, is programming a festival of his favorite movies, and it's a wonderful and eclectic bunch. He's calling the fest "The Wright Stuff," (also the name of a universally beloved screenwriting column on this very site), and he will be on hand to introduce several screenings with special guests. As always at the New Beverly, one of Los Angeles' absolute treasures, every screening is a double feature.

I'll just tell you about the screenings with special guests, all of which start at 7:30. But don't forget to check the website for all show dates and times. Tonight, Edgar and songwriter Paul Williams will kick off the event with two musicals -- Bugsy Malone and Brian DePalma's Phantom of the Paradise. December 5th, the first feature is Flash Gordon, with special guest (and ex-Bond) Timothy Dalton. The second feature is Mario Bava's Danger Diabolik, introduced by Edgar and the great Joe Dante. On December 7th, Edgar will introduce The Last Boy Scout and Kiss Kiss Bang Bang with one of the finest action screenplay writers of our time -- Shane Black. December 10 is John Landis' An American Werewolf in London and Tremors (which I spouted my love for here). Landis will help Wright introduce his film. December 12th is Top Secret! (almost as funny as Airplane and The Naked Gun, in my opinion) and Woody Allen's Bananas, with David Zucker on hand. December 14th is the Roger Ebert - penned Beyond the Valley of the Dolls, and Head, hosted by Wright and Micky Dolenz of The Monkees. And on December 16th, Wright will introduce Evil Dead 2 and an all time favorite of mine -- the Coen Brothers' Raising Arizona.

Here is a press release from Edgar with his thoughts on the included films. If you live in the Los Angeles area, there's really no excuse to miss this. See you there!

Michael Bay's Transformers hits DVD today (check out our review), and Paramount is celebrating by turning one of the film's stars loose in Los Angeles. No, unfortunately it's not Megan Fox. Standing at the West Hollywood Gateway shopping center (at the intersection of Santa Monica Boulevard and La Brea), surrounded by shops like Target and Jamba Juice, stands Bumblebee. It's an actual prop from the film, it stands 18 feet tall, and it weighs 8,200 pounds. The robot had to be assembled and set up by a forklift and a ten-ton crane. Bumblebee will be standing guard there through this Sunday, October 21st.

I went over this morning to snap some pictures. As I rounded the corner, I was expecting a madhouse -- people pointing to the skies and screaming, running in terror, etc. Or at least, y'know, looking in its general direction! But then I remembered I was in West Hollywood. You need more than an 18 foot-tall robot to stand out in West Hollywood. I could have strolled through the shopping center buck naked and juggling infants, and still wouldn't have been given a second look. Transvestites, Transsexuals, Transformers, it's just another day in Hollywood. Still, I thought the display was pretty sweet, and snapped some photographs for those of you who can't make it to L.A. Check 'em out, won't you?

Side note -- while picking up the new Tom Petty and the Heartbreakers DVD at the Best Buy there, I bumped into none other than actor Peter Weller! Was he just picking up some headphones...or was he there to pitch a Robocop Vs. Transformers flick to Bumblebee? I report, you decide.

I live a ten minute walk from the Arclight Cinema in Los Angeles, easily one of the best movie theaters in the country. The American Film Institute hosts awesome screenings of new and classic films there weekly, and I try to see as many as I can. Just last week, I enjoyed the new Michael Douglas flick King of California, which was followed by an enlightening talk with the movie's writer and director -- Mike Cahill. Neat, right? But nothing could prepare me for the event that hit my inbox just now. Had I been a cartoon character, my bow tie would have spun around rapidly and smoke would have blasted out of my ears. Readers, if you live in Los Angeles -- KEEP OCTOBER 3RD FREE!

The AFI is celebrating its 40th anniversary with an almost unbelievably cool event. On October 3rd, they will screen eleven classic movies at the Arclight, all at the same time. But what truly sets this event apart are the people they've booked to host the screenings. Check this lineup out, and try to keep your jaw attached to your face: One Flew Over the Cuckoo's Nest, presented by Jack Nicholson. Spartacus, presented by Kirk Douglas. The Birds, presented by Tippi Hedren. The Sound of Music, presented by Julie Andrews. Bonnie and Clyde, presented by Warren Beatty. Rocky, presented by Sylvester Stallone. Star Wars, presented by George Lucas (settle down!). When Harry Met Sally, presented by Rob Reiner and Billy Crystal. Beauty and the Beast, presented by Angela Lansbury. The Shawshank Redemption, presented by Morgan Freeman. And Unforgiven, presented by Clint Eastwood. Um...wow. Just wow.

Here is the official site for the event. Tickets go on sale September 19th. which is this Wednesday. Tickets are $25, and include popcorn and soda. The first 100 people to show up for each screening get a 40th Anniversary AFI Book. Dress is "festive attire," all screenings begin at 7PM, and doors are at 5:30. For you non-Angelinos, which screening would you choose if you could go? And if you plan on attending, which one are you going to? I'll be at either Unforgiven or One Flew Over the Cuckoo's Nest for sure. Both movies are in my personal top ten, and where else am I going to be up close and personal with Jack Freaking Nicholson or Clint Freaking Eastwood? This is going to be a tough choice! See you there?

In an effort to reduce what many consider a very real economic threat to the continued prosperity of Los Angeles, and California as a whole, The Hollywood Reporter is reporting that the State Assembly has sent a new bill aimed at curbing runaway production to the State Senate for consideration. The latest measure, dubbed AB-1969, was sent to the Senate after a 51-17 vote by the State Assembly and a rousing floor debate led by Democrat Paul Krekorian of Burbank. If approved at the Senate level, the as-yet unfunded measure would provide financial and other incentives to halt runaway production of film, television and commercials by creating a grant program through the California Film Commission.

This grant program, in order to receive funding, would either have to become part of Gov. Schwarzenegger's next budget or receive a separate funding influx from additional legislation. Unfortunately for those impacted by runaway production and for the Governor, this is not the first time a measure such as this has been proposed. In fact, we even brought you info about it before right here at Cinematical. At that time the measure did not pass and, according to the article, the Governor regrets its failure and vows this time it will be different -- although he provides no details on how this difference will be realized. Hopefully the measure will pass this time and we can keep production right here where it belongs -- in Los Angeles. After all, this is where it all started so it makes perfect sense that this is where it should stay.

Los Angeles is known for many things both good and some, well, not so good. Some of these include beautiful beaches, beautiful people, movie stars, Hollywood, not having a football team, riots, traffic and, of course, air you can see. We locals refer to it as smog -- or, to put a nicer spin on it: "the thing that makes sunsets pretty."

In the past, it was always the custom around here to blame the smog on the incredible number of cars that call L.A. home and crowd its freeways day or night. But now it seems there's another culprit contributing to the pollution in L.A.: Hollywood -- at least according to a recent study highlighted at CNN.com. The two-year study, conducted by UCLA's Institute for the Environment, found that the film and television industry contribute a larger portion of the pollution in Los Angeles than almost all other sectors studied -- only petroleum manufacturers contributed more.

When conducting the study, researchers considered the pollution created directly and indirectly by the industry when engaged in activities such as special effects explosions, vehicle driving, generator use (both on-set and at studios) and massive amounts of set construction and destruction. All the things that, unfortunately, you can't make a movie or TV program without. So, if you happen to be in Los Angeles in the near future and are having a hard time catching your breath, don't blame it all on the cars stuck on the freeway with you. Instead, put some of the blame on Hollywood for contributing to your misery. Hey, you're already miserable at the movies watching many of the films that get released these days, so so why not after you leave the theater too?

This is good news, especially for those of you who toil away working on film and television production in Los Angeles. According to the L.A. Times and FilmLA, a nonprofit group that handles permits for on-location production in L.A., production is on the rise in my fair city and I couldn't be happier. This increase is a welcome change from what was happening only a few short years ago.

Back then, the local L.A. industry was hit very hard by the triple-threat of impeding strikes by the Screen Actors Guild and the Writers Guild of America, as well as the unfortunate trend for producers to take production out of L.A. and up to Canada or elsewhere. These three factors served to depress further an L.A. economy that was already down and also served to put many of my friends out of work.

Some of the shows that recently shot in L.A. and are helping with the recent boom include Sam Rami's Spider-Man: 3, Michael Bay's Transformers and the unfortunately named Live Free or Die Hard, directed by Underworld helmer Len Wiseman. Plus (yes I know this is not a TV site) there are several TV shows currently shooting in L.A. and contributing to the economic upswing as well -- including the new ABC hit Ugly Betty, The Nine and Jericho, starring Skeet Ulrich of Scream fame.

Now that the trend of sending production to Canada seems to have wained slightly -- mostly due to it being less of a bargain to shoot there than it used to be -- and with no potential strikes looming on the horizon, it seems like things are looking up for the L.A. based film and TV community. Unfortunately, even with this upward trend, production is still down overall from its 1996 peak, so there's still a long way to go.

If only Akeelah and the Bee had existed when I was in the third grade. While most kids had their feel-good, underdog movies about basketball and little league, there wasn't much to encourage and inspire those of us who were physically inept and a little bit brainy (aside from some R-rated sex comedies celebrating super-nerds). The best thing about Akeelah is not that it merely empowers smart kids, though; it is that, unlike the majority of sports films, the film doesn't suggest that spelling has some kind of transcendental importance. It has its own equivalent of the big game, a national bee held in Washington, D.C., but the film is more concerned with the process of getting there, and it treats the finale like a pageant rather than a competition. While most underdogs seem to climax at the end of their films, the underdog of Akeelah and the Bee simply makes passage to the next part of her life.

Akeelah (superbly played by Keke Palmer) is an underdog both because, at 11-years-old she is on the younger side of spelling bee contestants, and also because she comes from a very poor district in South Los Angeles.  Although she is shy and often embarrassed about being the smartest kid in class, she is convinced by her principal, Mr. Welch (Curtis Armstrong) to participate in their school's first spelling bee. She wins the simple event and is offered coaching by Welch's friend Dr. Larabee (Laurence Fishburne), a strict older man who begins their first session together by denying Akeelah the use of "ghetto talk." He then proceeds to teach her linguistics and literature, subjects that Akeelah initially thinks are a waste of time when she should be studying actual, specific words. Like an academic version of The Karate Kid, the film treats Larabee as a literary Mr. Miyagi, building up the girl's strengths without her first realizing it.

Is the neighborhood of Venice planning to secede from Los Angeles ... via militant revolution?!? Writer/filmmaker Theresa Duncan wrote a blog entry this weekend to that end. I think the best thing I can do here is just quote from the source: "The Los Angeles Lunar Society advocates the secession of Venice from the city of Los Angeles, and does not preclude the use of revolution to achieve this end," Duncan writes. Apparently the issue of who would fight that revolution came up at the Lunar Society's August meeting; the problem with this notion (well, aside from no-pun intended lunacy) is that "many Lunar Society members are involved in work of one kind or another for the Hollywood dream factory"; therefore, "a Venice revolution might interrupt some production schedules." Yeah, I think a revolution might "interrupt" a lot of things. It was thus decided that "members in pre-production, production, post, or on worldwide publicity tours are recused from active military duty." A motion to that end was expected to be ratified and officially included into the society's bylaws at yesterday's September meeting.

Well, it's good to know that if civil war broke out in Los Angeles, production would remain unaffected. If anyone has any additional, credible information on this, please forward it along.