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7 Views
18:00:06 02/28/11
Paul Wolfowitz says Bush went 'too far' with Libya, blames Pan Am Flight 103 families for deal, and bashes American Right
[LESS INFO] 7 VIEWS | ADDED 18:00:06 02/28/11
Fareed Zakaria did something fascinating yesterday: He actually spent four minutes of his show teaching a little history. He explained how the Middle East was formed as a political bloc and how that led to what's happening there now. Can you imagine learning something on cable TV?
The pretext for the lesson was that he was interviewing Paul Wolfowitz, one of the architects of the Iraq War. Predictably, Wolfowitz attacked the Obama administration over its handling of the Libya uprising, but I was kind of surprised to see Wofly bash the Bush administration as well for making a deal with Libya when Bush took them off the terrorist list -- but in doing so, he ascribed blame to the families of the tragic Pan Am Flight 103 bombing. Of course, Wolfowitz has no actual proof that they put pressure on Bush.
Fareed Zakaria GPS: >
ZAKARIA: You were in the administration that have - that normalized relations with Libya. It is the Bush administration that brought him in from the cold - from the cold. Were you opposed to that decision?
WOLFOWITZ: Look, I think we needed to give some acknowledgement to the fact that he handed over his nuclear weapons program. But it was an illegal program, and I thought we were giving him a lot by in effect saying you wouldn't suffer the fate of Saddam Hussein. I don't think we had to go nearly as far as we went.
There was a lot of pressure from Pan-Am 103 families because they wanted to collect the money that Gadhafi was offered. I -
ZAKARIA: Do you think that's really -
WOLFOWITZ: At one point, I believed - well, I was being told that the pressure was - I believe it was significant. I can't prove it. The United States went ahead and restored full diplomatic relations and had the Secretary of State visit.
I think we have should have drawn more of a line. Some move was appropriate. I think we went too far, and I think the Obama administration continued that.
The man who heaped spoons full of love towards attacking Iraq is shoveling garbage on shattered families of the Flight 103 nightmare. A real class act.
From 2008: Libya pays $1.5 billion to settle terrorism claims >
Libya has paid $1.5 billion to the families of terrorism victims, overcoming the final obstacle to full relations with the United States, the State Department said Friday. The payment ends Tripoli's legal liability in U.S. terror cases and paves the way for increased U.S. involvement in the oil-rich nation. President Bush signed an executive order Friday restoring Libyan immunity from terrorism-related lawsuits and dismissing pending cases over compensation as part of a deal reached this summer.
David Welch, the top U.S. diplomat for the Middle East, who negotiated the agreement, called Libya's rehabilitation from a terrorist nation to a U.S. ally "historic." The pact closes the book on a contentious period in U.S.-Libyan relations, which began in the 1980s with a series of attacks involving the two countries, including the bombings of Pan Am flight 103, a German disco and U.S. airstrikes over Libya .
U.S. business executives hope the new relationship will lead to billions of dollars of new investment in Libya, a country rich in petroleum reserves but lacking a developed infrastructure.
Wolfowitz attacked many people in this interview, including the American Right generally -- for, as Zakaria puts it, losing sight of the importance of the importance of democracy. That means you, Rush Limbaugh! >
ZAKARIA: What about the American right? Is it - has it become so fearful of some kind of radical Islam that it is losing sight of the importance of the importance of democracy, in your view?
WOLFOWITZ: Look, I - I think there's too much attempt to put foreign policy views in - in right/left terms. The view that I would like to associate with is the one I think of as Harry Truman and John Kennedy and Ronald Reagan, who believed that support for freedom, support for democracy is not only something that is morally important for the United States but equally is strategically important, and a freer, more democratic world is good for us.
ZAKARIA: But - but the people who are arguing against it on the right are saying we are looking at what's going on inside these societies and they're going to end up being - becoming radical Islamic societies, and that's why we - we oppose them.
WOLFOWITZ: Look, there's a - there's a dangerous argument, I think, that almost says if - if you're a Muslim and you're not an extremist, then you're not a good Muslim, and it's coming from people who aren't Muslims at all. What I know is that there are 200 million Muslims in the Indonesia country that I know very - I - it's an exaggerated - it's a complicated country, but I know a lot about it. Most of those 200 million Muslims are very tolerant people. They liked nothing better than to live in a country that's like the United States.
We certainly shouldn't say, oh, anyone who is of that faith is a problem. And they are our best allies.
I'm sure very soon Wolfowitz will be going on RushBo's show to bow down, kiss the ring and beg for forgiveness from the Holy One.
7 Views
18:00:06 02/28/11
Paul Wolfowitz says Bush went 'too far' with Libya, blames Pan Am Flight 103 families for deal, and bashes American Right
[LESS INFO] 7 VIEWS | ADDED 18:00:06 02/28/11
Fareed Zakaria did something fascinating yesterday: He actually spent four minutes of his show teaching a little history. He explained how the Middle East was formed as a political bloc and how that led to what's happening there now. Can you imagine learning something on cable TV?
The pretext for the lesson was that he was interviewing Paul Wolfowitz, one of the architects of the Iraq War. Predictably, Wolfowitz attacked the Obama administration over its handling of the Libya uprising, but I was kind of surprised to see Wofly bash the Bush administration as well for making a deal with Libya when Bush took them off the terrorist list -- but in doing so, he ascribed blame to the families of the tragic Pan Am Flight 103 bombing. Of course, Wolfowitz has no actual proof that they put pressure on Bush.
Fareed Zakaria GPS: >
ZAKARIA: You were in the administration that have - that normalized relations with Libya. It is the Bush administration that brought him in from the cold - from the cold. Were you opposed to that decision?
WOLFOWITZ: Look, I think we needed to give some acknowledgement to the fact that he handed over his nuclear weapons program. But it was an illegal program, and I thought we were giving him a lot by in effect saying you wouldn't suffer the fate of Saddam Hussein. I don't think we had to go nearly as far as we went.
There was a lot of pressure from Pan-Am 103 families because they wanted to collect the money that Gadhafi was offered. I -
ZAKARIA: Do you think that's really -
WOLFOWITZ: At one point, I believed - well, I was being told that the pressure was - I believe it was significant. I can't prove it. The United States went ahead and restored full diplomatic relations and had the Secretary of State visit.
I think we have should have drawn more of a line. Some move was appropriate. I think we went too far, and I think the Obama administration continued that.
The man who heaped spoons full of love towards attacking Iraq is shoveling garbage on shattered families of the Flight 103 nightmare. A real class act.
From 2008: Libya pays $1.5 billion to settle terrorism claims >
Libya has paid $1.5 billion to the families of terrorism victims, overcoming the final obstacle to full relations with the United States, the State Department said Friday. The payment ends Tripoli's legal liability in U.S. terror cases and paves the way for increased U.S. involvement in the oil-rich nation. President Bush signed an executive order Friday restoring Libyan immunity from terrorism-related lawsuits and dismissing pending cases over compensation as part of a deal reached this summer.
David Welch, the top U.S. diplomat for the Middle East, who negotiated the agreement, called Libya's rehabilitation from a terrorist nation to a U.S. ally "historic." The pact closes the book on a contentious period in U.S.-Libyan relations, which began in the 1980s with a series of attacks involving the two countries, including the bombings of Pan Am flight 103, a German disco and U.S. airstrikes over Libya .
U.S. business executives hope the new relationship will lead to billions of dollars of new investment in Libya, a country rich in petroleum reserves but lacking a developed infrastructure.
Wolfowitz attacked many people in this interview, including the American Right generally -- for, as Zakaria puts it, losing sight of the importance of the importance of democracy. That means you, Rush Limbaugh! >
ZAKARIA: What about the American right? Is it - has it become so fearful of some kind of radical Islam that it is losing sight of the importance of the importance of democracy, in your view?
WOLFOWITZ: Look, I - I think there's too much attempt to put foreign policy views in - in right/left terms. The view that I would like to associate with is the one I think of as Harry Truman and John Kennedy and Ronald Reagan, who believed that support for freedom, support for democracy is not only something that is morally important for the United States but equally is strategically important, and a freer, more democratic world is good for us.
ZAKARIA: But - but the people who are arguing against it on the right are saying we are looking at what's going on inside these societies and they're going to end up being - becoming radical Islamic societies, and that's why we - we oppose them.
WOLFOWITZ: Look, there's a - there's a dangerous argument, I think, that almost says if - if you're a Muslim and you're not an extremist, then you're not a good Muslim, and it's coming from people who aren't Muslims at all. What I know is that there are 200 million Muslims in the Indonesia country that I know very - I - it's an exaggerated - it's a complicated country, but I know a lot about it. Most of those 200 million Muslims are very tolerant people. They liked nothing better than to live in a country that's like the United States.
We certainly shouldn't say, oh, anyone who is of that faith is a problem. And they are our best allies.
I'm sure very soon Wolfowitz will be going on RushBo's show to bow down, kiss the ring and beg for forgiveness from the Holy One.
7 Views
06:29:21 04/21/10
Officer Pogen Trial - "critical tackle" victim's Day in court
[LESS INFO] 7 VIEWS | ADDED 06:29:21 04/21/10
the question is, who is the victim here?
tackled cyclist Christopher Long, or Officer Pogen...
The obvious answer, to the faithful Team Spider followers would of course be the man VIOLENTLY LAUNCHED from his bicycle for riding in a Critical Mass ride.
But, being notoriously rebellious and out of step with the norm, we here in Team Spider'dom have to ask, is Officer Pogen the real victim here?
He was a Rookie cop and basically fired for his FIRST ARREST. Maybe he would have become a good public servant, not a cautionary tale that rookies around the 5 boro's will inevitably reference for years to come... "slow down Rookie, Don't pull a Pogen and get fired on collar #1" "watch out for YouTube."
Now Officer Pogen, already fired, is on trial. He has to answer for what his training lacked, or was ill informed, out of date, coached maybe by mentors out of touch with technology, and the repercussions it can bring. It HAS apparently been Standard Operating Procedure for years for Officers to charge anyone they beat up, with "assault on an Officer". Its a quick and easy way to get the person you beat up to suddenly pray HE isn't going to see the inside of a courtroom at all, for fear HE may be going to jail. Suddenly getting "time served" for getting -beaten senseless- seems like a sweet deal.
I suspect that when some mentor officer coached strapping young officer Pogen on how to fill out his report, the soft in the middle elder was not yet familiar with the power of VIRAL VIDEO. Unknowing that as Pogen was Standard Operating imProperly filling out his paper work, the first wave of momentum was starting to propel the video of Pogen's arrest around the globe.
Anyone can post a video on youtube, as we ALL know... but not everyone can become a viral video superstar, forwarded from desktop to desktop, digital water cooler to digital water cooler, getting multiple views from each person, before they forward it to the next person. All the while in disbelief of the brief but telling video. Not knowing their wasted office time would soon launch the video to be on the FRONT PAGE of the YouTube site, as the "most viewed" video, which equates to EVEN MORE VIEWS... Pogen's libel ridden report would be his undoing before the ink even dried.
All for doing what is completely S.O.P. for officer's assigned to what the powers that need to be, view as DISSENT. Targeting, over-reacting and suppressing basic constitutional rights. Rights which are barely even symbolic at this point, and seldom used by most citizens, and quietly fading away. The right to assemble without commercial goals, or any sponsorship or corporate / homogenous goals what so ever.... the right to hoot and hollar and act crazy with your idealistic friends without being physically assaulted to the point that you are lucky to not have your neck broken, the basic right to "think outside of the box", a concept heavily rewarded if / when profitable, but for the pioneers who take the lumps and none of the profits for the proliferation, (if not revolution) of bicycling in this city, nor less the country at large, it is rarely rewarded or even appreciated. Try to watch TV or read a magazine without find a Bank ad, print campaign, or even perscription drug ad without some bicycle imagery in it. A person who just avoided an ATM fee? Clearly shown by the helmeted hottie riding a clean city street that could only exist on a Hollywood back lot or Canada. Finally found a perscription pill that alleviated your chronic allergies? Of course she did, as the animated rainbow of streaming flowers following the yellow sun dress wearing earth goddess who probably doesnt get enough SAG commercial contract work to actually have health insurance illustrates. The bike silohette is the peace sign of our new times, as loaded with meaning and symbolism as a crucifix, but more fun to ride.
Sadly, Officer Pogen is going to have plenty of time to ride, though i suspect his now broken lineage of a cop family may have taught him how to target and assault, but not how to relax and think out of the box. Just how to fill the boxes out wrong. And that is a tragedy in itself.
X.
Christopher Long, now a Paparatzi darling, has improved his DODGE EM skills
into the sunset...
52 Views
10:46:49 04/11/10
Date Night starring - Steve Carell and Tina Fey
[LESS INFO] 52 VIEWS | ADDED 10:46:49 04/11/10
Action-comedy maestro Shawn Levy, the director of the blockbuster “Night at the Museum” franchise, teams up with two of the comedy world’s biggest talents, Steve Carell (“The 40 Year Old Virgin,” “The Office”) and Tina Fey (“Baby Mama,” “30 Rock,” “SNL”) for an adventure that turns a run-of-the-mill married couple’s date upside down – way upside down, in DATE NIGHT.
Phil (Carell) and Claire Foster (Fey) are a sensible, loving couple with two kids and a house in suburban New Jersey. The Fosters have their weekly “date night” – an attempt at re-experiencing the spice of the dates of yesteryear, involving the same weekly night out at the local Teaneck Tavern. Their conversations quickly drift from barely-date talk to the same chore-chat they have at the dinner table at home. Exhausted from their jobs and kids, their dates rarely end in fore- or any other kind of play, let alone romance.
After seeing two of their best friends – another married couple with kids in suburban New Jersey – split apart from living the same life they themselves lead, Phil and Claire begin to fear what may lie ahead: a state of bland indifference and eventual separation.
In an attempt to take date night off auto-pilot, and hopefully inject a little spice into their lives, Phil decides a change of plans is in order: take Claire into Manhattan to the city’s hottest new restaurant. The Fosters, however, don’t have reservations. Hoping to be seated sometime before the clock strikes twelve, they steal a no-show couple’s reservations. What could it hurt? Phil and Claire are now the Tripplehorns.
The real Tripplehorns, however, it turns out, are a thieving couple who are being hunted down by a pair of corrupt cops for having stolen property from some very dangerous people. Forced on the run before they’ve even finished their risotto, Phil and Claire soon realize that their play-date-for-parents has gone hilariously awry, as they embark on a wild and dangerous series of crazy adventures to save their lives. . . and their marriage.
The ritual “date night” dinner is something all too familiar to most married couples – even directors of blockbuster movies. “I was in the process of making the second Night at the Museum film,” recalls filmmaker Shawn Levy, “and, as is kind of our ritual, once a week, my wife and I go out to dinner.”
At one such dinner, the Levys found themselves sitting at the restaurant they frequented, ordering the same food, talking about the kids, what’s coming up that weekend, who’s going to buy the gift for which birthday party, etc., etc. “In the middle of all that, I said to my wife, ‘Wouldn’t it be cool to do a movie about a date night, where you just did one thing differently? And, from there, you have an unraveling of everything, to the point of it threatening your life and your marriage, with all kinds of crazy stuff going on. But, in the midst of all that crazy stuff, you end up recapturing the vitality that date night was invented in the first place to preserve.’”
The next morning, Levy came in to his production company office and told his staff, “Okay, we’re going to do a movie called DATE NIGHT, and here’s what it’s about, and let’s get a writer. Let’s go.”
Levy’s search for a writer didn’t take very long. “I had written a small, quirky film, called ‘(Saint) Peter,’ which Shawn had read and fell in love with, recalls screenwriter Josh Klausner. “Shawn was determined to find something for us to work on together. He very graciously took a big chance and had me fly out, and we started brainstorming.”
Levy and Klausner met at Levy’s bungalow on the Fox lot, where they quickly broke the story. “We are both in the same stage of life,” Klausner says. “We both have children and go out on date nights, knowing what they’re supposed to be, but realizing they never end up being that anymore because there are so many other things that get in the way. So we started talking about those experiences.”
“We talked about our marriages,” Levy adds. “And we found that there are certain commonalities in trying to sustain a vibrant, romantic relationship,” and not simply becoming roommates. “It’s the question of in the midst of grownup life, how do you keep couple-hood fresh?”
DATE NIGHT was originally conceived as more of a suburban story centered around a parent-teacher conference night, but quickly evolved into, as Klausner calls it, “the perfect ‘North by Northwest’ setup” of mistaken identity.
“Shawn and I really wanted what spurs on the evening to be something that we all might do,” Klausner continues. “Phil and Claire simply can’t get a seat at a restaurant, and, since nobody’s answering the call for a reservation, they just decide, ‘What’s the harm in taking it?’ And it leads them down the rabbit hole. From there, they end up on the worst night of their lives, which ends up being the best night for their relationship.”
Levy describes the film as being “in the spirit of action comedies I remember fondly, like ‘Beverly Hills Cop’ or ‘48 Hrs.’ DATE NIGHT has a real hybrid tone, because it’s first and foremost a comedy. It also has a hefty dose of action, as well as a lot of heart, because it’s about the things that people deal with in relationships.”
For Levy, DATE NIGHT is a change from the family-friendly hits he’s helmed, like “Cheaper by the Dozen,” “Pink Panther” and “Night at the Museum.” DATE NIGHT is more of an adult-skewing comedy,” Levy points out. “In a way, it’s the other side of the movies I’ve done, which have been focused on the child-parent relationships. DATE NIGHT is focused on the marriage side – what happens after the children go to sleep.”
Levy was keen to keep the emotional side of the story intact through the mayhem experienced by the characters. “If you’re making a movie about relationships and being a married couple, it must be more than just funny, because life doesn’t work that way,” the director explains. “This movie has some surprising moments of poignancy.”
“A lot of comedies these days feel like a compendium of gags tied together to follow a narrative story,” notes Klausner. “DATE NIGHT, at its heart, is about marriage and being in love with somebody, but at the same time, life gets in the way. It’s honest, which is something Steve and Tina wanted, too. I’m proud that this movie has preserved that soul.”
When Levy learned that Steve Carell and Tina Fey were hoping to find a project on which they could work together, he knew he had found his DATE NIGHT duo. “We got an early draft of the screenplay to Tina and Steve, who always struck me as the dream pairing for a movie about marriage,” Levy says. “They said, ‘Yeah, we relate to this, we want to do an action comedy that’s also honest about relationships.’ So they said they were in.”
While Levy usually takes a break between completing one feature and beginning the next, he found himself prepping DATE NIGHT while editing “Night at the Museum: Battle of the Smithsonian,” in order to take advantage of his stars’ availability. “Steve’s and Tina’s series commitments [on, respectively, “The Office” and “30 Rock”] provides only a limited window for feature film work,” Levy explains. “They told us, ‘Look, we want to do this, but we’re free now, and we’re not going to be free in six months – what do we do?’ I said, ‘Well, we make the movie right now!’ I didn’t get a break between films, but I got a comedy with Steve Carell and Tina Fey, who are two of the most intelligent, interesting people working in comedy today. So a lot of my job was to come up with the idea, get the two perfect actors for the movie, and then get the hell out of the way.”
While slight alterations to the script were made to match the stars’ comedic voices, DATE NIGHT was essentially tailor-made for the pair. “It felt like the film was written for them,” says Klausner. Adds Levy: “Three minutes into this movie, you buy Steve and Tina as a married couple. They have a powerful chemistry together. They clicked completely on screen.”
Phil, says Carell, “feels underappreciated by his friends and family, but he sort of keeps that feeling close to his chest. He’s a very loving guy, but he and Claire have reached a plateau in their relationship. He needs to snap himself out of it, if possible. And the night that he and Claire experience together is a defibrillator for their marriage.”
Carell’s comedic skills, along with his ability to stir audiences’ hearts, made him the perfect choice for the role, Levy says. “Steve is super funny, and his chops as an actor are fantastic. He not only carries entire comedy sequences on his back, but three scenes later, he’s moving you to an emotional place with such sincerity and nuance. There’s no end to what he can do.”
Carell says his own date nights, like Phil Foster’s (and Levy’s and Klausner’s), leave much to be desired. “Sometimes the worst part of date night is actually leaving for the date – when you see your babysitter sitting down, getting all cozy, turning on the TV. That sometimes seems much better than the night that lies ahead.”
Fey, like Carell, has the ability to be riotously funny while still portraying the emotional side of her character realistically – to turn down the volume on jokes and simply allow them to happen. For example, in response to a nudge for sex from her husband, Fey’s Claire offers a very normal, ‘Yeah, hang on a minute” moment as she pulls out her dental mouth guard in preparation for sex with her husband, with enough drool to instantly turn off her mate.
“Besides being obviously really pretty and intelligent, Tina has a complete willingness to make an ass out of herself,” says Levy. She’s completely up for goofing on herself and being the butt of the joke, and that’s very charming.”
Fey describes Claire as “a working mom of two kids, who, like almost everyone I know, is just a little worn out by the day-to-day life of raising your kids, getting them out the door, getting them to school, having a job, keeping a house clean. She’s a good person who is just kind of worn into the ground a little bit. I certainly identify with how just physically tiring it is to be a parent and have a job – sometimes it feels like a real effort to just be present for your spouse.”
So which would be scarier – being in a boring marriage or being chased by the mob (both of which the Fosters experience in the film)? “I would say that being married to a person in the mob would be the scariest,” Fey jokes.
Along their night-from-hell journey, Phil and Claire encounter a cavalcade of characters on both sides of the law. Levy’s casting choices for these roles was sometimes unexpected – and always spot-on. His intent was to provide the story with a “Wizard of Oz”-like experience. “You’re with your heroes, but along the way, they’re being affected and changed by the people they meet, and I just thought wouldn’t it be fun if at every turn of the road, you’re surprised all over again by who has suddenly appeared in this movie. And the cast members fit the roles perfectly.”
The surprise apparently wasn’t limited to the audience. “I read the script,” says Fey,” and I thought, ‘Oh, these are really good parts for somebody.’ I never thought we would get this lucky to have that caliber of people in all these different parts.” Having what otherwise would have appeared to be small roles portrayed by big name actors only helps bring them alive, Carell notes. “When you see them acted out, they’re even better than they were on the page.”
And getting high-powered stars to join the DATE NIGHT team wasn’t just a matter of coincidence. “So many people were so keen to find a way to work with Steve and Tina – they just found a way to make it work,” says Levy.
Mark Wahlberg portrays a former real estate client of Claire’s the pair turns to in the middle of the night. “I play a guy named Holbrooke Grant, who is a security expert who Claire and Phil come to for help,” Wahlberg explains. “They just catch Holbrooke at a bad time – he’s with his beautiful Israeli girlfriend.” The pair ends up turning Holbrooke’s night upside down, as well.
Wahlberg had the simplest costume in the entire cast. “There is no wardrobe – just a pair of silk genie pants,” he recalls, noting that he regularly found himself freezing on the air-conditioned set. That the top half of his costume was missing (except for an ample supply of makeup covering Wahlberg’s countless tattoos), was a fact not lost on the female members of the cast and crew. “Mark was shirtless for three or four days,” Fey says, prompting a noticeable increase in the number of women who suddenly had additional tasks to address on set on the days he was on the job. “I had friends texting me, ‘Can I get on the Fox lot and visit you today?’” Fey laughs.
Also coming to the aid of the beleaguered couple is Taraji P. Henson, an Oscar® nominee for her work in “The Curious Case of Benjamin Button,” who plays NYPD Detective Arroyo, who, though she doesn’t exactly believe the Fosters “chased by bad guys” story, begins to become suspicious of a couple of her colleagues. “She’s sort of a hero,” the actress says.
Playing thugs Collins and Armstrong, who are after the Fosters (whom they believe are the Tripplehorns) are Common and Jimmi Simpson. Common is a familiar face to audiences for his role as a murderous cop in “Street Kings” and for his work as a musical artists (his hits include “Love of My Life” and “Testify”). Simpson has made occasional appearances as Lyle the Intern on “The Late Show with David Letterman.”
Common describes the duo as “one of the many catalysts to get this mundane couple out of their comfort zone – mainly by shooting guns at them.” The two are essentially hunters, he adds, noting, “I’m the muscle.”
Collins and Armstrong’s formidable boss is gangster Joe Miletto, from whom the Tripplehorns have apparently stolen something of importance that he wants back. The casting of acclaimed actor Ray Liotta as Miletto delighted Carell and Fey. “We were shooting a scene with Ray one night,” recalls Carell, “and Tina looked over and said, ‘I feel like I am in a 3D version of ‘Goodfellas. Ray Liotta is actually walking up and talking to me.’ It was like a ride at a theme park.”
Playing a heavy in a comedy, particularly for actors used to appearing in dramatic films, requires a special knack, one which DATE NIGHT’s group of toughs embraced with gusto.
“It’s really in the writing, so it’s dependent on your commitment to it,” explains Liotta. “If the situation’s just a little more heightened, you’re going to laugh.” Common agrees: “Shawn expressed to us from the beginning – you’ve got to keep it real. The more real it becomes – because you’re playing off Steve and Tina – the funnier it becomes.”
Portraying the “real” Tripplehorns – actually a drug dealer named Taste and his wacky stripper girlfriend, Whippit – are James Franco and Mila Kunis. Despite their different life circumstances, the pair has much in common with the Fosters, being in the same spot in their relationship as their clean-cut counterparts. Notes Josh Klausner: “Whether you’re a drug dealer or a suburban husband, you still feel the pangs of ‘You never look at me the way you used to’ and ‘You don’t have time for me.’ What the two couples are going through is exactly the same,” making the exchanges between the two couples both hilarious and poignant at the same time.
Kunis describes the pair as “very passionate – when they’re angry, they’re very angry, and when they’re happy, they’re madly in love.” Whippit, specifically, she describes as a “psycho, who is very up and down. She goes through three different emotions within two and a half script pages.”
The name “Taste,” Franco says, is left over from an earlier concept of the character – a 6 ft. 7 in. bald man with “TASTE” tattooed on his forehead. “So when they asked me to be in the movie, I said, ‘Well, I’m certainly not that.’” The character’s description was then rewritten, but the name stuck. “I was up for facial tattoos, too,” Franco says with a laugh. “We just went for the cheesy ‘Grim Reaper.’”
Kristen Wiig and Mark Ruffalo play the Fosters soon-to-be-splitting couple friends, Haley and Brad Sullivan. “Their parting brings up the question about getting bored with your spouse and moving on, or just sticking it out,” says Wiig. “I think Haley plants the seeds in Claire’s mind.”
Also taking on key roles are “Gossip Girl’s” Leighton Meester as the Fosters’ babysitter Katy, and “The Dark Knight’s” William Fichtner as district attorney Frank Crenshaw.
All the cast members appreciated Levy’s ability to balance action and comedy, which in turn allowed his actors the freedom to come up with their own gags. “That’s the only way you can afford to have time to play around or to improvise and do extra takes,” notes Fey. “That only happens if everyone – especially your director – really knows what they’re doing.”
For Levy, there’s a method to the potential madness of improv. “Sometimes, after we’d get what I want, Steve and Tina would come to me and say, ‘You know what? Could I get one more take? I’ve got an idea that might lead somewhere.’ Sometimes we couldn’t use it, but more often than not, it was gold and it ended up in the movie,” such as the duo’s restaurant shenanigans game of guessing what’s up with the couple sitting across the way.
“Every person in any field wants to go to work and feel respected for what they do,” says the director. “So when you say to an actor, ‘We’re going to do the script that I’ve written for you, but I want to hear what’s in your head. I actually think that the ideas you come up with might be as legitimate or better than what we scripted,’ it makes your actors feel like partners and collaborators, and not mouthpieces. It makes them feel like part of the creative team, rather than a piece of machinery.”
MEET THE TWINS
While attempting to escape their pursuers, the Fosters “borrow” Holbrooke Grant’s car, the much-too-powerful-for-Phil Audi R8. When Phil inadvertently smashes into a taxi cab, the two vehicles’ bumpers become hopelessly locked together. Nonetheless, the chase continues, the conjoined twin automobiles smashing their way down Manhattan streets.
The complicated sequence came about when Levy and Klausner were brainstorming ideas for a chase scene. Concerned about repeating the oft-used, cliché urban car chase, Klausner recalls, “I remember sitting in a room with Shawn, telling him, ‘You know, do we really have to do a car chase, because how many times have we seen a car chase in these movies? How interesting can that be?’”
Levy then related to his writer a story from his teenage years. “He was just learning to drive, and was trying to park, but he ended up smashing into another car in front of him and getting stuck on that car. His father just drove by and shook his head.” Thus was born the idea of conjoined cars.
But just having two cars barreling down the street wasn’t enough. “Shawn wanted to do something that nobody had ever seen before,” says 2nd unit director and stunt coordinator Jack Gill, who planned and executed the sequence. “Once we got the basic idea of conjoining the cars, we began figuring out not only how to build the cars, but how to make it work comically. I then started adding eccentricities, like spinning them around in circles and having characters fire guns at them.”
Besides having six different cars that, each of which handled a specific aspect of the chase stunts, Gill built a 40 foot frame, upon which the Audi and cab bodies were placed. “So there’s just one rigid frame,” he explains. The stunt driver was situated at the leading end of the conjoined vehicles. “So when the cab is facing forwards, with the Audi ahead of it facing the wrong way, the stunt driver is actually driving from inside the Audi’s trunk, looking out the back so he can see where he’s going and drive around corners.” In addition, for most shots, the rig’s rear wheels – those under the rear end of the conjoined vehicles – could also steer, in the same manner as those of a hook-and-ladder fire truck.
Needless to say, don’t try this at home on your own Manhattan street.
New York City ordinances limited the production to the types of stunts that could be filmed on Manhattan streets. So following a week of night work in New York, the stunt team moved to downtown Los Angeles to complete the sequence.
“We had about six blocks to work with on Broadway, which was great,” Gill recalls. “We needed a long stretch locked down, because when you conjoin two cars together, you’ve got a thing that’s forty feet long – getting it up to speed and shutting it all down can be tough. You can’t just do it in two blocks.” The sequence was filmed with up to six cameras, including a special “balloon cam,” with wheeled buoys on each corner, which allowed the camera to be sent into the path of the speeding car pair and getting hit head-on, without damaging expensive camera equipment.
Carell did actually drive the R8 himself for a number of shots. “We wanted the car to have way too much power for a guy like Phil to handle,” says Gill. “So I asked Audi to disconnect the all-wheel drive, which meant putting all 560 horsepower into the rear wheels.” So what was Carell’s impression? “He said it felt like somebody hitting him in the back of the head with a shovel when he stepped on the gas.”
In one shot, Phil must make his way to the cab while Claire is driving the Audi at high speed. “We did all the transfers across the hood with doubles – that was all real,” notes Gill.
Close-ups of Carell and Fey were done against a green screen set at Twentieth Century Fox. Since the chase acrobatics had already been filmed, besides their scripted lines, Carell and Fey filled in the gaps with their gut-busting ad-libs. “I’d show them footage and explain to them, ‘Here’s what we did last week downtown with the real cars – what do you think?’” Gill says. “And we’d bounce off ideas until something really clicked. And then Shawn was always there to say, ‘You’re right on track here – that’s really funny!’ It really helps when you have a collaboration where everybody can talk ideas out.”
Even with all the excitement, Levy kept the scene’s theme on track. “Once we had the concept of having the two cars stuck together, then we could find a way to thematically tie it in to what the movie’s about, which is this couple that has to learn to communicate to survive,” he explains.
Indeed, even with all that happens to them on this fateful night, the Fosters achieve their goal: to reinvigorate their relationship and reconnect with the love and excitement that brought them together in the first place.
“DATE NIGHT is kind of like a fable,” says Levy. “It takes place over a very short period of time, but in some way, it’s timeless, because it’s a story about a journey two people make in their relationship. And we leave the night feeling like they will go back to their lives and no one except for the people involved that night might ever know what happened. We’ve watched them experience this crazy night, but the real adventure of their married life, now that they’ve found each other again, is just about to begin.”
“They’re comfortable enough again with each other to be able to say ‘Knock it off’ and ‘I love you’ within the same five minutes,” says Steve Carell.
Tina Fey has just one last piece of relationship advice: “Go on a date night and see DATE NIGHT.”
ABOUT THE CAST
STEVE CARELL (Phil Foster) has emerged as one of the most sought-after comedic actors in Hollywood. First gaining recognition for his contributions as a correspondent on Comedy Central’s Emmy® Award-winning “The Daily Show with Jon Stewart,” Carell has successfully segued into primetime television and above-the-title status in the film world with equal aplomb.
Carell currently stars as Michael Scott, the pompous and deluded boss of a Pennsylvania paper company, in the Americanized adaptation of Ricky Gervais’ acclaimed British television series “The Office.” Now in its sixth season, the show continues to flourish in ratings and has earned Carell three Emmy Award nominations and four Golden Globe® nominations for his work on the show, and earned the Golden Globe in 2006. In the last two years, the show has won the Screen Actors Guild Award® for Outstanding Performance by an Ensemble in a Comedy Series.
Carell opened his first lead feature, “The 40-Year-Old Virgin,” which he co-wrote with director Judd Apatow, at #1, a spot it remained in for two straight weekends. The surprise hit of 2005 went on to gross more than $175 million worldwide and had #1 openings in 12 countries. The film generated over $100 million in DVD sales in North America alone. On an award level, the film was honored with an AFI Award® named one of 10 Most Outstanding Motion Pictures of the Year and took home Best Comedy Movie at the 11th annual Critics’ Choice Awards®. The film also earned Carell and Apatow a co-nomination for Best Original Screenplay by the Writers Guild Association.
In 2008, Carell starred as Maxwell Smart in the much-anticipated action-comedy “Get Smart,” opposite Anne Hathaway and Alan Arkin. The film grossed over $230 million worldwide. A sequel is due in 2011. He also lent his voice as “The Mayor of Whoville” in Twentieth Century Fox’s animated film “Dr. Seuss’ Horton Hears a Who!” based on the children’s book written by Dr. Seuss. Directed by Jimmy Hayward (“Finding Nemo,” “Monsters, Inc.”), Carell played opposite Jim Carrey, and helped launch the film as an international success earning over $295 million worldwide.
In 2006, as part of an ensemble, he starred in “Little Miss Sunshine,” which earned an Academy Award® nomination for Best Picture and won the SAG Award™ for Outstanding Performance by a Cast in a Motion Picture. The black comedy also starred Greg Kinnear and Toni Collette. Previous film credits for the actor include “Anchorman: The Legend of Ron Burgundy,” “Bewitched, and “Dan in Real Life.” Carell’s feature film breakout role in “Bruce Almighty,” opposite Jim Carrey, led to a sequel starring Carell in 2007, “Evan Almighty.”
Carell recently announced the start of his new production company, Carousel Productions. Carell’s endeavors and successes in acting, writing and producing were an organic segue in the creation of Carousel Productions. Born in Massachusetts, Carell now resides in Los Angeles with his wife, actress Nancy Walls (NBC’s “Saturday Night Live”), whom he met while at the Second City Theater Group in Chicago, where both were members. He is the proud father of a daughter and a son.
TINA FEY (Claire Foster), one of the most visible and popular figures in television today, writes, executive produces and stars in NBC's three-time Emmy Award-winning comedy series “30 Rock,” a workplace comedy which takes place behind-the-scenes of a live variety show. Her performance as head writer Liz Lemon on the fictional “TGS with Tracy Jordan” has earned Fey an Emmy, two Golden Globes, three SAG Awards, and a People’s Choice Award®. This year alone, “30 Rock” won five Emmy Awards and was nominated for many others.
Prior to creating “30 Rock,” Fey completed nine seasons as head writer, cast member and co-anchor of the “Weekend Update” segment on NBC’s “Saturday Night Live.” Fey is an Emmy winner and two-time Writers Guild Award winner for her writing on SNL, also receiving an Emmy for her spoof of vice-presidential candidate Sarah Palin.
Since her transition to being in front of the camera, Fey has won much acclaim, including being named one of Entertainment Weekly’s Entertainers of the Year, People Magazine’s Most Beautiful People (three times), and one of Time magazine’s Prestigious Time 100.
Other awards include, in 2008, a Producers Guild Award and a Writers Guild Award for Outstanding Comedy Series for “30 Rock.” She has also won two Gracie Awards and a Made in New York Award and has been nominated for a People’s Choice Award for Choice Comedy Actress and a SAG Award for Outstanding Performance by an Ensemble in a Comedy Series
Fey expanded to feature films in spring 2004 as both a screenwriter and an actress opposite Lindsay Lohan in the hit comedy “Mean Girls,” which earned her a nomination for a Writers Guild Award for Best Adapted Screenplay. Most recently she starred alongside “Saturday Night Live’s” Amy Poehler in the film “Baby Mama” for Universal Pictures, which exceed the $50 million dollar mark at the U.S. box office. Fey also starred in the Ricky Gervais comedy “The Invention of Lying,” released in 2009.
MARK WAHLBERG (“Holbrooke Grant”) earned Academy Award and Golden Globe nominations for his standout performance in Martin Scorsese’s acclaimed drama “The Departed.”
Wahlberg’s remarkable film career began with Penny Marshall’s “Renaissance Man” and “The Basketball Diaries” with Leonardo DiCaprio, followed by a star turn opposite Reese Witherspoon in the thriller “Fear.” He has enjoyed playing diverse characters for visionary filmmakers such as David O. Russell, Tim Burton and Paul Thomas Anderson.
Wahlberg’s breakout role in “Boogie Nights” established him as one of Hollywood’s most sought-after talents. He later headlined “Three Kings” and “The Perfect Storm” with George Clooney, and “The Italian Job” with Charlize Theron. He followed those with “I ♥ Huckabees,” “Four Brothers” and the football biography, “Invincible.” He then appeared in “Shooter,” based on the best-selling novel Point of Impact. Wahlberg reunited with “The Yards” director James Gray and co-star Joaquin Phoenix in “We Own the Night,” which Wahlberg produced.
In 2008, Wahlberg starred in M. Night Shyamalan’s “The Happening,” and in “Max Payne.” He recently appeared in director Peter Jackson’s adaptation of “The Lovely Bones.” Due out this year is “The Fighter” for director David O. Russell and “The Other Guys,” with Will Ferrell.
Wahlberg is an executive producer on “The Fighter” and “We Own the Night,” as well as on the HBO series “Entourage” and “In Treatment,” which have received six Golden Globe and three Emmy nominations.
Future projects include the new HBO series, “Boardwalk Empire,” with Martin Scorsese and “How to Make it in America,” along with other feature film projects. A committed philanthropist, he founded The Mark Wahlberg Youth Foundation in 2001 to benefit inner city children and teens.
TARAJI P. HENSON (“Detective Arroyo”) earned an Academy Award nomination for Best Supporting Actress portraying Brad Pitt’s mother in David Fincher’s highly acclaimed “The Curious Case of Benjamin Button.” Most recently, she starred in Tyler Perry’s “I Can Do Bad All By Myself,” which opened to number one at the box office.
For three years, Henson starred as Raina Washington, the youngest female detective on Lifetime’s “The Division.” She was also a regular on David E. Kelly’s “Boston Legal” and had a recurring role on ABC’s “Eli Stone.” Henson appeared in featured roles on “ER,” “Strong Medicine,” “CSI,” “House,” among others.
Henson received rave reviews for her role in Focus Features’ “Talk to Me” opposite Don Cheadle. Henson was named Outstanding Supporting Actress in a Feature Film at the 2005 Black Movie Awards and received the Best Actress nod at the 2006 BET Awards for her performance as Shug in the gutsy drama “Hustle & Flow,” produced by Oscar-nominated filmmaker John Singleton. She received two nominations at the 2006 MTV Movie Awards™ including Best Breakthrough Performance.
Upcoming films include “Karate Kid” opposite Jaden Smith and Jackie Chan, which filmed on location in Beijing for Columbia. Henson plays Rainn Wilson’s love interest in the upcoming indie comedy “Peep World,» also starring Sarah Silverman. In the indie drama “Once Fallen,” Henson stars with Ed Harris and Brian Presley. She starred in Sony’s “Not Easily Broken” opposite Morris Chestnut, and opposite Forest Whitaker in “Hurricane Season.” She starred in Tyler Perry’s “The Family That Preys” with Kathy Bates and Alfre Woodard.
Born and raised in Washington, D.C., the Howard University grad has a strong passion for helping disabled and less fortunate children and reveals, “I always stress to kids to have faith in themselves—the greatest recipe for success is self confidence.”
COMMON (Collins), a Grammy Award® winning artist, made his big screen debut as a musical performer in “Dave Chappelle’s Block Party,” in 2006. In January 2007, he made his acting debut co-starring opposite Jeremy Piven, Ben Affleck, Alicia Keys and Ryan Reynolds in “Smokin’ Aces.” Since then he’s co-starred opposite Denzel Washington in “American Gangster,” directed by Ridley Scott; David Ayer’s “Street Kings,” starring Keanu Reeves and Forest Whitaker; and “Terminator Salvation,” directed by McG, starring Christian Bale.
ABOUT THE FILMMAKERS
SHAWN LEVY (Director/Producer) is one of the most commercially successful film directors of the past decade. To date, his films have grossed over 1.5 billion dollars worldwide. Levy has honed his craft, seamlessly weaving comedy and heart into captivating stories that resonate with audiences. His youthfully enthusiastic approach to filmmaking is evident in the storylines and characters he creates – reflecting his joyful intensity for each project at hand.
Levy is currently developing several films to produce through his production company, 21 Laps, which is housed at Twentieth Century Fox. These projects include “The Ten Best Days of My Life” (with Amy Adams), “Neighborhood Watch,” “The Devil You Know” and “How to Talk to Girls” for Fox; “Factracker” for MGM; “The Extraordinary Adventures of Alfred Kropp” and “The Cutlass Islands” for New Regency, “Men of Magic” for Universal; “The Berenstain Bears” for Walden; and “The Spectacular Now” and “Table 19” for Fox Searchlight.
Currently, Levy is in pre-production on the futuristic father-son boxing drama, “Real Steel,” starring Hugh Jackman, for Steven Spielberg’s Dreamworks.
Levy’s 21 Laps recently produced the 2008 comedy «What Happens in Vegas,» starring Cameron Diaz and Ashton Kutcher, which went on to earn over $200 million worldwide.
Levy both produced and directed the blockbuster “Night at the Museum,” starring Ben Stiller, Robin Williams, Owen Wilson, Ricky Gervais, Dick Van Dyke and Mickey Rooney, which grossed over $580 million worldwide and “Night at the Museum: Battle of the Smithsonian,” starring a wide array of today’s most notable comedic talent including Ben Stiller, Amy Adams, Jonah Hill, Bill Hader, Hank Azaria, Owen Wilson, Ricky Gervais and Steve Coogan, which grossed over $400 million worldwide.
He directed the successful 2006 comedy, “The Pink Panther,” starring Steve Martin, Kevin Kline, Beyoncé Knowles, and Jean Reno and served as the executive producer of “Pink Panther 2.” Levy also directed “Cheaper By The Dozen” starring Steve Martin, Bonnie Hunt, Ashton Kutcher and Hilary Duff, which went on to gross more than $200 million worldwide.
In 2002, Levy directed both the hit romantic comedy “Just Married,” starring Ashton Kutcher and Brittany Murphy, which grossed over $100 million and the family comedy “Big Fat Liar,” for Universal Pictures, with Frankie Muniz, Paul Giamatti and Amanda Bynes.
Levy graduated at the age of 20 from the Drama Department of Yale University. He later studied film in the Masters Film Production Program at USC, where he produced and directed the short film Broken Record. This film won the Gold Plaque at the Chicago Film Festival, in addition to being selected to screen at the Director’s Guild of America.
JOSH KLAUSNER (Screenwriter) attended Princeton University, where he was involved in the theater community as an actor, playwright and director, and studied theater luminaries Bobby Lewis and Albert Innaurato. Klausner’s thesis play, “Scratch,” received the Francis LeMoyne Page Prize for Excellence in Theater. After graduation, Klausner co-created the short “Season of the Lifterbees,” which premiered at the Sundance Film Festival in 1992, and won the Time Warner Grand Prize at the Aspen Shortsfest and a regional AMPAS Student Academy Award for Best Dramatic Short.
In 1994, Klausner began working as an assistant to the Farrelly Brothers, on their first film, “Dumb & Dumber,” moving on to work as 2nd unit director on the Farrellys’ hit 1998 film, “There’s Something About Mary” and again in 2001’s “Shallow Hal.”
In 2000, Klausner wrote and directed HBO’s “The 4th Floor,” starring William Hurt, Juliette Lewis, Austin Pendleton and Shelley Duvall. He did additional screenplay work on “Shrek the Third,” and wrote the original screenplay and storyline for DreamWorks
Animation’s upcoming “Shrek Forever After,” to be released later this year.
Klausner is currently working on a number of feature film projects, including a live action adaptation of “Thomas the Tank Engine,” and an adaptation of Adena Hapern’s The Ten Best Days of My Life for Shawn Levy’s 21 Laps, which will star Amy Adams. He is also collaborating with Sir Paul McCartney on “High in the Clouds,” an upcoming animated feature film based on the former Beatle’s children’s book.
JOE CARACCIOLO, JR. (Executive Producer) began his career in film as a production manager on director Sidney Lumet’s “Running on Empty” and “The Verdict.”
Caracciolo executive produced the hit comedies “Marley & Me” starring Owen Wilson and Jennifer Aniston, “What Happens in Vegas” starring Cameron Diaz and Ashton Kutcher (for 21 Laps), and “The Devil Wears Prada” starring Meryl Streep and Anne Hathaway. His other executive producing credits include “Just My Luck,” starring Lindsay Lohan, “Hide & Seek,” a psychological thriller starring Robert De Niro and Dakota Fanning, and “Uptown Girls,” a comedic New York fairy tale starring Brittany Murphy and Dakota Fanning. Additionally, he produced the teen thriller “Swimfan,” directed by John Polson.
Caracciolo’s other feature film credits include James Foley’s “Glengarry Glen Ross,” Jon Amiel’s “Copycat,” and “The Man Who Knew Too Little,” and writer-director John Waters’ “Serial Mom,” “Pecker,” and “Cecil B. Demented.”
JOSH McLAGLEN (Executive Producer) has worked as an assistant director on dozens of blockbuster films alongside some of Hollywood’s top directors. He has been 1st AD on “Tango and Cash,” “Alien 3,” James Cameron’s “Titanic,” “The X-Files,” “Cast Away,” “The Polar Express, and “Beowulf,” the latter three for director Robert Zemeckis, and again for Cameron on “Avatar.”
In 2002, McLaglen began wearing a producer’s hat, working his way from associate producer (“The Polar Express”) to co-producer (“Beowulf,” “Avatar”) to executive producer. In 2006, he began working with director Shawn Levy, as both 1st AD and co-producer on “Night at the Museum,” becoming executive producer for that film’s sequel, “Night at the Museum: Battle of the Smithsonian,” as well as for “Date Night” and the upcoming “Real Steel.”
TOM McNULTY (Executive Producer) is the president of production at 21 Laps, a production company based at Twentieth Century Fox in Los Angeles. McNulty joined 21 Laps at its inception with the company’s principal, director Shawn Levy and has set up over a dozen film projects at Fox, Universal, Warner Brothers and New Line. 21 Laps films include “Cheaper By The Dozen 2,” as well as the hit comedy “What Happens In Vegas” starring Cameron Diaz and Ashton Kutcher, “St. Peter” starring Elizabeth Banks and Sam Rockwell, and “The Rocker,” the latter marking their first producing effort together.
Prior to joining Levy, McNulty was the executive vice president of production at Adam Sandler’s Happy Madison Productions for over six years. There, he oversaw the development of the entire slate of films, notably “Mr. Deeds,” “Anger Management,” “50 First Dates,” “Are We There Yet,” “Click” and “Dickie Roberts Former Child Star.”
Prior to joining Happy Madison, McNulty was an executive at Out Of The Blue Entertainment, where he was an executive on “Big Daddy” and “Deuce Bigalow Male Gigolo.”
McNulty arrived in Hollywood as an actor, appearing in “Boys on the Side” opposite Whoopi Goldberg and “Escape from L.A.” with Kurt Russell. McNulty grew up on Long Island and attended The Catholic University of America in Washington DC.
DEAN SEMLER, ACS/ASC (Director of Photography) began his career in his native Australia, lensing “Mad Max 2” (aka “The Road Warrior” in North America) in 1982 for George Miller, for which Semler received an Australian Film Institute (AFI) nomination. Semler reteamed with Miller for “Mad Max Beyond Thunderdome.” Semler won both the AFI and Australian Cinematographers Society awards for the Aussie thriller “Razorback.”
By the late ‘80s, Semler was serving as director of photography on several U.S. productions, including “Cocktail” with Tom Cruise and Bryan Brown, and the western “Young Guns.” The following year, he returned to Australia for “Dead Calm,” starring Nicole Kidman and Sam Neill, for which Semler won the AFI award.
After filming the “Young Guns” sequel in 1990, Semler shot Kevin Costner’s “Dances With Wolves,” for which Semler received multiple honors, including an Academy Award and American Society of Cinematographers (ASC) Award. He reteamed with Costner in 1995 for “Waterworld.”
Throughout the ‘90s and into the following decade, Semler shot the comedies “City Slickers,” “Nutty Professor II: The Klumps,” “Bruce Almighty,” and “Get Smart.” He also filmed Mel Gibson’s epic “Apocalypto.”
Most recently, Semler was director of photography on Roland Emmerich’s “2012,” and on “Secretariat,” starring Diane Lane and Scott Glenn.
DAVID GROPMAN (Production Designer), after working in television and independent films, designed the studio features “Of Mice and Men,” “Waiting to Exhale,” and “The Cider House Rules,” for which he was nominated for an Oscar.
Gropman received an Art Directors Guild award and BAFTA nomination for his design for “Chocolat.” Gropman worked on John Waters’ “Hairspray,” for which Gropman was nominated for a Satellite Award. The Art Directors Guild once again recognized Gropman with a nomination for period film design for “Doubt,” which takes place in the 1960s.
CHRISTOPHE BECK (Composer) reunites with Shawn Levy, after composing the scores for the Levy-helmed projects “Just Married,” “Cheaper by the Dozen,” “The Pink Panther. Recently, Beck reteamed with director Chris Columbus on “Percy Jackson & The Olympians: The Lightning Thief,” after composing the score for Columbus’ “I Love You, Beth Cooper.”
The Montreal native started piano lessons at age five and was writing music for his first-ever band, Chris and The Cupcakes, before his teen years. During high school, Beck studied flute, saxophone, trombone and drums, and performed in rock bands. While studying music at Yale University, Beck had an epiphany, discovering that his talent for composing exceeded that for performing. He wrote two musicals with his brother Jason (a.k.a. Chilly Gonzales, the Berlin-based hip-hop recording artist), as well as an opera based on The Tell-Tale Heart by Edgar Allen Poe
Upon graduation from Yale in 1992, he moved to Los Angeles to attend USC's prestigious film scoring program, where he studied with Oscar winner Jerry Goldsmith, among others. Beck was immediately attracted to the creative challenges unique to the marriage of music and picture, and a personal recommendation from the head of the USC Music Department led to his first professional assignment, the Canadian TV series “White Fang.” Soon thereafter, he was asked to score a new TV series (then in its second season), “Buffy, the Vampire Slayer,” based on the 1992 cult classic film, for which he received the Emmy for Outstanding Music Composition during his three seasons with the show.
The prolific talent has scored 40+ feature films and nearly twenty television shows since 1993. His film compositions include a wide array of projects and genres including the action films “The Sentinel” and “Elektra,” the comedies “The Hangover,” “Drillbit Taylor,” “What Happens in Vegas,” “Charlie Bartlett,” “Pink Panther 2,” and “Bring It On,” and the dramas “Under the Tuscan Sun,” “Year of the Dog,” “Phoebe in Wonderland” and the Sundance Film Festival Grand Jury nominee “The Greatest.”
Beck has also composed scores for “The Seeker: The Dark is Rising,” “School for Scoundrels,” “License to Wed,” “Fred Claus,” “We Are Marshall,” “Confidence,” “Yours, Mine and Ours,” “Taxi,” “A Cinderella Story,” “Saved!,” “Garfield” and its sequel, “Garfield: A Tail of Two Kitties” “Cheaper by the Dozen,” “American Wedding,” “Post Grad,” and “All About Steve.”
MARLENE STEWART (Costume Designer) earned her first credits working on music videos, including memorable designs for fashion-forward pop superstar Madonna. Stewart created image-shaping costumes for 11 Madonna videos, including “Vogue,” “Material Girl,” “Like a Prayer” and “Express Yourself.”
Stewart’s film work spans a wide variety of genres, periods and looks. She has collaborated with an intriguing array of directors, ranging from Alejandro González Iñárritu on “21 Grams” to Oliver Stone on “The Doors” and “JFK” to Michael Mann on “Ali” and Beeban Kidron on “To Wong Foo Thanks for Everything, Julie Newmar.”
Most recently, Stewart designed the costumes for Ben Stiller’s “Tropic Thunder,” Nancy Meyers’s romantic comedy “The Holiday” and Kimberly Peirce’s drama “Stop-Loss.”
Her credits also include Andy Tennant’s “Hitch,” James Cameron’s “Terminator 2: Judgment Day” and “True Lies,” Mary Lambert’s “Siesta,” Joel Schumacher’s “Falling Down,” James L. Brooks’s “I’ll Do Anything,” Curtis Hanson’s “The River Wild,” Joe Pytka’s “Space Jam,” Rob Bowman’s “The X Files,” Tony Scott’s “Enemy of the State,” Dominic Sena’s “Gone in 60 Seconds,” David McNally’s “Coyote Ugly,” and Antoine Fuqua’s “Tears of the Sun.”
After earning a degree in History at the University of California, Berkeley, Stewart studied at the Fashion Institute of Design and Merchandising in Los Angeles. She received the Bob Mackie Award for Design for her student work and began her design career by launching her own women’s clothing line, Covers. A Boston native, Stewart designed the costumes for three Madonna tours as well as tours for Cher, Paula Abdul, and Gloria Estefan. She created music video looks for Janet Jackson, Rod Stewart, Bette Midler, Debbie Harry, Smashing Pumpkins, the Bangles, and the Eurythmics, and was the first recipient of the American Music Awards’ Best Costume Design Award for the video “Material Girl.”
5 Views
12:16:00 05/08/09
LAMA JIGME RELEASED; NEW STUDENT PROTEST PHOTOS ESCAPE
[LESS INFO] 5 VIEWS | ADDED 12:16:00 05/08/09
New photos surface of a protest in Labrang led by middle school students, April 24, 2009.
Photo: Kunleng (VOA Tibetan service) A
Tibetan lama who had recorded a video testimony last year after being detained and physically abused by Chinese security forces has been released from his second stint of incarceration in the past year. Meanwhile a monk in Ngaba Prefecture, who may have admitted to sending information to the outside world about Tabey's attempted self-immolation in February, remains missing and is feared dead. Some information has escaped the plateau through China's steel curtain, in the form of accounts and photos of the students' march in Labrang last month.
Lama Jigme Guri was seized off the street on March 22, 2008 as he returned to Labrang Monastery from the town market . He was held for several months during which time he was severely tortured, and nearly died of his injuries. At that point he was released to his family, as some other Tibetans have been after suffering abuse which nearly killed them. The expectation seems to be that they will die in their family's custody, and the Chinese will thus not be blamed for killing them. Jigme survived after spending three weeks in hospital, and later returned to his monastery.
Lama Jigme Guri of Labrang Tashi Kyil Monastery, Sangchu County, Kanlho T-"A"-P, was released this week by the Chinese authorities after six months detention without trial.
Photo: Woeser Sometime in August Lama Jigme recorded a video testimony of his ordeal (faithful readers will recall that the Tibetan name "Jigme" translates as "Fearless"). The video was acquired by VOA's Tibetan language program Kunleng , and broadcast last September 3. Jigme went into hiding, living in the mountains and visiting safe houses until the approaching winter made that impossible. He returned again to Labrang around the beginning of November (after police had assured his family that he was safe from arrest), and on November 4 around 70 officers of the People's Armed Police and Public Security Bureau seized him from his monk's quarters and took him to an unknown location.
The 42 year old monk, who had been ordained at Labrang at the age of 13, mastered religious thangka painting and butter sculpture arts, and later headed the monastery's vocational training centre, was also the vice-chairman of its Democratic Management Committee (the Communist Party's oversight and disciplinary body within every Tibetan religious institution) at the time of his first arrest. Upon his latest release on May 3, after six months in his second abusive stretch of Chinese prison treatment, local accounts say that he is looking very frail and weak.
Once again, the heroes in this case are the same two Chinese civil rights lawyers who took on Phurbu Tsering Rinpoche's case, leading to its indefinite postponement last month. One of the two, Li Fangping, told the London Times that Jigme had been released "on bail", and that the mere prospect of legal assistance seemed to be enough to do the trick.> "When the police told him that lawyers had come forward to help him, he said he wanted legal representation. Before we even had time to see him, he had been released." Mr. Li and his partner, Mr. Jiang Tianyong said that Jigme had been warned by police not to give interviews and to see "as few people as possible."
The International Campaign for Tibet clarifies the bail issue from accounts by Tibetan sources. The release falls under something called " qubao houshen " which are restrictions on one's movements, associations, communications and other conditions. Violations of any of the conditions may result in further detention without trial.
Jigme's August 2008 testimonial has now been captioned with English subtitles:
The Tibetan author / poet / citizen journalist Woeser was the first to announce Jigme's release at her blog on May 5. High Peaks Pure Earth has a translation . A number of good photos of Lama Jigme in his home surroundings (as well as his hospitalization) can be viewed at Woeser's original article .
Coincidentally, I received an alert this morning to a new translation of a piece Woeser wrote for Radio Free Asia last month. In this one she does a very insightful media analysis and points out a fundamental misunderstanding by the Chinese state-controlled media organs on using and increasing their "discourse power". In a delightful anecdote, she recounts an occasion when a Xinhua official approached a senior foreign journalist for advice on achieving "discourse power" in the west. The journalist told her that in his response to the official, he emphasized "positioning":> "You people are positioned as mouthpieces, so you can’t think about whether the news you report is true or not; and so you are incapable of establishing any power of discourse. We, on the other hand, are positioned to make money. In order to make money we’ve got to provide truthful reporting, and that’s a necessary condition for establishing authority in discourse." When he heard this, the Xinhua official was very uncomfortable. I just bet he was! I really hope that conversation gets passed around at the Xinhua water cooler.
Monk Tabey, of Ngaba Kirti Monastery, lays in the street after he set himself on fire and was reportedly felled by gunshots from the security forces on February 27, 2009.
Photo: anonymous Tibetans in Ngaba Prefecture (Ch: Sichuan province) remain very concerned for the well-being of Jamyang Phuntsok , a 35 year old monk believed to be suspected by Chinese authorities of sending information about fellow monk Tabey's protest on February 27, 2009. A few days after Tabey's action, in which he attempted to immolate himself and, according to witnesses, was felled at the precise time three gunshots were heard fired by security forces, Jamyang Phuntsok was arrested from his quarters at Kirti Monastery. His whereabouts remain unknown and officials have not provided any information, leading many local people to suspect he may already be dead. Chinese state-run party mouthpiece Xinhua reported on March 5 than the monk had accepted the allegations of sending information to the outside world, but this has not been confirmed by any reliable sources.
Tabey remains in detention at an undisclosed hospital in Sichuan, and is not allowed visitors. A press release by the Kirti Monastery in exile said that his condition has improved sufficiently for him to leave the hospital, but authorities will not permit him to leave. The monk's mother had been allowed to see him in March, and she said that the Chinese authorities were pressuring him to have both his legs amputated. Tabey refused the surgery, which is almost surely for the purpose of destroying the evidence that he had been shot by security forces before being extinguished.
Images and accounts of the protest led by students of the Sangchu Tibetan Middle School on April 24 at Labrang, Amdo have escaped into freedom. Several of the photos were shown on Wednesday's broadcast of Kunleng , the Voice of America Tibetan language program. The students had gathered early on that Friday morning and began marching toward Labrang town, but were immediately surrounded by soldiers and police. A Tibetan eyewitness told the International Campaign for Tibet :> "Around 300 soldiers and police arrived immediately at the scene. Older Tibetans were begging the soldiers not to harm the students and to let them go back into the schoolyard. The school was then surrounded by armed soldiers." The students had called for freedom and democracy, return of His Holiness the Dalai Lama to Tibet, and a solution to the problem of Chinese students taking college placements under the Tibetan quota. They were also objecting to a Chinese provocation in the form of an article published in the Kanlho News on April 15, which was then posted on the school bulletin board. The article was a denunciation of the Dalai Lama — a commonplace phenomenon in the Tibetan "Autonomous" Region but relatively new in Amdo. The Chinese "patriotism re-education campaign" is being implemented in the area, according to a Tibetan source in contact with local people.> "The main reason for the students' protest is that the local authorities are implementing a campaign of patriotic education and 'anti-separatism' in schools, which is strongly focused on denouncing the Dalai Lama. At the same time, many articles vilifying the Dalai Lama have been published in newspapers in the Tibetan language." An interesting term is introduced in this report, cited from an unidentified Chinese language blog. The Tibetan students are referring to the Chinese quota-jumpers as "University Entrance Exam Refugees" (a literal translation of the Chinese term used). These students wish to sit for the Tibetan exams which are designed to be slightly easier due to Tibetans' perceived lesser abilities in Chinese language. Some Chinese students will produce faked ID which shows them as Tibetan, thereby making them a sort of reverse refugee.
Another ironic aspect to this story is given by a Tibetan source. Apparently some local officials missed out on their political "awards" that day:> "What was interesting was that at the time, relevant officials from Kanlho prefecture were on their to Lanzhou to pick up an award they'd won for outstanding [political] 'stability' work, but this incident happened while they were on the road there and so cursing their luck, they had to head back!" The Kunleng broadcast (Tibetan language) can be viewed on this page by selecting the May 6 news program.
The images have been reduced to ensure no one's face could be recognized, although the video captures are blurry to begin with. I've left out two shots of younger children which were a bit too close for comfort. It's a shame we have to have such concerns — of retaliation on these kids from the Chinese Communist Party colonial administration of their country — but there you go.
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11 Views
14:56:11 10/16/06
Deval Patrick at Boston Common - Part 2
[LESS INFO] 11 VIEWS | ADDED 14:56:11 10/16/06
Let?s talk about crime. And let?s try talking about it honestly. I am the only candidate in this race who has ever actually sent anyone to prison. I?m not a criminologist. I was a federal prosecutor. I have had to make those tough decisions about whom to charge and with what, to test that evidence and argue the sentence. I have had to comfort victims. I have represented victims. Thanks to the newspaper, you now know my family and I have been victims of crime ourselves. You can?t grow up in a place like the south side of Chicago without understanding the impact of crime and violence on survivors and a community. And yes, I have sometimes represented the unsavory defendant, too. And you better be glad someone does, because that?s what puts the justice in our system of justice. I?m proud of that. And if Kerry Healey had ever read the Constitution she is sworn to uphold, she?d know better than to slander those who do. So, let?s talk about crime. There are up to 700 fewer cops on the beat thanks to this administration?s fiscal policy. Guns are flooding over the line and gang violence is soaring. Kerry Healey touts the Sex Offender Register as a centerpiece of her public safety strategy, and then vetoes the funding to support it and fails even to appoint the staff. If I had Kerry Healey?s record on public safety, I would change the subject, too. The Healey campaign is up to tired old tricks ? change the subject, say anything and do anything to tear the other candidate down. Because she has not a single reason for why she should be governor that doesn?t turn on why she thinks I should not be governor. And that is another difference. We have not built anything on tearing anyone down. She wants to divide people. We want to bring people together. She wants partisan point-scoring. We want problem-solving and progress. Hers is a politics of fear. Ours is politics of hope. Politics reached a new low last week when my sister and her family got dragged needlessly into this campaign. It was wrong. And the sad fact is, it?s probably not the end. The truth is that the Healey campaign has created a political environment so toxic that things like this are going to happen. Here is a family that has repaired itself and lived as model citizens in Massachusetts for the last 13 years ? after a serious but distant tragedy. What Kerry Healey doesn?t understand is that leaders set the tone. Organizations take their lead from the person at the top. And Kerry Healey has set a tone of unprecedented nastiness and negativity in this campaign. So, no, Kerry Healey, I will not apologize for laying this outrage at your feet. That is where it belongs. What we will do over the next three weeks is insist that Kerry Healey stop trying to change the subject. We will insist that she deal with her record of inaction and neglect and why, based on that record, we should trust her to do better than in the next four years than she has in the last four years. And we will ask the people of Massachusetts to choose whether they want more emphasis on what divides us or more emphasis on what unites us and moves us all forward. So, let me worry about the incomings and negative attacks. We are strong politically and more important spiritually. My sister and brother-in-law are here, still standing tall, with Diane and me right beside them and their kids. We are as flawed and unfinished a family as any other. We have our moments of pride and of shame. But we know that forgiveness and grace is what makes a strong family, a stronger community, and progress possible. Thank you all for your support and your understanding. But let me worry about the attacks and the slanders. You do what you need to do. Talk to your family and friends, your neighbors, your coworkers about what?s at stake. Ask them to see this not as my campaign, but theirs. Make a contribution of time or money. Volunteer at a phone bank to identify voters who will support our cause this week. Canvass your neighborhood with material about the campaign. Join one of the get-out-the-vote efforts on Election Day. There is staff at the tables in the back and with clipboards around and about to show you how to get involved. We have 23 days left before the polls close on Election Day. It?s not a lot of time to change the course of our state. But that is what?s at stake. Meanwhile, I will not engage in the politics of fear. Because fear is poisonous. All through history it has been used to hold back progress and limit fairness. Only hope defeats fear. It always has. At a candidates forum last week, the moderator asked each of us to say something nice about the other candidates. Kerry Healey rather grudgingly said, ?Well, he can give a good speech.? She would know this not because she has ever attended a speech of mine but because she has them filmed by this fine fellow here. But her dismissive point, and I hear it from her staff, is that all I have to offer is words. Just words. ?We hold these truths to be self-evident, that all men are created equal.? Just words. ?We have nothing to fear but fear itself.? Just words. ?Ask not what your country can do for you. Ask what you can do for your country.? Just words. ?I have a dream.? Just words. Let me say it before you do: I am no Dr. King, no President Kennedy, no FDR, no Thomas Jefferson. But I do know that the right words, spoken from the heart with conviction, with a vision of a better place and a faith in the unseen, are a call to action. So when you hear my words, or speak your own to your neighbors, hear them and speak them as a call to action. Because the victory is not just what we did on primary night. It?s not just what we will do on November 7. It?s not even when ? with your help and God Almighty?s -- I take the oath of office next January. The victory comes when every man, woman and child in the Commonwealth has a reason to hope. Go out and work for that. God bless us all. Thank you.
