Once upon a time, you could rely on one host for the Oscars, Bob Hope, who hosted for 19 years, a record that is never to be broken. No, not when we look upon Ellen DeGeneres, Jon Stewart, and Chris Rock as old-timers with each of them having hosted twice. No doubt, each would make a great host again, maybe as early as next year. Speculation is already brewing on who the next host will be for 2017. As for this year, the Oscars will be remembered for one thing: what Chris Rock had to say.
We once had the Bob Hope gold standard full of wry humor and brash for its time. Bob Hope told it like it was. And Chris Rock tells it like it is today. After all the mounting pressure from #OscarsSoWhite, Rock masterfully defused, and refocused, the situation with some passionate humor and honesty. He began by asking, “Why this year? Why now?” and then went for the kill, “In all those other years, we had more important things to protest about, like getting lynched!” His monologue was the highlight of the show, a message for today and beyond. As I had stated earlier, I was in a perfect vantage, the 25 Degrees bar in the Hollywood Roosevelt Hotel, site of the first Academy Awards ceremony in 1929. What I observed was a very attentive audience for Mr. Rock.
Making a political statement at the Oscars is far more challenging than it may appear. Chris Rock did it with skill and heart. He had been honing new material in the days leading up to his monologue and it resulted in something that ranks up with the best. The Oscars have that tradition of protest. It rarely works. However there are exceptions. The best, perhaps the first, is Sacheen Littlefeather refusing to accept the Best Actor Oscar on behalf on Marlon Brando for “The Godfather” in 1973. This was a protest over the treatment and depiction of Native Americans in the media as well as reaction to Wounded Knee. Talk about arguing for diversity! It is a graceful, articulate, and authentic moment, a far cry from the blather of today.
Chris Rock interviews Compton moviegoer
The 88th Academy Awards ceremony had a number of responses to the current outcry. One of the funniest had notable African-American stars Leslie Jones, Whoopi Goldberg, Tracy Morgan, and Chris Rock green-screened into nominated films. Leslie Jones steals the show as the bear from “The Revenant.” And Tracy Morgan follows with his line, “I’m a Danish Girl!” as he bites into a pastry. More to the point, a segment with Chris Rock interviewing moviegoers in Compton helped to demonstrate that the typical outcrop of Oscar nominated films like “The Big Short” and “Spotlight” did not resonate with a black audience.
In the end, Chris Rock rose to the occasion. He was presented with a significant moment in time, recognized it, and ran with it. On that night, he filled the big shoes of the likes of Bob Hope and left a pair of big shoes of his own.
I found myself in Los Angeles these last few days of February for a number of reasons. Let me put it to you this way, I was there as much to enjoy a day long visit to the Los Angeles County Museum of Art as I was for anything else. And, of course, I devoted a chunk of time to the Oscars. Here is the key to a lot in life: keep an open mind. Now, when it comes to entertainment, the more flexible you are, the better. I keep things to a broad spectrum, from the intellectual to the spectacle. That said, I’ll share with you some observations from this last visit. In the end, we can explore the idea of what it is to be entertained.
The Gumbo Pot in the Farmers Market, Los Angeles
Seattle is my home base. It is in this relatively small, yet bustling, city that various forms of entertainment are created by some very talented individuals in music, film, fiction, comics, and so on. And then there are just as many, perhaps even more, individuals involved in commenting on all this creative work. That’s something I am very sensitive to as I am both a creator and a commentator. Let’s just say I appreciate when the air has gotten too thick. Sometimes, you just want some frog legs at The Gumbo Pot in the Farmers Market, which I definitely enjoyed. And, to be sure, the level of discourse at tables was quick, smart, and unpretentious. If I say I am going to talk to you about the true meaning of fiction or entertainment, it’s in the spirit of an open discussion without the pretense. Please, we have too much of that.
Chris Burden’s “Urban Light,” at LACMA
It’s all about going from the specific to the general. Take the time to give one particular subject its due, focus on that, consider its merits, and then reap the rewards of entertainment and insight. I will compare for you two events in Hollywood that are closely related: a tribute to screenwriter George Clayton Johnson at the American Cinematheque this last Friday; and then some observations on the Oscars this last Sunday. I really wasn’t planning on doing this. I want to keep it light but offer you a few ideas. The best thing I can do is jump right in with some observations beginning with the tribute. Here, I want to make clear that much depends upon your understanding and knowledge.
George Clayton Johnson tribute at the American Cinematheque in Hollywood
If such things as the literary background of The Twilight Zone are new to you, then perhaps this will spark interest. I know a great deal about this subject, particularly the writers known as, The Group, from which much of this springs from. George Clayton Johnson was a key member of The Group. He had within his power the ability to write some of the most compelling magical realism. That’s important because, despite the many disadvantages he had in life, he was a writer with not only a vision but a determination. George went on to create some of the most iconic and beloved episodes of The Twilight Zone which is the gold standard for what can be done when melding the art forms of fiction and television. Don’t let yourself think that Masterpiece Theater holds the key. That is too obvious a venue. Actually, it is within The Twilight Zone, at its best, that you will find much that is stimulating and intriguing with great literary merit.
George Clayton Johnson tribute at the American Cinematheque in Hollywood
So, here you have this very special individual, George Clayton Johnson, who understood better than most, the fundamental inner workings of fiction. He took his insight, skill, and hard work and did what he did with it. He primarily wrote for television. All of his work on The Twilight Zone is remarkable. This led to him writing the first episode of Star Trek to be broadcast. Among other TV work, he wrote an exceptional episode of Kung Fu where the main character experiences a flashforward, as opposed to a flashback, to help him save his life. And, to cap it all off, George and William F. Nolan wrote the classic dystopian novel, Logan’s Run. Beyond those achievements, it is George’s life story that is inspiring. He was close friends with such greats as Ray Bradbury and Theodore Sturgeon. George was simply a man who loved to keep it simple: write what you believe in, give back to the community, love thy neighbor. The outpouring of love and admiration for George at this tribute was very moving. I had the opportunity to get to know George. I can fully understand how bright his light shines.
Chris Rock tells it like it is at the Oscars.
A couple of nights later, lo and behold, it’s the Oscars. Now, mind you, I did not have any set plans. How I wish my Comics Grinder credentials would have gotten me a press pass. Perhaps they would had I pursued it. I’ll tell you something, I am a keen observer and a friendly interviewer. I can easily adapt to any situation. This segues to what I did for Oscars night. Due to a few things going on that night, I found myself outside the Hollywood Roosevelt Hotel. Let me back track a bit, a buddy of mine suggested that as a great spot to maybe see something going on. In fact, the plan was to meet up with him. I show up and, yes, it is a great spot, right on the corner of Orange and Hollywood overlooking that whole block of Madame Tussauds, Grauman’s Chinese Theatre, and the Dolby Theatre.
25 Degrees at the Hollywood Roosevelt Hotel
Well, on that corner are a bunch of onlookers, of course. Shades of “The Day of the Locust.” I mingled for a bit. No one knows exactly what to expect, if anything. I then made my way into the Hollywood Roosevelt and 25 Degrees, one of the hotel’s seven bars. 25 Degrees is known for its gourmet burgers and onion rings, which I fell in love with. I patiently waited for a cozy table overlooking the bar and two big screen TVs broadcasting the Oscars. Chris Rock was doing his monologue. I saw any number of what appeared to be otherwise jaded industry folk carefully listening and giving way to outbursts of laughter. Just as I was assured by my hostess that I could have the table, this one lady sat down at that very same table. The hostess explained to her that I had already been given that table but I said it was alright. Sure, it’s the Oscars, I’ll share the table. Well, it was definitely for the best. The lady turned out to be an executive with a Mexican network. We ended up chatting about the decline of culture in general and the disturbing rise of Donald Trump.
Behind the scenes at the Oscars
It always comes down to the coveted issues of time and space. That table had a fixed value of one hour. You could not stay at that table beyond an hour. I sweet talked my hostess into letting me begin a new hour given that I had to share it. In the meantime, my new friend, the Mexican TV executive, had hoped that I could hold on to the table as she had wanted to return after a while. Well, there must have been a lot of discussion in the back. At first, yes, I could keep the table if I ordered more food. After having the delicious Patty Melt, and a half jug of Pinot Noir, I opted to start with a Dark and Stormy. Later, the supervisor negotiates with me. It turns out that the table really needs to be relinquished. If I am alright with moving to the bar, he will treat me to another drink. Well, that’s fine with me. And, well appreciated too!
Behind the scenes at the Oscars
We always hear the long-running jokes about the Oscars being too long. The crowd that night enjoyed every minute of it and would have been happy to see more. The high points were the Chris Rock monologue, the announcement for Best Actor to Leonardo DiCaprio, and the announcement for Best Picture to “Spotlight.” In between, and throughout, careful attention was given to each category. I ended up chatting a bit with other patrons at the bar. The consensus seemed to be that this was one of the best Oscars. I certainly found myself in a perfect setting. The bar, with its old-school charm, was impeccable.
Here I am in front of the American Cinematheque in Hollywood.
One Oscar tradition never fails to move me. That’s when a tribute is given to notable members of the Academy who had passed away in the previous year. I was certain that George Clayton Johnson would receive a mention. While he wrote primarily for television, he also co-wrote the story that was the basis for “Ocean’s Eleven” and he also co-wrote an Academy Award nominated animated feature with Ray Bradbury, “Icarus Montgolfier Wright.” But he did not get his mention. That left a sad note hanging in the air. But it was still grand to be at the Hollywood Roosevelt on Oscar night. I can tell you, I can share with you, the fact that both nights, the tribute to George and Oscar night, were both magical. George is still remembered and people will enjoy his work whether they realize he wrote it or not. George will always be part of that magic that people seek out whether they know it or not.
Great fiction comes from all over: horror, dark fantasy, mystery, and so on. William F. Nolan writes in various genres. You may know him from his work with Dan Curtis, such as the classic horror film, “Burnt Offerings.” Or perhaps you know him from co-writing, with George Clayton Johnson, the classic dystopian novel, “Logan’s Run.” Mr. Nolan has gained great recognition and won numerous awards and honors. Just last year he was named the Grand Master at the World Horror Convention in Atlanta. In this interview, we spend a good time chatting about horror as well as fiction in general. And we definitely visit the subject of the Southern California Sorcerers, otherwise known simply as The Group.
“Burnt Offerings” from 1976
During our conversation, Bill shared a very special moment regarding his friend and fellow writer, George Clayton Johnson, who passed away this last Christmas. He offers up for us a picture of a fresh-faced, and beaming, young George bursting upon the scene, circa 1957. He has shown up at a meeting of The Group and asks if he may join in with the illustrious and ambitious writers. Someone asks George what he has to show for himself. And, George, just having received his box of author copies, proudly shows the men what he’s been up to. “Hey guys,” George says, “I co-wrote this really cool thing called, ‘Ocean’s Eleven!'” And the rest is history!
This interview was conducted Monday, February 22nd. William F. Nolan is going strong, just shy of his 88th birthday on March 6th. If you love a good story, or if you are an aspiring writer yourself, or if you’d like to know something about the Sixties zeitgeist, then this interview is for you. In the span of about twenty minutes we cover a lifetime of observations and insight.
Henry Chamberlain: Thank you for getting together with me, Bill. I wanted to cover the writer’s life with you in this interview. First off, a good horror story has been compared to placing a frog in gradually boiling water. What can you tell us about the boiled frog method of storytelling?
William F. Nolan: Allow me to veer off a bit from the boiled frog to tell you how I approach telling a story. Really, how I tell a story is like the other night when I was in bed, half asleep and half awake, a state where I get all of my ideas. I was thinking of these deadly flowers. They had the power to stop the human heart. They were alive and, if you didn’t treat them right, they could turn against and stop your heart. There’s this couple who decide to rent this place on the beach. It looks like a great place. The owner lets them know that they have to take care of these special flowers but the couple ignore him, they don’t do it. And they end up being killed by the flowers. Their dead bodies are found on the beach. That’s how I form an idea for a story. I get an opening in my head for the concept and then I get the ending. Finally, I fill in the middle. That’s how I write a horror story, or any other kind of story.
Discoveries Best of Horror and Dark Fantasy edited by James R. Beach and Jason V Brock
HC: There’s a story of yours, “Stabbed by Rob,” in the recently published collection of dark fantasy from Dark Discoveries, edited by James R Beach and Jason V Brock. That story is a perfect example of that boiled frog method. There are a number of touches of humor, including your mentioning a glow-in-the-dark statue of Jesus. And the story keeps turning up the heat to the very last sentence.
WFN: Well, I believe you really can’t get away without some humor in a horror story. Horror is too stark, raw, and unflinching. You need to be able to live in it. You’ve got to lighten it with some humor. All my horror stories have elements of humor. You need to let the reader breathe. You can’t go from the first page to the last and do straight horror. That’s the problem with H. P. Lovecraft for me. Lovecraft has no sense of humor. He was a brilliant writer. He was a brilliant innovator. But no sense of humor. By the time you finish “The Shadow over Innsmouth,” you’re exhausted. I want my readers to relax a little, to breathe, and have a good chuckle while they’re being frightened. That’s my method of writing horror.
HC: I’m glad that you mention Lovecraft because I’ve had difficulty with him too. Your adaptation with Dan Curtis of Robert Marasco’s 1973 novel, “Burnt Offerings,” has just the right touches of humor at the start, and they give way to a more sinister mood. There’s a balance.
WFN: Yes, that was adapted from the Marasco novel which had no humor whatsoever. I told Dan Curtis, who directed, and produced the film with me, that we were going to need to lighten up the material because it was too stark. I’m glad that you appreciate the humorous elements in the film. As I say, I just don’t think you can do horror without lightening it up a little bit.
HC: Then there’s Ray Russell’s work. Perhaps more of a touch of elegance than humor. I love the way Ray Russell masterfully brings up a lot of pretty grim stuff in his work. He knows what to leave in and what to mostly imply. I’m thinking of “Sardonicus,” “Sagittarius,” and “Sanguinarius.”
WFN: Ray Russell was one of my closest friends for years. We would talk about how to write in terms of horror. And we both agreed on the same thing that you’ve got to put some humor into it in order to lighten the whole thing. I love Ray’s work. He passed on some years back. He would be happy to hear that you enjoy his work.
Just Part of The Group: Charles Fritch, Chad Oliver, Charles Beaumont, Richard Matheson, and William F. Nolan, circa 1954.
HC: There were all of these amazing writers that you got to be close with in social settings and in work sessions. All of you together were the Southern California Writer’s Group.
WFN: There were eleven of us. We didn’t think of ourselves as anything special. We were all trying to make a living, pay the rent, pay the mortgage, stay afloat. We wrote science fiction and fantasy in a modern vein. We took it away from the Lovecraftian type of fiction and wrote a modern type. It was sort of pioneered by Richard Matheson and Ray Bradbury who were part of our group. We all worked from the same principle: you can do modern horror but it has got to be something that people can believe in. It has to be realistic. It should happen today, in somebody’s kitchen. It could happen in a kitchen. You don’t have to go to a haunted castle, back in Transylvania, to have horror. Horror can happen on your doorstep. Horror can be a terrorist with a submachine gun that sprays lead over you while you’re eating in a restaurant. That’s horror. Horror takes many forms. We all tried to work within that scope.
Yeah, eleven of us. Matheson, Bradbury, myself…Charles Beaumont was sort of the hub of the thing. We had Jerry Sohl. We had Robert Bloch, known for “Psycho.” We’d all gather together at each other’s houses, at all-night coffeeshops and talk shop, editors, and markets. We were quite a group. All these years later, people look back on us as pioneers in the field. And that’s nice but, at the time, we were just trying to make a buck, just trying to make a living.
HC: Well, sure, you guys were so close to it all. You would need to stand back to see it clearly. What you guys did was take gothic literature and give it a modern cool. That’s essentially it.
I AM LEGEND by Richard Matheson
WFN: Yeah. I still think that you can credit Richard Matheson for a lot of that. Stephen King said that he was influenced more by Richard Matheson, than any other author, because he took horror out of the castle and brought it into the kitchen. And I agree with him. We all tried to do that. We all felt that was the way to go. We weren’t interested in something ancient. We wanted something real, something of today.
HC: You list eleven members of The Group. Was there any time that all eleven of you met under one roof?
WFN: Three or four of us were into auto racing. Richard Matheson, Jerry Sohl, and Robert Bloch didn’t care at all about that. But Charles Beaumont, John Tomerlin, and myself were heavily into Grand Prix sports car racing both here and in Europe. We actually flew to Monte Carlo one year for the Grand Prix. And we went to Sebring Raceway in Florida for the races there. The Beaumont kitchen in North Hollywood, his upstairs kitchen, is where most of us would meet. George Clayton Johnson was part of that group too. We would meet there. But there was never a meeting of all eleven of us at one time. It was three or four of us at at time at different places. We’d go to movies together. We’d meet in coffeeshops.
Musso and Frank Grill
HC: I imagine that you guys enjoyed Musso and Frank Grill.
WFN: We loved Musso and Frank Grill. It has all that history: Hemingway, Fitzgerald, and William Faulkner. The murals never changed. The seats are the same. When you’re sitting there, it’s like you’ve gone back in a time machine. We loved it. I still love it. I love to go whenever I’m in L.A.
HC: You touched upon George. I have to say that I can imagine that he loved the fact that he got to pass away on Christmas Day. Such a magical thing. Such an act of will.
WFN: That was no accident. He was ill. He was in hospice care for about a week before that happened.
HC: Oh, yeah.
WFN: The doctors were saying that he could go at any minute but George, subconsciously, since he couldn’t verbalize it at that stage, was saying that the doctors couldn’t tell him when he was going to die. He was always an independent guy. He was saying: “I want to die on Christmas Day since that was the birthday of Rod Serling, who made me famous for my writing for The Twilight Zone.” He was able to die three days past when he was expected to die. He was able to fool all the doctors. That was no accident.
George Clayton Johnson and William F. Nolan, circa 1957, illustration by Henry Chamberlain
HC: Yes, that’s what I meant. I was honored to interview George a number of times and got to meet him in person. Would you share with us a little more of the flavor of the era and a picture of George at one of these bull sessions at The Group that may come to mind?
WFN: Four or five of us were sitting in the living room of the upstairs apartment of Charles Beaumont one night. There was a knock at the door. This is around 1957. The Group was around from the ’50s to ’60s. So, there’s a knock at the door. We open the door and there’s George Clayton Johnson with a package under his arm. He said, “I’m George Clayton Johnson. I want to join you guys. I want to be with you. I’ve heard about you and I want to join you.” Someone asked, “Are you a writer?” He said, “Yes, I am,” and he held up the package, “It’s called, ‘Ocean’s Eleven’ and I just sold it to Frank Sinatra!” That’s what got him started with The Group.
HC: That’s beautiful. I wanted to ask you about the literary tradition that The Group worked from. I’m sure that Nathaniel Hawthorne, Mary Shelly, all the gothic writers, were subjects of conversations for all of you.
WFN: You can’t write out of a vacuum. We’re all influenced by other people. Ray Bradbury was influenced by Herman Melville, William Shakespeare, and George Bernard Shaw. We were influenced more by such horror writers as Arthur Machen and Algernon Blackwood. I started out reading H.G. Wells’s “The Time Machine” and “War of the Worlds” when I was a boy growing up in Kansas City, Missouri. And then I discovered Bradbury and Weird Tales. Ray Bradbury and I became close friends and that lasted 50 years. We’re all standing on the shoulders of other people. We all read Hawthorne and Robert Louis Stevenson. We were influenced by them but we wanted to take our fiction into a modern setting and move it forward and I believe we succeeded.
Photo by Ralph Morris, Hollywood Blvd. 1960
HC: I wanted to close out by asking if you could give us a little more of a flavor of Los Angeles in the ’50s and ’60s. I can just imagine: you had the ghost of Raymond Chandler; old Hollywood giving way to new Hollywood; Forey Ackerman and the rise of geek culture. L.A. in the Sixties, it doesn’t get much better than that.
WFN: I read Raymond Chandler, Dashiell Hammett, the hard-boiled school, James M. Cain. I’ve read books on Chandler and Hammett. I’m a big hard-boiled fan. Los Angeles was a hard-boiled city in those days. Dashiell Hammett glorified San Francisco. But Los Angeles was also part of that era where corruption ruled in high places. It was a violent and colorful era captured beautifully by Raymond Chandler. If you read the work of Raymond Chandler, you’re learning a lot about Los Angeles as he experienced it.
I can tell you that there was a lot of smog. I used to live in Burbank, right against the mountains. The smog was terrible. I did move around different parts of Los Angeles. It changed quite a lot during the many years I was there. It’s not the same city that it used to be.
HC: I love Los Angeles and love looking for signs of yesteryear. They’re around if you know where to look for them.
WFN: If you go to Pasadena, there’s the old bridge that Raymond Chandler wrote about in one of his novels. The bridge that Philip Marlowe drove over at night. It’s still standing there. I wrote a piece entitled, “Marlowe in Los Angeles.” I toured all the places he used to go to, including Musso and Frank Grill. Chandler was an insatiable researcher, always moving around, and usually within the greater Los Angeles area. He grew to know it beautifully. Hammett made San Francisco famous with “The Maltese Falcon.” Chandler did the same for Los Angeles with “The Big Sleep.”
HC: I wish you a great year ahead, Bill. Any projects we can look forward to soon?
WFN: I had a collection of my poetry come out last year. This year we’ll have a new collection of my essays. I’m working on a new collection of short stories. I just wrote three new stories this month. So, even though I’ll be turning 88, I feel like I’m still 28.
HC: I can feel the energy. Thanks again, Bill.
WFN: I really enjoyed this. Thank you.
You can listen to the podcast interview by just clicking the link below:
Keep up with William F. Nolan at his website right here.
Batton Lash, a comics legend in his own right, has launched a new Kickstarter campaign in support of his latest collection, “A Vampire in Hollywood.” You can join the campaign, which runs thru March 11th, right here.
With a distinctive wit and style, Batton Lash has entertained readers over the years with the misadventure of “Wolff and Byrd, Counselors of the Macabre,” the only law firm that represents vampires, zombies, and other ghouls. Wolff and Byrd has subsequently been known simply as, “Supernatural Law.” It is a cross between Archie comics and The Walking Dead. It is definitely something different!
“The Big Short” is a movie that has earned its place among a unique set of movies that can really make a difference. Who knew that the more arcane details of the housing crisis and subsequent financial meltdown of 2008 could be rendered in an accessible and entertaining fashion? And with some of the best talent around to boot. I actually went to see this with my 19-year-old daughter. The roster of leading men and the offbeat intent of the movie made it very promising. So, it was about derivative swaps, well, okay then.
For anyone who has seen it, “The Big Short” not only delivers but leaves you feeling encouraged about the state of filmmaking today. I had assumed that the Hollywood Foreign Press Association would have heaped praise, and awards, upon it without giving it a second thought. It just goes to show what a heated race it is this year as we approach the Oscars on February 28th. It’s a hot race in the Best Picture category, and “The Big Short” is up against some stiff competition with the leading favorite, “The Revenant.” “The Big Short” is just the sort of significant movie that should win big on the big night.
Much has been said about this movie. Consider the spirited New York Times review here. I’ll give you my take on it. First off, it’s been a long time since the media has focused on the housing market and the major banks–almost as if nothing had happened at all. Sure, the news runs in odd cycles but it does leave one wondering. In fact, one of the points made in this film is the fact that the issues surrounding the financial crisis are far from resolved. How we got here, and why we don’t seem to learn, is at the heart of this story. The movie faithfully plumbs the depths of the famously entertaining nonfiction book, “The Big Short: Inside the Doomsday Machine,” by Michael Lewis.
Prior to 2008, there were only a few key players in a position to read the handwriting on the wall. Their anticipation of an impending financial collapse, had something to do with insider knowledge and everything to do with seeing what would someday become the obvious. Their collective response was to use specialized hedge funds to bet against Wall Street! And so we see our story play out. Among these special key players who could see what lay ahead, there is genius fund manager Michael Burry (played by Christian Bale) who is willing to take his position of authority at the firm he works for to bet the farm. As the pressure mounts on Burry from his bosses to retreat, we see a study in rebellion with other people’s money.
The point was, and remains, that money is not as abstract as some would like to believe. It is ultimately other people’s money that gets manipulated, stolen, and outright lost. The powers that be, the major banks, continue to take those sort of gambles that present little, if any, consequence.
But it’s not just consequences that those in power manage to sidestep. As this film repeatedly points out, the corruption is deeply entrenched and the major banks are masters of deflecting blame. Mirroring the activist spirit of the book, the message here goes above and beyond buyer beware.
We have had a few exceptional films dealing with the housing crisis. What makes this film remarkable is its fierce vision, its commitment to keep you engaged. And its timing, in an election year, is perfect. To have a film of this caliber is such a great opportunity to further the discussion. An Oscar win for Best Picture would seem to be most appropriate. In fact, in some circles, this film is considered a front-runner for Best Picture. With “The Big Short” taking the Producers Guild of America’s top prize this last weekend, the odds could very well be in favor of this film taking the top prize at the Oscars.
Watching “Groundhog Day” on Groundhog Day! Illustration by Henry Chamberlain
On February 2nd, Groundhog Day, if it’s cloudy when the groundhog emerges from its burrow, spring will come early. If it’s sunny, then the groundhog will see its shadow and there will be six more weeks of winter. So goes the folktale. What better way to celebrate this holiday than by viewing 1993’s “Groundhog Day,” starring Bill Murray and Andie MacDowell? It’s an idea that totally makes sense to author Ivan Walters. He takes that even further by offering you a movie for every single day of the year. He provides vital info on his featured choice, a synopsis, plus an alternate pick. The book is entitled, “A Year of Movies: 365 Films to Watch on the Date They Happened,” published by Rowman & Littlefield.
It’s quite a brilliant concept. The trick is to find an explicit mention of a date in a movie. Inevitably, the date is either crucial to the plot or is part of a pivotal moment in the movie. For instance, say you wanted to view a movie that has a significant attachment to the day that this review is posted, January 18th. That date leads you to 1976’s “Logan’s Run.” and a pivotal scene. To quote the book: “Logan, Jessica, and the old man return to the city on January 18th, 2274 (1:43:40 to 1:56:39), for a confrontation that will change their world forever.”
This book has a high fun factor to it. Many of the movies are within the last 20 to 30 years with a generous helping of older classics like 1941’s “Citizen Kane.” It is a refreshing and entertaining way to look at movies. It becomes an offbeat game anyone can enjoy while also providing insight. I like how the book kicks off with 1976’s “Rocky.” January is so symbolic, full of hope and fresh starts. I think of “Rocky” as that quintessential shaggy dog story about self-empowerment and beating the odds. Great idea to have set the big fight on New Years Day, January 1st, 1976. Not all the dates are so easy to spot. In the case of “Citizen Kane,” for example, it is attached to December 4th 1919, the date that Kane’s mistress-turned-wife has a nervous breakdown and ends her floundering career as an opera singer. Kane’s world steadily darkens from that point onward.
“A Year of Movies: 365 Films to Watch on the Date They Happened” is a 454-page hardcover. For more details, visit our friends at Rowman & Littlefield right here.
Saoirse Ronan defiantly, and elegantly, posing to her left despite yells to pose to her right.
First observation: The Red Carpet
You have to watch the red carpet coverage, at least some it, to start off your Golden Globes viewing. I watched the live streaming despite that French woman constantly yelling for celebs to shift their poses “To your right! To your right!” Wouldn’t an off-camera prompt have been so much better? I think it annoyed everyone, including such talents as Saoirse Ronan, nominated for Best Actress in “Brooklyn.” What awards has that French cameraperson won? Maybe she’ll win an award for her photo of Saoirse Ronan defiantly, and elegantly, posing to her left despite yells to pose to her right. I may have nightmares. No more “To your right!” in 2017.
Ricky Gervais, the gift that keeps on giving.
Next Observation: It’s all about Ricky Gervais
Ricky Gervais seems to have become an overnight sensation from his hosting the Golden Globes which he peppered with his trademark scathing jokes aimed at the Hollywood elite. He was the host in 2010, 2011 and 2012. And now that everyone is in on the act, here are some of the best jokes from the Gervais monologue…
“I just want to go into hiding. Not even Sean Penn will find me.”
“What a role model Caitlyn Jenner is. She didn’t do a lot for women drivers but you can’t have everything.”
“‘Spotlight’ is great for speaking to the five percent of Catholic priests who prey on children. Roman Polanski called it the best date night movie ever.”
“I support equal pay for men and women. I am getting paid the same amount as Tina Fey and Amy Poehler got paid to co-host the Golden Globes. Not my fault they had to share the earnings.”
Jonah Hill and the bear hat moment.
And then, the game changer, Jonah Hill upstages the salty Gervais:
It was to be a simple presentation for Best Supporting Actress with Channing Tatum and Jonah Hill until Hill stepped up as The Bear in “The Revenant.” Hill, wearing a bear hat, riffed about a lot things that were completely bleeped out. It began with Hill referring to a green ribbon he was wearing for Honey Awareness. That was followed by a close-up of a slack-jawed Jane Fonda. Is it possible that Hill was referring to the arguably hyped cameo by Fonda in “Youth”? That’s my guess but maybe it’s too esoteric. He definitely said something.
Rachel Bloom wins for “Crazy Ex-Girlfriend”
What a refreshing and authentic acceptance speech. Bloom shared with the audience the fact her new show had been rejected left and right before the CW picked it up. I like Rachel Bloom!
Amazon wins for “Mozart in the Jungle”
Amazon is in it to win it. Happy to see this show get more viewers from this win.
The best thing about the Golden Globes is supposed to be that the Hollywood Foreign Press Association gets to give out well-deserved show outs:
“Son of Saul,” wins for Best Foreign Film.
“Mr. Robot” wins for Best Television Drama.
Lady Gaga wins for her role in “American Horror Story.” She sounded like she really wants to focus on acting.
Aaron Sorkin wins Best Screenplay for “Steve Jobs.” He made a point of saying how he did not expect to win. They all say that, of course, but still.
Denzel Washington wins the Cecil B. DeMille Award. I loved the introduction by Tom Hanks.
And there was a truly bear hat moment for Gervais later on in the show when he got to introduce Mel Gibson. It did not go well the last time he did that and so it went again. After giving it some thought, the best Gervais could say about Gibson was, “I would prefer having a drink with him over Bill Cosby.” Gibson’s response was, “Good to see Ricky every three years. It reminds me to get my colonoscopy.” Gervais’s response was long and bleeped out and appeared to have gotten under Gibson’s skin.
I’m a lot like you, someone who loves to be creative and follow their wanderlust. My latest adventure took me to Los Angeles and I want to share with you the wonderful place I stayed at, BLVD Hotel & Suites. What follows is a review of this boutique hotel complete with my own illustrations. Hope you like this and will see yourself at BLVD on your next visit to L.A.
BLVD Hotel & Suites has three locations in California. I stayed at the one in the heart of Hollywood near the iconic intersection of Hollywood and Highland Blvd. Thus its name, BLVD. It’s easy to remember and easy to find. You are within walking distance of the Hollywood Walk of Fame and beyond.
BLVD in Hollywood is located at 2010 N Highland Avenue and that proves to be a really convenient hub to return to as you go about your day and night. I need to emphasize this fact because a lot of people will take a hotel’s location for granted. Where you start your day plays a pivotal role. This made it easy to wander over to a number of great places for meals. At the top of my list is Musso & Frank Grill at 6667 Hollywood Blvd. A new find since my last visit to L.A. is Loteria Grill on 6627 Hollywood Blvd. Another old favorite is Miceli’s on 1646 N Las Palmas Avenue off of Hollywood Blvd. All are walking distance from BLVD Hotel & Suites.
BLVD is a very pleasant luxury boutique hotel at a reasonable price. All the staff are courteous and friendly. The room, as they say, exceeded expectations. I think when you get a welcome home feel to your room, that says it all: great bed, plenty of room to spread out, ample television screen, plenty of care with amenities.
Everything has been looked after: from well-stocked toiletries and ample towels in your room to an inviting lobby and lounge. They even have a snack bar for a quick bite on the go. Other features include a pool and a gym. Here is where you get refreshed and relaxed in a comfortable setting before your next L.A. adventure.
This is what I had hoped for and this is what I ended up getting. Yes, indeed, location is everything. Specifically, you are very close to the Hollywood Bowl. And, for fans of film history, let me tell you here that you are in for an added treat: you are near the Hollywood Heritage Museum at 2100 Highland Avenue. This is just an interesting fact that I want to throw in since, as I say, you are close to everything.
Visit our friends at BLVD Hotel & Suites right here.
An emissary from the Queen of England (played by Alex Macqueen) has been tasked to persuade Fred Ballinger (played by Michael Caine) to come out of retirement and conduct his most popular work, “The Simple Songs,” one last time. Ballinger refuses due to personal reasons. He would much rather make music by manipulating a candy wrapper between his fingers. His skill and ability is still alive, albeit at a supernatural level, as we later see when he literally conducts a pasture full of cows. Well, he must have some pretty compelling personal reasons to refuse Her Majesty. And so begins writer/director Paolo Sorrentino’s “Youth.”
Amid the backdrop of an otherworldly resort away from everything, we find a number of people, young and old, confronting or avoiding their lives. Fred Ballinger has made a friend there upon whom he relies for good company. This is the famed film director Mick Boyle (played by Harvey Keitel). If Ballinger is having difficulty with one pivotal time in his career, then Boyle is struggling to sustain his legend. He’s hired out and brought with him to stay at the resort, a coterie of young and hapless would-be writers to help him complete his next cinematic masterpiece. Instead, Boyle spends most of the time lecturing them on life. In one brilliant scene, he demonstrates the difference between youth and old age with a telescope. Look through it and things seem close, like in youth. Look through the other end, and things seem far away, like in old age. His staff can only nod and agree with him.
Michael Caine
And then there’s Jimmy Tree (played by Paul Dano) who fears he will never live down his role as “Q” in a popular sci-fi television program. Dano seems to be playing a man at least twenty years older than himself and he’s great at it. This is the sort of thing that Peter Sellers would have done to perfection in his prime. Tree is sympathetic to Ballinger’s plight. In another spot on scene, Tree empathizes with Ballinger having to wear his most popular work like an Albatross around his neck. “A moment of frivolity can be dangerous,” responds Ballinger.
It’s not just growing old that is a bone of contention. Those who are in the midst of youth can also find it bewildering and frustrating too. One young and nubile masseuse in particular, (played by Luna Zimic Mijovic) steals the screen whenever she appears. Mijovic’s uninhibited sexuality is irresistible and mesmerizing. She has established an understanding with Ballinger which gives her some control, at least over someone else. In contrast to that character’s powerful but unsteady position is Madalina Diana Ghenea as Miss Universe. Apparently, she’s at the resort just for a little R & R. She is, no doubt, gorgeous and manages to project an elegance and intellect even while simply gliding nude into a pool. If she has any problems, it is in having to convince others that she is smart and far from vulnerable.
Madalina Diana Ghenea
The one person in the role of a bridge between the past and present is Ballinger’s daughter, Lena (played by Rachel Weisz). It is her unenviable position to have her life abruptly unravel when her husband runs off with another woman during her visit with her father. Her wayward husband, Julian (played by Ed Stoppard) happens to be the son of Harvey Keitel’s character, Boyle. In an amusing scene, Boyle and Ballinger not only interrogate Julian but also his new love, a pop star (Paloma Faith, playing herself!) Of course, Julian is a grown man and in no need of lecturing. Both Balliner and Boyle realize this but they welcome the distraction nonetheless.
Finally, there’s that special scene with Jane Fonda as Brenda Morel, who starred in Boyle’s best work. She lets Boyle have it by letting him know how far off the mark he’s gotten. In a film that evokes a Fellini sense of wonderment, this is an all-time great cameo.
“Youth” speaks to the common desire to be young forever, and fear of growing old, by seeing youth not as something fleeting but as something sempiternal. In old age, we can return to youth, if we’re open and brave to confronting our ambitions and missteps. To see each main character grapple with the folly and substance of youth makes for some of the most memorable moments you will find in contemporary cinema.
When writing a book about your life, it’s easy to fall into having the last laugh. With her book, “Wildflower,” Drew Barrymore has chosen to write a book full of laughter, joy, and wise observations. If a book like this seems too idealistic, all one needs to do is dive in and read it and find an authentic voice.
Ever since spending many hours basking in the glow of the last days of a bookstore that focused on cinema, I gained a fuller appreciation of the celebrity autobiography. After you’ve taken the time to study a number of these titles, you just can’t make generalizations. Often, these works are remarkably insightful. You can only take them one at a time. In the case of Drew Barrymore, she consistently writes honestly and vividly. You can hear her unique voice on every page and it’s a story you’ll find refreshingly modest.
There are a number of fascinating moments that come to mind: Drew’s experience in Africa and how she connected that to learning how to heal her relationship with childhood and children.; her frankness about her relationship with her parents and how she learned to create boundaries; and her recollections of growing up in West Hollywood and how she cherished the little touches of nature, especially the bougainvilleas, amid urban life.
With a great sense of irreverence, coupled with a natural spirituality, this is one book by a celebrity, one very unconventional celebrity, that will win you over.
“Wildflower” is a 288-page hardcover published by Dutton, an imprint of Penguin Random House.
