Tag: film
Hollywood Gets Authenticity and the Pentagon Gets Publicity
Jamie Tarabay explored Hollywood’s relationship with the Pentagon in a recent piece for Al Jazeera America. The Pentagon has a devoted “entertainment-liaison officer” who acts as a Hollywood point person and helps decide which projects get Pentagon support (in the form of expertise, equipment, and locations). According to scholar Lawrence Suid, the Hollywood military relationship relationship dates back to […]
How the Skater Kids From the Movie ‘Kids’ Were Cast
[Harmony] Korine, nineteen at the time, and [Larry] Clark, then over fifty, wrangled the troops from the skate clique, supplementing them with more non-actors from Washington Square Park and the club scene, and across downtown—including Chloë Sevigny, from tony Darien, Connecticut, who had been hanging out with the crew in Washington Square Park for years. They […]
How McLovin Was Cast From a Camera Phone Headshot
[Allison] Jones began her career with the two-beats-and-a-punch-line sitcoms of the nineteen-eighties, but, in working with Feig and the director Judd Apatow, she was required to try something revolutionary: find comedic actors who, more than just delivering jokes, could improvise and riff on their lines, creating something altogether different from what was on the page. […]
Raymond Chandler on the Oscar Voting Process, Circa 1948
It doesn’t really seem to make much difference how the voting is done. The quality of the work is still only recognized in the context of success. A superb job in a flop picture would get you nothing, a routine job in a winner will be voted in. It is against this background of success-worship that the voting is done, with the incidental music supplied by a stream of advertising in the trade papers (which even intelligent people read in Hollywood) designed to put all other pictures than those advertised out of your head at balloting time.
Robert Towne on Finding the Inspiration for ‘Chinatown’ at the Library
It wasn’t the compendium of facts in the chapter “Water! Water! Water!” or indeed in the entire book. It was that Carey McWilliams wrote about Southern California with sensibilities my eye, ear, and nose recognized. Along with Chandler he made me feel that he’d not only walked down the same streets and into the same arroyo-he smelled the eucalyptus, heard the humming of high tension wires, saw the same bleeding Madras landscapes-and so a sense of deja vu was underlined by a sense of jamais vu: No writers had ever spoken as strongly to me about my home.
