I don’t know how many minutes of screen time Michelle Williams has in The Fabelmans, but the tally was apparently low enough to persuade some that her performance as Sammy Fabelman’s mom belonged in the Best Supporting Actress category.
Screen time, of course, is not the ultimate measure. Patricia Neal’s Hud performance only amounted to 21 minutes and 51 seconds (or one-fifth of the 112-minute running time) and she was nominated for Best Actress anyway. And she won.
HE instantly approves of Carlota Pereda‘s Piggy (aka Cerdita) for the 1.37:1 aspect ratio. This rural horror thriller film, shot in Villanueva de la Vera between June and July of ’21, feels like a blend of Catherine Breillat‘s Fat Girl (’01) and Brian DePalma‘s Carrie (’76). Directed and written by Pereda, based on her short film.
Laura Galán plays the lead; Richard Holmes, Carmen Machi, Claudia Salas, Irene Ferreiro, Camille Aguilar and Pilar Castro costar.
Women who are merely fat or overweight are one thing; Galan is morbidly obese. Fair is fair.
HE finally gets to see Don’t Worry Darling this evening at 7 pm…huzzah.
“There’s actually something quite old-fashioned about [Harry] Styles. With his popping eyes, floppy shock of hair and saturnine suaveness, he recalls the young Frank Sinatra as an actor.” — from Owen Gleiberman‘s 9.5.22 review.
Sinatra was 29 when he made Anchors Aweigh (’45); Styles is 28 as we speak.
Yesterday an HE reader named Michael2021, who strikes me as a possible antagonist, suspiciously asked “X-factor (white) guy“…what exactly is this supposed to mean?”
HE reply: I’m white because of my ancestral heritage. As much as I’d like to do something about that (as it would win me points with the fanatics), I can’t. But the X-factor thing…
X-factor people are leftie (or, in the current atmosphere of woke political terror and dread, formerly leftie) iconoclasts who tend to sidestep the usual usual in terms of attitudes and behaviors. Semi-original, in some cases quirky or vaguely oddball types (but not too oddball…think Bill Murray-type weirdos) or against-the-grain thinkers, and in many cases serious creatives.
No age requirements, although there seem to be more over-40 X-factors than under-40s. (Go figure.) X-factor fellows never wear flip-flops and generally despise man-toes as a rule. Luca Guadagnino, Cate Blanchett, Phillip Noyce, Tilda Swinton and Willem Dafoe are X-factor; conspicuously wealthy types like Lizzo, Reese Witherspoon, Kanye, Jennifer Aniston, Will Smith and Kim Kardashian are almost certainly not.
We’re otherwise talking folks who prefer Hotel Paisano in Marfa over Houston’s DoubleTree. Or, if you will, Point Pleasant over Atlantic City, Villas Altas Mismaloya or the Thompson Zihuatanejo over Puerto Vallarta or Acapulco, Prague over Geneva, Caye Caulker over Ambergris Caye. Or a narrow, old-school hotel in Old Town Hanoi over a tourist-friendly Sofitel. And Lauterbrunnen any time of the year.
People who usually prefer to drive classic mid-century Mustangs rather than big fat SUVs with built-in wifi. Or who prefer to wear Italian suede lace-ups or even saddle shoes rather than Gucci loafers or white Converse or Nike footwear. Or who wear cowboy hats instead of Kangol berets and head warmers in the winter. Those who generally march to the beat of a subdued and slightly different drummer. Or (one more travel analogy!) those who tend to avoid the San Marco district when visiting Venice, and tend to stick to Dorsoduro.
I apologize for not having been up on Andrew Schulz, but I am now. Stand-up comedian, 38, actor, TV producer and podcaster. Known for MTV2’s Guy Code, the Flagrant podcast with Akaash Singh, and The Brilliant Idiots podcast.
Second to last paragraph in Sasha Stone’s Awards Daily piece (9.20.22) about Hollywood’s devotion to to radiant Academy values (virtue, goodness, inclusion, equity, Millennialism): “It isn’t just that people are no longer watching the Oscars; it’s that people are tuning out the whole community.”
All ten episodes of Ryan Murphy and Ian Brennan‘s Netflix series about Jeffrey Dahmer, the infamous serial killer of 17 men and boys during the ’80s, begin streaming on Wednesday, 9.21. Evan Peters plays Dahmer; the costars include Richard Jenkins and Penelope Ann Miller (as his parents) and Molly Ringwald (as his sister).
The question for me (and, I suspect, for millions of others) is why isn’t the title simply Monster: The Jeffrey Dahmer Story? Why did the producers decide they had to include his last name twice in the same title? Why, in other words, are they calling it Dahmer – Monster: The Jeffrey Dahmer Story? That’s what’s known as a committee title.
The limited series began filming in late winter of 2021, or a year and a half ago. Tatiana landed a non-speaking part as a Dahmer attorney. Sporting conservative attorney hair and straight-laced business attire, she spent two or three days shooting a courtroom scene, sitting the whole time next to Peters. I’ve seen sitting on this casting news for a long time, and can now finally reveal it.
“Jerry! Sandra showed me some your fiction and your awards, and I have to say ‘powerful stuff.’ Almost too powerful. I’m wondering if your mind can function down on our level. I grew up in Pacific Grove, and I started reading…what’s his name?…I started reading Steinbeck when I was nine. [Tossing a script on the table.] Here’s a piece of shit, Jerry. I wrote and re-wrote it, but it ain’t workin’. If you can make it work, you’re on…okay?”
Some of us remember Permanent Midnight (Artisan, 9.16.98), a mild-mannered addiction dramedy in which Ben Stiller played author and screenwriter Jerry Stahl.
I thought this pitch-meeting scene with Fred Willard as the creator of Mr. Chompers was quietly hilarious in a deadpan way, mainly because I didn’t sense an effort on anyone’s part (least of all director-writer David Veloz) to make it feel funny. It just was.
Permanent Midnight opened a quarter century ago, and I’m suddenly thinking I’d like to give it another spin.
I was at People at the time, and in an early draft I happened to pass along that Stiller, who needed to look like an emaciated addict, had lost weight by adhering to Dick Gregory’s Bahamian Diet powder, which Stahl had ironically referred to as the “junkie diet.”
Instantly alarmed by the term, Stiller’s team (including producer Don Murphy and publicist Kelley Bush) ganged up on me during a conference call. I was merely amused by Stahl’s term and thought it was okay to mention considering that Stiller was playing a brilliant opiate addict, etc. The term was deleted, of course.
Has this Permanent Midnight recollection stirred any poignant memories?
President Joe Biden and First Lady Jill Biden arrived a little bit late for the Westminster Abbey funeral of Queen Elizabeth II. Which was rude — let’s be honest. And so the Bidens had to wait to be seated — understandably.
I realize that over 500 foreign heads of state, monarchs and dignitaries attended the event, and that a certain seating protocol is enforced when it comes to major funerals of this sort. But it still seems a bit odd that the President of the United States would be seated in the 14th row. A slight diminishment or vague insult of some kind. No?
I hate posting about this because Orange Plague made a thing out of it, but let’s imagine a similar fictitious British scenario. It’s June 1962, let’s suppose, and President Kennedy is attending a Westminster Abbey funeral for, let’s say, the recently departed Prime Minister Harold MacMillan (who actually passed in 1986). I somehow can’t accept that JFK would have been seated in the 14th row.
Biden works out and takes care of himself, I realize, but if I were he I would make a greater effort to walk like I’m in my mid ’50s or thereabouts. I would summon all my strength and make a greater effort not to sway ever so slightly and shuffle along like a geezer.
On a 2001 Charlie Rose Show about Stanley Kubrick: A Life in Pictures, Christiane Kubrick was asked to define a certain personality trait or mental attitude that genius-level filmmakers seem to share in common. She said this is unknowable and therein lies the fascination.
HE says “holdupski.” HE defines that mindset as an educated “fuck it” thing…mindful and respectful of artistic history and precedent, but not especially intimidated by same…an attitude that says “okay, these other filmmakers did it this or that way and that’s fine, but I’m here now and this is my film so fuck ’em if they can’t take a joke.”
In a phrase, a genius artist is often possessed of a certain kind of reverent irreverence.
Every major-league director I’ve spoken with in person over the decades (and we’re talking quite a few) shares this trait.
While watching this I was also struck by how radiantly young the 59 year-old Martin Scorsese looked during this taping, certainly compared to now. Guys in their 50s and even their early 60s can look really great if they’ve watched their diets and haven’t done too many drugs in their youth. And it’s believed that Scorsese, remember, was a total cokehead in the mid ’70s so he came out of that dungeon without too many bruises.
