I’ve just concluded two days at Politicon, a kind of ComicCon for political junkies and an opportunity for a lot of walking within the ultra-cavernous L.A. Convention Center. Panels, discussions, debates. Visiting political stars included Trevor Noah, Young Turks founder Cenk Uygur, James Carville, Doris Kearns Goodwin, David Axelrod, Robert Scheer. I’ll take this kind of thing — a congregation of bright, spirited people (including a fair number of 20somethings) — who are reasonably informed and seem to actually care about stuff — over the sloth and infantilism of ComicCon any day. Nothing close to ComicCon’s attendance levels, of course, but decent for a new thing. Politicon ’15 seemed to be mainly attended by a liberal crowd that skewed middle-aged to young, which suited me fine. I can tell you that the crowds gave holy hell to any name-brand conservative brave enough to show up (including Ann Coulter, Newt Gingrich and Alex Castellanos) and spout the usual blah-blah about how government hurts business and stifles innovation, etc. I loved yesterday’s panel about Millenials and political engagement as well as a debate between UCLA and USC over whether to engage further in the Syrian civil war or back off. I could really see attending this on an annual basis. It was a lot of fun, held my attention, turned me on two or three times.

The “Politico’s Solving for Y: Millenials and Political Engagement” panel, attended in part by Compton mayor Aja Brown, MTV public affairs vp Ronnie Cho, political reporter Hunter Schwartz and Rock the Vote’s Ashley Spillane.

Trevor Noah during tonight’s standup, which lasted around 35 minutes and was mostly about the experience of a black guy coping with racist hostility from white cops.

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I had an easy 40-minute chat today with Love & Mercy costars Paul Dano and Elizabeth Banks. Publicists always cut things off at 15 or 20 minutes these days, but I guess I rate because I’ve been cheerleading this film since September 2014. Dano’s performance as the young Brian Wilson in the mid to late ’60s and Banks’ turn as Melinda Ledbetter, who met and helped rescue Wilson from the clutches of Dr. Eugene Landy (Paul Giammati) in the mid to late ’80s, are arguably the best of their respective careers.

Elizabeth Banks, Paul Dano in Capitol Records building — Saturday, 10.10, 12:45 pm.

I mentioned that luck is arguably a big factor in careers and that, talent and focus aside, luck seemed to smile when they landed their roles in this film. Banks disagreed and Dano was a little “well, yeah but on the other hand” about this, but I can feel it when the alchemy between a great role and the right actor just clicks into place. These guys lucked out.  

You could make the argument that they’re both playing leads, but Roadside’s strategy is to run them as supporting players so what the hell. The point is that they both easily deserve nominations in their respective categories…easily. Hell, they deserve to win.

Banks’ performance is basically about Ledbetter’s tenderness and compassion. In scene after scene she gives John Cusack‘s Wilson (i.e., the 1980s 40something version) room to breathe and be himself without showing judgment. (Which Banks herself said she might have though twice about in real life.) She has two perfect moments, both of which were improvised — that Cadillac dealership scene when John Cusack‘s Wilson (i.e., the 40something version) mentions that he’s not married, and she mouths “okay,” and that moment when Cusack plays two or three bars from “Love & Mercy” on the piano while she just sits and looks and smiles.

And Dano…I shouldn’t have used the word “performance.” It’s an act of possession.

Posted on 9.8.14: “Dano‘s performance is almost spookily great. Wilson’s disturbed spirit hums and throbs in Dano, who gained 30 pounds to play the genius Beach Boy maestro in his mid ’60s blimp period. You can really feel the vibrations and sense the genius-level ferment and the off-balance emotionality. Inwardly and outwardly it’s a stunning, drop-dead transformation and the finest of Dano’s career, hands down.”

People don’t like Love & Mercy — they love it. They’ve bonded with it. They take their friends to see it. (A Candian pal told me this when I stayed at his place during the Toronto Film Festuval.).   Some have seen it two or three times. The hardcores are probably  watching it on Bluray as  we speak.

I said farewell to Dano and Banks only temporarily as we’ll be seeing each other again on Monday on two occasions, at the Craig’s luncheon and at the Vibrato party a few hours later.

Again, the mp3.

I can’t get this mid ’70s Canada Dry commercial out of my head. I happened to watch it on my iPhone a couple of days ago and it won’t leave me alone. I was singing it to myself while driving around town last night. Broderick Crawford rules, of course, because he’s saying it straight and plain. Aldo Ray and Jack Palance (a.k.a. Genghis Khan) are okay but they’re doing self-parodies. I prefer Schweppes Bitter Lemon.

I naturally assumed that sometime before or after my Love & Mercy interview with Paul Dano and Elizabeth Banks at the Capitol Records building that I’d have a chance to visit the legendary Studio A recording studio — the nearly 60 year-old facility where Frank Sinatra, Dean Martin, Louis Prima, The Beach Boys and many others have recorded tracks and albums. You can understand my disappointment when I was told that the Dano-Banks interview would happen on the ninth floor and that Studio A was off-limits. What? I decided to visit the place anyway. Sneak in, I mean. Right after Dano-Banks I elevatored downstairs and just strolled into Studio A like I owned the place. I took a couple of videos as quickly as I could, knowing that security might come in any second and give me the heave-ho.

You can sometimes tell the difference between born-and-bred Los Angelenos vs. ex-New Yorkers residing here (i.e., folks like myself) by how they walk across crosswalks. I feel guilty in making people stop for me so I hustle across. My East Coast upbringing taught me that cars own the road and that pedestrians should get out of the way as quickly as possible. But L.A. rezzies feel it’s their absolute right to stop traffic because, you know, it’s the law but also because people in cars need to chill and Zen out. So a Los Angeleno on a crosswalk will always take his or her time. No hurry or worry. They’ll saunter across with their flip-flops and baggy shorts and whatever attitude. Much of the time I’ll be sitting there on my rumbling bike and slightly frowning and shaking my head at their smug attitude. A responsible pedestrian in any city always feels at least a twinge of guilt about making drivers hit the brakes, but not here.

Roadside is launching its Love & Mercy award-season campaign this weekend. 80 minutes from now I have to be at Capitol Records to interview Paul Dano and Elizabeth Banks. Tomorrow night I’m doing a sitdown with director Bill Pohlad on a hotel rooftop. There’s a Monday lunchtime thing at Craig’s and also a thing at Vibrato that night with Brian Wilson performing  a song or two. I recently reminded everyone that Love & Mercy is definitely one of the 2015 standouts so far, that people love it big-time, that it easily warrants Best Picture consideration, that John Cusack and Paul Dano fully deserve Best Actor and Best Supporting Actor nominations, respectively, and that Elizabeth Banks absolutely warrants a Best Supporting Actress nod for giving the best performance of her career.

One of the biggest shockers of the year is the bizarre under-performing of Baltasar Kormakur‘s Everest, an incontestably well made, completely believable adventure thriller that you have to see on a big IMAX 3D screen. Really — you come out of this thing and the only response is “wow…definitely not a Netflix experience!” And yet a majority of the ticket-buyers out there have turned away and shut it down.

Everest isn’t a wipeout but it’s limping. It’s only made $36 million and change after 22 days. Yesterday’s per-screen average was $420 on 2120 screens for a total of $890,000 — it’s all but finished.

Why? Well, partly because some folks just didn’t like it that much. On 9.20 (or two days after it opened on 9.18) I noted that it had a mystifying 73% Rotten Tomatoes rating and an even stranger 64% on Metacritic.

But in the view of Boxoffice.com‘s Phil Contrino, Everest simply “hit a wall.” And the name of that wall is Ridley Scott‘s The Martian.

“Come again?” I said. “Why would wanting to see The Martian, which opened on 10.2, affect one’s interest in seeing Everest, which opened on 9.18?” Because, Contrino explains, Everest opened wider on 9.26 or only a week before The Martian, and Joe and Jane Popcorn figured that The Martian was the better bet.

“I’m still not following,” I said. “Okay, you’re reading early reviews and The Martian sounds good but how does that translate into not seeing Everest a week or two earlier?” Because IMAX movies are expensive, Contrino responds, and people on a budget are selective.

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It’s nearly mid-October. Halloween pumpkins are stacked high at my local Pavillions. Yesterday I was thinking about dropping off a couple of sweaters at Holloway Cleaners. And today it’s 98 degrees with the same expected for tomorrow. Even for Los Angeles this is way out of the realm of normal. 2015 has proven to be, in fact, the hottest year on record. Which is largely the fault of China, India and American climate-change deniers (Republicans, corporate whores, hinterland yokels). I’ll tell you whose fault this definitely isn’t — i.e., mine. I sit around and write all day, and whenever I go anywhere locally I prefer my bicycle or scooter to the car.

From Pride and Prejudice and Zombies Wikipage: “Based on Seth Grahame-Smith‘s 2009 novel [and] first announced on 12.10.09 in Variety, where it was revealed that Natalie Portman would both star in the role of Elizabeth Bennet and produce, and that Lionsgate would finance and distribute.” Thud. “On 12.14.09 David O. Russell was announced as the writer and director of the film, but it was announced on 10.5.10 that Russell had left the production due to disputes with Lionsgate over the budget. The next day Portman had quit the role of Elizabeth Bennet, though she would still produce the film.” Double thud. “Following Russell’s departure, Lionsgate offered the directing reins to Mike Newell and Matt Reeves, but both declined. On 11.5.10 it was announced that director Mike White had left the film due to scheduling conflicts.” Bullshit? “In February 2011 Craig Gillespie took over as director. On 10.27, it was announced that Gillespie had left the film. At one point, both Jennifer Aniston and Rowan Atkinson were attached to the project. On 5.2.13 Lily Collins confirmed that the film was still in the works and announced that she would star in the film as a leading role. On 8.4.14 it was announced that filming would begin in September, with Lily James as Elizabeth, Sam Riley as Mr. Darcy, and Bella Heathcote as one of Elizabeth’s sisters. Jack Huston joined the cast on 8.12.14.”

Last night Truth costars Cate Blanchett and Robert Redford sat down for a Times Talk discussion with New York Times Magazine staff writer Susan Dominus, and were later joined by Dan Rather (whom Redford portrays in James Vanderbilt‘s film) and his former 60 Minutes producer Mary Mapes, whose book, “Truth and Duty: The Press, The President and the Privelege of Power,” is the basis of Vanderbilt’s screenplay.

I’m credentialed. Might be cool. Two days of listening, watching, roaming around, sucking up the vibe. A Saturday debate between Ann Coulter and Cenk Uygur. A Yes Men interview with Edward Snowden. A live visit from Trevor Noah. A KCRW political debate between Robert Scheer, Patrick Milsaps and Mike Pesca. A Doris Kearns Goodwin interview. A screening of Mad As Hell, a 2014 doc about Uygur’s contentious career, plus an interview with the guy.

Steve Jobs screenwriter Aaron Sorkin offered two interesting observations about the late Steve Jobs on last night’s Charlie Rose Show. The irony is that neither view is, I feel, truly manifested or brought home by the film.

Sorkin Observation #1: “If you’re writing an anti-hero, you can’t judge that character. You have to write that character as if they’re making a case for before God why they should be allowed into heaven…you have to be that character’s lawyer.” HE response: The feeling I had about Jobs when I finished reading Sorkin’s script was “no sweetheart but what a force of nature!” while the feeling I had about Michael Fassbender‘s Jobs was “what an asshole.”

Sorkin Observation #2: “This man, deep down, felt flawed and unworthy of being liked, unworthy of being loved…and to compensate for that, had the remarkable ability to infuse these products with lovability.” Rose (echoing): “Here was a man who didn’t feel loved but was able to give lovability with products that people would love.” HE response: This is the most profound observation about Jobs that I’ve ever read or heard. It makes perfect sense. But I didn’t hear it articulated in the film, either directly or indirectly. Maybe I was nodding out or something.