list http://www.spout.com/ Recent community activity around This Is Spinal Tap on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/This_Is_Spinal_Tap/34830/default.aspx Title: This Is Spinal Tap
Year: 1984
Director: Rob Reiner
Plot: Largely improvised by director Rob Reiner and his cast, This is Spinal Tap looks and sounds like a "real" documentary, with Michael McKean, Harry Shearer, and Christopher Guest as David St. Hubbins, Derek Smalls, and Nigel Tufnel, the key members of a going-nowhere British heavy metal band called Spinal Tap. The "group" started as an informal skiffle band, eventually maturing into an R&B act called the Thamesmen (their hit was "Gimme Some Money"). After going through a psychedelic period with "Listen to the Flower People", the band mutated into Spinal Tap, a hard rock outfit responsible for such albums as "Intravenous DeMilo", "The Sun Never Sweats", and "Bent for the Rent". This Is Spinal Tap finds them in the midst of their first American tour in years as they support their new LP "Smell the Glove", with filmmaker Marty DiBergi (Rob Reiner), who specializes in TV commercials, on hand to document the occasion. Just about anything that can go wrong does; shows get canceled, stage props go wrong, wireless guitar pickups start broadcasting air-traffic reports, no one shows up for in-store appearances, David's girlfriend tries to take over the band, they wind up billed second to a puppet show at an amusement park, and the group teeters on the verge of breakup. After the film's initial release, McKean, Guest, and Shearer did a short club tour as Spinal Tap; the "band" reunited in 1992 for a new album, "Break Like the Wind", followed by a full-fledged tour and TV special, The Return Of Spinal Tap. ~ Mark Deming, All Movie Guide
Times Tagged: 87
Number of Lists: 100
Number of blog posts: 11
Number of discussion threads: 7
SpoutRating: 4
]]>Wed, 29 Jul 2009 22:01:26 GMTThis Is Spinal Tap1984Rob ReinerLargely improvised by director <a href="/players/P___107886/default.aspx" style='text-decoration:underline'>Rob Reiner</a> and his cast, This is Spinal Tap looks and sounds like a "real" documentary, with <a href="/players/P___102180/default.aspx" style='text-decoration:underline'>Michael McKean</a>, <a href="/players/P___111073/default.aspx" style='text-decoration:underline'>Harry Shearer</a>, and <a href="/players/P____92825/default.aspx" style='text-decoration:underline'>Christopher Guest</a> as David St. Hubbins, Derek Smalls, and Nigel Tufnel, the key members of a going-nowhere British heavy metal band called Spinal Tap. The "group" started as an informal skiffle band, eventually maturing into an R&B act called the Thamesmen (their hit was "Gimme Some Money"). After going through a psychedelic period with "Listen to the Flower People", the band mutated into Spinal Tap, a hard rock outfit responsible for such albums as "Intravenous DeMilo", "The Sun Never Sweats", and "Bent for the Rent". This Is Spinal Tap finds them in the midst of their first American tour in years as they support their new LP "Smell the Glove", with filmmaker Marty DiBergi (<a href="/players/P___107886/default.aspx" style='text-decoration:underline'>Rob Reiner</a>), who specializes in TV commercials, on hand to document the occasion. Just about anything that can go wrong does; shows get canceled, stage props go wrong, wireless guitar pickups start broadcasting air-traffic reports, no one shows up for in-store appearances, David's girlfriend tries to take over the band, they wind up billed second to a puppet show at an amusement park, and the group teeters on the verge of breakup. After the film's initial release, McKean, Guest, and Shearer did a short club tour as Spinal Tap; the "band" reunited in 1992 for a new album, "Break Like the Wind", followed by a full-fledged tour and TV special, The Return Of Spinal Tap. ~ Mark Deming, All Movie Guide87Tag Target (>10)1001174http://www.spout.com/ProductImages/t81315j02kl.jpghttp://www.spout.com/films/This_Is_Spinal_Tap/34830/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2009/2/27/40713.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/27/2009 6:02:03 PM
Body: Who knew that the 1985 board game adaptation Clue had so many fans? These people certainly weren’t around 24 years ago when the movie opened 6th at the box office, behind even the terrible Santa Claus: The Movie in its third week (I’ll admit, though, Santa Claus is one of my dear guilty pleasures). But suddenly, via the internet, loyalists are everywhere, up in arms over news that a new Clue adaptation is moving forward as if the original were as popular a film as the 1985 box office champ Back to the Future (which grossed as much as 14 times more than Clue). Well, I am with the devoted to an extent. I have loved Clue since seeing it in the theater, and am embarrassed to admit it was probably the film that introduced me to the comic talents of Tim Curry, Madeline Kahn and Michael McKean (what can I say except that I was 8 and hadn’t yet seen Rocky Horror, Blazing Saddles or Spinal Tap?). But I’m not joining the protest, because I know we’ll always have the original movie. Plus, I recognize that it was anything but an original idea (never mind that it was based on a board game; hasn’t anyone see Murder By Death?). And besides, the new version, to be directed by Pirates of the Caribbean’s Gore Verbinski, hardly sounds anything like either the game or the first film. “Global thriller and transmedia event”? I don’t know what that is, but it isn’t the Clue I played. After the jump, the internerds weigh in on their love for Clue or (gasp!) their excitement for Verbinski’s effort: Cinematical’s Monika Bartyzel apparently loves Clue enough to compare it to some of the most beloved classics and cult favorites: “Nothing is sacred. Get ready, because I’m sure Gin, The Movie is on its way, as well as remakes of Gone with the Wind and Citizen Kane, plus someone with enough cojones to try and replicate Bruce Campbell’s Ash.” Adam B. Vary at PopWatch relays Entertainment Weekly editor Nicholas Fonseca’s opinion that the news is “blasphemy” and offers his own praise of the first film: You could scarcely ask for a better script — Professor Plum: “What are you afraid of, a fate worse than death?” Mrs. Peacock: “No, just death, isn’t that enough?” — or a more talented cast. But even if you (inexplicably) think this film of dubious quality, or have absolutely no idea what I’m even talking about, I think we can all agree on this: There is absolutely no need for another movie based on the Hasbro board game Clue. Josh Taylor at Cinema Blend has similar praise: “The original, hilarious, 1985 take on the mystery solving board game sported an incredible ensemble cast led by the likes of Tim Curry, and it’s brilliance defies duplication.” Vulture claims that “everyone loves the campy original,” hence the “humorless-sounding” description of this new version. Nicole at Collider looks forward to the new movie: “Verbinski’s ‘Clue’ already has a leg up on its predecessor, however.  It has a director who knows how to take a crassly commercial concept (there’s nothing more crassly commercial than a ride at Disneyland) and turn it into something sublime.” Snarkarati’s Kirsten Anderson clearly hasn’t noticed the unhappy masses and therefore agrees with Nicole: “There was a previous film version of Clue made in 1985, but it was apparently dreadful, so Verbinski has nowhere to go but up.” “maestro610″ agrees in his comment on Cinematical: “If he wants to do this I’ve got to imagine that he’s interested in putting together something that could fit next to the original. We are talking about a movie based on a board game… remember all the explanation necessary is that its a new game. Don’t disacknowledge the original just step away from it.” Megorious seems fine with Verbinski directing, but not necessarily because of his surprising success with Pirates: “Hopefully Verbinski’s version of Clue will be more like his Mousehunt and less like most everything else he’s ever made.” Commenting on PopWatch, “jd” offers up another idea for the new film: “The movie they should make- in the 70’s, National Lampoon magazine did a ghetto parody, called ‘CLOO’. The character names were a bit more urban, and the weapons were straight razors and blackjacks. Very funny, in those non-PC times!” And at Screengrab, Scott Von Doviak sees the potential for a better film with the right casting: “I may be imagining things here, but I seem to recall a notorious bomb from the ‘80s adapted from Clue. And yet … Let the Johnny Depp as Colonel Mustard rumors start now.” Meanwhile, people are commenting all over the web with ideas for who to cast in the new version, but my favorite is this old chestnut, suggested by “Furzee” at Aint It Cool News: “Kate Moss as the candlestick…” And now I present my favorite 25 seconds of the film (boy, do I miss Madeline Kahn): Originally posted on:SpoutBlog
]]>Fri, 27 Feb 2009 23:02:03 GMTSpoutBlogSpoutBlog on spout.com2/27/2009 6:02:03 PMWho knew that the 1985 board game adaptation Clue had so many fans? These people certainly weren’t around 24 years ago when the movie opened 6th at the box office, behind even the terrible Santa Claus: The Movie in its third week (I’ll admit, though, Santa Claus is one of my dear guilty pleasures). But suddenly, via the internet, loyalists are everywhere, up in arms over news that a new Clue adaptation is moving forward as if the original were as popular a film as the 1985 box office champ Back to the Future (which grossed as much as 14 times more than Clue). Well, I am with the devoted to an extent. I have loved Clue since seeing it in the theater, and am embarrassed to admit it was probably the film that introduced me to the comic talents of Tim Curry, Madeline Kahn and Michael McKean (what can I say except that I was 8 and hadn’t yet seen Rocky Horror, Blazing Saddles or Spinal Tap?). But I’m not joining the protest, because I know we’ll always have the original movie. Plus, I recognize that it was anything but an original idea (never mind that it was based on a board game; hasn’t anyone see Murder By Death?). And besides, the new version, to be directed by Pirates of the Caribbean’s Gore Verbinski, hardly sounds anything like either the game or the first film. “Global thriller and transmedia event”? I don’t know what that is, but it isn’t the Clue I played. After the jump, the internerds weigh in on their love for Clue or (gasp!) their excitement for Verbinski’s effort: Cinematical’s Monika Bartyzel apparently loves Clue enough to compare it to some of the most beloved classics and cult favorites: “Nothing is sacred. Get ready, because I’m sure Gin, The Movie is on its way, as well as remakes of Gone with the Wind and Citizen Kane, plus someone with enough cojones to try and replicate Bruce Campbell’s Ash.” Adam B. Vary at PopWatch relays Entertainment Weekly editor Nicholas Fonseca’s opinion that the news is “blasphemy” and offers his own praise of the first film: You could scarcely ask for a better script — Professor Plum: “What are you afraid of, a fate worse than death?” Mrs. Peacock: “No, just death, isn’t that enough?” — or a more talented cast. But even if you (inexplicably) think this film of dubious quality, or have absolutely no idea what I’m even talking about, I think we can all agree on this: There is absolutely no need for another movie based on the Hasbro board game Clue. Josh Taylor at Cinema Blend has similar praise: “The original, hilarious, 1985 take on the mystery solving board game sported an incredible ensemble cast led by the likes of Tim Curry, and it’s brilliance defies duplication.” Vulture claims that “everyone loves the campy original,” hence the “humorless-sounding” description of this new version. Nicole at Collider looks forward to the new movie: “Verbinski’s ‘Clue’ already has a leg up on its predecessor, however.  It has a director who knows how to take a crassly commercial concept (there’s nothing more crassly commercial than a ride at Disneyland) and turn it into something sublime.” Snarkarati’s Kirsten Anderson clearly hasn’t noticed the unhappy masses and therefore agrees with Nicole: “There was a previous film version of Clue made in 1985, but it was apparently dreadful, so Verbinski has nowhere to go but up.” “maestro610″ agrees in his comment on Cinematical: “If he wants to do this I’ve got to imagine that he’s interested in putting together something that could fit next to the original. We are talking about a movie based on a board game… remember all the explanation necessary is that its a new game. Don’t disacknowledge the original just step away from it.” Megorious seems fine with Verbinski directing, but not necessarily because of his surprising success with Pirates: “Hopefully Verbinski’s version of Clue will be more like his Mousehunt and less like most everything else he’s ever made.” Commenting on PopWatch, “jd” offers up another idea for the new film: “The movie they should make- in the 70’s, National Lampoon magazine did a ghetto parody, called ‘CLOO’. The character names were a bit more urban, and the weapons were straight razors and blackjacks. Very funny, in those non-PC times!” And at Screengrab, Scott Von Doviak sees the potential for a better film with the right casting: “I may be imagining things here, but I seem to recall a notorious bomb from the ‘80s adapted from Clue. And yet … Let the Johnny Depp as Colonel Mustard rumors start now.” Meanwhile, people are commenting all over the web with ideas for who to cast in the new version, but my favorite is this old chestnut, suggested by “Furzee” at Aint It Cool News: “Kate Moss as the candlestick…” And now I present my favorite 25 seconds of the film (boy, do I miss Madeline Kahn): Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2009/1/14/39548.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 1/14/2009 11:00:48 PM
Body: Director Lynn Shelton’s follow-up to My Effortless Brilliance, Sundance Dramatic Competition entry stars Mark Duplass (HumpdayThe Puffy Chair) and Joshua Leonard (The Blair Witch Project) as two college friends who meet up a decade later and somehow end up pacting to make a boy-on-boy sex tape together. Answering our 4 Questions We Ask Everyone, Shelton declared her love for The Princess Bride, named the crew member she poached from Medicine for Melancholy, and explained her philosophy of low expectations. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. Humpday is like Bang the Drum Slowly meets Jaws. Only no-one dies. Either by tumor or by shark. It’s about the reunion of two old college buddies, Ben and Andrew, who haven’t seen each other for years. Somehow, within 24 hours of being in each other’s company again, they manage to box themselves into a mutual dare to have sex with each other on film. For an “art project”. Which wouldn’t be so radical or weird except for the fact that Ben’s married, and both guys are about as straight as straight can be. The film’s about fear of conformity; of not living up to your own image of yourself; about long-term romantic relationships; about a certain kind of male friendship between two guys who adore each other but who also bring out the most absurdly competitive aspects in each other. Why I made the movie: 1) an overwhelming desire to work with Mark Duplass, and, 2) a sadistic desire to watch a couple of straight guys squirm. I’d met Mark Duplass in August of 2007 on the set of True Adolescents, a film shooting in Seattle that he was acting in and I was shooting stills for. Watching him act, seeing how generous he was with the other actors, and how far he was willing to go in every single scene, I knew immediately that I wanted to work with him. We bonded at the craft services table and I pitched the idea for Humpday to him about a month or two after the production had wrapped and he’d gone back to LA. I think Mark found the premise—of two straight dudes deciding they had to try and have sex together—an intriguing, if slightly insane, challenge. He introduced me to Joshua Leonard as his potential co-star almost immediately and the two of them seemed to have just the right kind of chemistry for this intense, nutty, onscreen friendship. I brought in Alycia Delmore, a great Seattle actress, to play Mark’s wife and, soon thereafter, Mark convinced me to play the supporting role of Monica, Josh’s love interest, myself. We shot on two HVX-200s over the course of 9-10 days at the end of June, 2008. Ben Kasulke (who shot my first two features) was the DP and Nat Sanders (who I’d met on the festival circuit last year…he edited Medicine for Melancholy) moved himself up to Seattle from LA to edit the film with me over the next two and a half months. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I funded the film through grants and donations and fed myself and my family by teaching part time at the Digital Filmmaking program at the Art Institute of Seattle. My most exotic past employment experience: working for 4 months on a factory trawler in the Bering Sea when I was twenty-two years old. Have you been to Sundance before? If so, tell us your best moment (or worst, which ever is funnier). If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I have never been to Sundance before, (although I have been to Park City; my first feature film, We Go Way Back won Slamdance in 2006.) I am imagining long lines, icy sidewalks, and a constant headache the first few days due to the high altitude. (I like to keep my expectations low so if I end up having a fabulous time, it will all just be a pleasant surprise.) Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? This is Spinal Tap and The Princess Bride. Originally posted on:SpoutBlog » Karina Longworth
]]>Thu, 15 Jan 2009 04:00:48 GMTKarinaKarina on SpoutBlog1/14/2009 11:00:48 PMDirector Lynn Shelton’s follow-up to My Effortless Brilliance, Sundance Dramatic Competition entry stars Mark Duplass (HumpdayThe Puffy Chair) and Joshua Leonard (The Blair Witch Project) as two college friends who meet up a decade later and somehow end up pacting to make a boy-on-boy sex tape together. Answering our 4 Questions We Ask Everyone, Shelton declared her love for The Princess Bride, named the crew member she poached from Medicine for Melancholy, and explained her philosophy of low expectations. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. Humpday is like Bang the Drum Slowly meets Jaws. Only no-one dies. Either by tumor or by shark. It’s about the reunion of two old college buddies, Ben and Andrew, who haven’t seen each other for years. Somehow, within 24 hours of being in each other’s company again, they manage to box themselves into a mutual dare to have sex with each other on film. For an “art project”. Which wouldn’t be so radical or weird except for the fact that Ben’s married, and both guys are about as straight as straight can be. The film’s about fear of conformity; of not living up to your own image of yourself; about long-term romantic relationships; about a certain kind of male friendship between two guys who adore each other but who also bring out the most absurdly competitive aspects in each other. Why I made the movie: 1) an overwhelming desire to work with Mark Duplass, and, 2) a sadistic desire to watch a couple of straight guys squirm. I’d met Mark Duplass in August of 2007 on the set of True Adolescents, a film shooting in Seattle that he was acting in and I was shooting stills for. Watching him act, seeing how generous he was with the other actors, and how far he was willing to go in every single scene, I knew immediately that I wanted to work with him. We bonded at the craft services table and I pitched the idea for Humpday to him about a month or two after the production had wrapped and he’d gone back to LA. I think Mark found the premise—of two straight dudes deciding they had to try and have sex together—an intriguing, if slightly insane, challenge. He introduced me to Joshua Leonard as his potential co-star almost immediately and the two of them seemed to have just the right kind of chemistry for this intense, nutty, onscreen friendship. I brought in Alycia Delmore, a great Seattle actress, to play Mark’s wife and, soon thereafter, Mark convinced me to play the supporting role of Monica, Josh’s love interest, myself. We shot on two HVX-200s over the course of 9-10 days at the end of June, 2008. Ben Kasulke (who shot my first two features) was the DP and Nat Sanders (who I’d met on the festival circuit last year…he edited Medicine for Melancholy) moved himself up to Seattle from LA to edit the film with me over the next two and a half months. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I funded the film through grants and donations and fed myself and my family by teaching part time at the Digital Filmmaking program at the Art Institute of Seattle. My most exotic past employment experience: working for 4 months on a factory trawler in the Bering Sea when I was twenty-two years old. Have you been to Sundance before? If so, tell us your best moment (or worst, which ever is funnier). If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I have never been to Sundance before, (although I have been to Park City; my first feature film, We Go Way Back won Slamdance in 2006.) I am imagining long lines, icy sidewalks, and a constant headache the first few days due to the high altitude. (I like to keep my expectations low so if I end up having a fabulous time, it will all just be a pleasant surprise.) Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? This is Spinal Tap and The Princess Bride. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2009/1/14/39547.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/14/2009 11:00:34 PM
Body: Director Lynn Shelton’s follow-up to My Effortless Brilliance, Sundance Dramatic Competition entry stars Mark Duplass (HumpdayThe Puffy Chair) and Joshua Leonard (The Blair Witch Project) as two college friends who meet up a decade later and somehow end up pacting to make a boy-on-boy sex tape together. Answering our 4 Questions We Ask Everyone, Shelton declared her love for The Princess Bride, named the crew member she poached from Medicine for Melancholy, and explained her philosophy of low expectations. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. Humpday is like Bang the Drum Slowly meets Jaws. Only no-one dies. Either by tumor or by shark. It’s about the reunion of two old college buddies, Ben and Andrew, who haven’t seen each other for years. Somehow, within 24 hours of being in each other’s company again, they manage to box themselves into a mutual dare to have sex with each other on film. For an “art project”. Which wouldn’t be so radical or weird except for the fact that Ben’s married, and both guys are about as straight as straight can be. The film’s about fear of conformity; of not living up to your own image of yourself; about long-term romantic relationships; about a certain kind of male friendship between two guys who adore each other but who also bring out the most absurdly competitive aspects in each other. Why I made the movie: 1) an overwhelming desire to work with Mark Duplass, and, 2) a sadistic desire to watch a couple of straight guys squirm. I’d met Mark Duplass in August of 2007 on the set of True Adolescents, a film shooting in Seattle that he was acting in and I was shooting stills for. Watching him act, seeing how generous he was with the other actors, and how far he was willing to go in every single scene, I knew immediately that I wanted to work with him. We bonded at the craft services table and I pitched the idea for Humpday to him about a month or two after the production had wrapped and he’d gone back to LA. I think Mark found the premise—of two straight dudes deciding they had to try and have sex together—an intriguing, if slightly insane, challenge. He introduced me to Joshua Leonard as his potential co-star almost immediately and the two of them seemed to have just the right kind of chemistry for this intense, nutty, onscreen friendship. I brought in Alycia Delmore, a great Seattle actress, to play Mark’s wife and, soon thereafter, Mark convinced me to play the supporting role of Monica, Josh’s love interest, myself. We shot on two HVX-200s over the course of 9-10 days at the end of June, 2008. Ben Kasulke (who shot my first two features) was the DP and Nat Sanders (who I’d met on the festival circuit last year…he edited Medicine for Melancholy) moved himself up to Seattle from LA to edit the film with me over the next two and a half months. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I funded the film through grants and donations and fed myself and my family by teaching part time at the Digital Filmmaking program at the Art Institute of Seattle. My most exotic past employment experience: working for 4 months on a factory trawler in the Bering Sea when I was twenty-two years old. Have you been to Sundance before? If so, tell us your best moment (or worst, which ever is funnier). If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I have never been to Sundance before, (although I have been to Park City; my first feature film, We Go Way Back won Slamdance in 2006.) I am imagining long lines, icy sidewalks, and a constant headache the first few days due to the high altitude. (I like to keep my expectations low so if I end up having a fabulous time, it will all just be a pleasant surprise.) Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? This is Spinal Tap and The Princess Bride. Originally posted on:SpoutBlog
]]>Thu, 15 Jan 2009 04:00:34 GMTSpoutBlogSpoutBlog on spout.com1/14/2009 11:00:34 PMDirector Lynn Shelton’s follow-up to My Effortless Brilliance, Sundance Dramatic Competition entry stars Mark Duplass (HumpdayThe Puffy Chair) and Joshua Leonard (The Blair Witch Project) as two college friends who meet up a decade later and somehow end up pacting to make a boy-on-boy sex tape together. Answering our 4 Questions We Ask Everyone, Shelton declared her love for The Princess Bride, named the crew member she poached from Medicine for Melancholy, and explained her philosophy of low expectations. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. Humpday is like Bang the Drum Slowly meets Jaws. Only no-one dies. Either by tumor or by shark. It’s about the reunion of two old college buddies, Ben and Andrew, who haven’t seen each other for years. Somehow, within 24 hours of being in each other’s company again, they manage to box themselves into a mutual dare to have sex with each other on film. For an “art project”. Which wouldn’t be so radical or weird except for the fact that Ben’s married, and both guys are about as straight as straight can be. The film’s about fear of conformity; of not living up to your own image of yourself; about long-term romantic relationships; about a certain kind of male friendship between two guys who adore each other but who also bring out the most absurdly competitive aspects in each other. Why I made the movie: 1) an overwhelming desire to work with Mark Duplass, and, 2) a sadistic desire to watch a couple of straight guys squirm. I’d met Mark Duplass in August of 2007 on the set of True Adolescents, a film shooting in Seattle that he was acting in and I was shooting stills for. Watching him act, seeing how generous he was with the other actors, and how far he was willing to go in every single scene, I knew immediately that I wanted to work with him. We bonded at the craft services table and I pitched the idea for Humpday to him about a month or two after the production had wrapped and he’d gone back to LA. I think Mark found the premise—of two straight dudes deciding they had to try and have sex together—an intriguing, if slightly insane, challenge. He introduced me to Joshua Leonard as his potential co-star almost immediately and the two of them seemed to have just the right kind of chemistry for this intense, nutty, onscreen friendship. I brought in Alycia Delmore, a great Seattle actress, to play Mark’s wife and, soon thereafter, Mark convinced me to play the supporting role of Monica, Josh’s love interest, myself. We shot on two HVX-200s over the course of 9-10 days at the end of June, 2008. Ben Kasulke (who shot my first two features) was the DP and Nat Sanders (who I’d met on the festival circuit last year…he edited Medicine for Melancholy) moved himself up to Seattle from LA to edit the film with me over the next two and a half months. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I funded the film through grants and donations and fed myself and my family by teaching part time at the Digital Filmmaking program at the Art Institute of Seattle. My most exotic past employment experience: working for 4 months on a factory trawler in the Bering Sea when I was twenty-two years old. Have you been to Sundance before? If so, tell us your best moment (or worst, which ever is funnier). If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I have never been to Sundance before, (although I have been to Park City; my first feature film, We Go Way Back won Slamdance in 2006.) I am imagining long lines, icy sidewalks, and a constant headache the first few days due to the high altitude. (I like to keep my expectations low so if I end up having a fabulous time, it will all just be a pleasant surprise.) Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? This is Spinal Tap and The Princess Bride. Originally posted on:SpoutBlog http://www.spout.com/blogs/leeroy711/archive/2008/9/3/34703.aspx Post By: leeroy711
Post To: leeroy711 Blog
Post Date: 9/3/2008 4:07:09 PM
Body: This Is Spinal Tap (1984) I'm not sure how old these are but they're new to me. Part 1: Part 2: Part 3: Part 4: Part 5:
]]>Wed, 03 Sep 2008 20:07:09 GMTleeroy711leeroy711 Blog9/3/2008 4:07:09 PMThis Is Spinal Tap (1984) I'm not sure how old these are but they're new to me. Part 1: Part 2: Part 3: Part 4: Part 5: http://www.spout.com/blogs/spoutblog/archive/2008/8/21/34239.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/21/2008 4:01:18 PM
Body: This week, thanks to The Rocker, we can add another fictional band to the long list of music groups created solely for the movies. They’re called Vesuvius, and they’re an ‘80s hair band with a hit song titled “Promised Land.” As part of the film’s marketing, the track was offered as a free download for play on Rock Band (see the clip above). But if you ask me, the wrong tune was used in the promotion. Another song from the soundtrack, also credited to Vesuvius, is called “Pompeii Nights,” and it’s definitely the better of the two. I’m not surprised, though. While most people favor the songs of Spinal Tap, a once-fictional band that has become popular enough to evolve into a “semi-fictional” performing act, I’ve preferred such gems as “The Whites of Their Eyes” by PEZ® People, from The Big Picture. Also co-written by This is Spinal Tap’s Christopher Guest and Michael McKean, and sung by McKean, this song is apparently so underrated that I can’t even find an audio sample, let along a YouTube clip of the fake band’s music video, which was directed by fictional filmmaker Lydia Johnson (Jennifer Jason Leigh). Fortunately, for the benefit of this list, the rest of these under-appreciated tracks have a few fellow fans. “Howard the Duck” by Cherry Bomb, from Howard the Duck I’m still certain that I was this movie’s biggest fan. While growing up, I owned a VHS copy, the comic book adaptation and the novelization, and I still watched the edited version whenever it showed up on commercial television. Unfortunately, though, I never owned the soundtrack, which is, unsurprisingly, out of print (though available on eBay). It’s okay, because the catchy theme song has forever been lodged in my head. Performed diegetically by a fictional Runaways-inspired band, the Razzie-nominated “Howard the Duck” features vocals by actress Lea Thompson and funk legend George Clinton, plus Joe Walsh on guitar and Thomas Dolby, who co-wrote and produced all of Cherry Bomb’s songs, on synthesizer (off screen the song is credited to “Dolby Cube”). Cherry Bomb had four songs in the movie’s soundtrack, and some were definitely better than others. “Hunger City” is also kinda catchy, but that’s possibly only because it sounds reminiscent of Hall & Oats’ “Family Man.” Meanwhile, I absolutely love the slower “Don’t Turn Away,” which, unlike the title number, lacks Clinton’s vocals and Walsh’s guitar playing; yet it makes up for it with a little harmonica part performed by none other than Stevie Wonder. Perhaps its just my being a fan of ‘80s girl groups like The Go-Gos (check out Thompson doing a duet with Belinda Carlisle here) and The Bangles, but I could really have gone for a full album, and maybe a tour, a la Spinal Tap, from Cherry Bomb. “BBC” by Ming Tea, from Austin Powers: International Man of Mystery As far as fictional ‘60s bands go, Ming Tea is by far my favorite over such groups as The Oneders, aka The Wonders (from That Thing You Do!) and The Rutles (from All You Need is Cash), the latter of which is only as good as the Beatles tunes they spoof. Of course, I do like to think only of this poppy number from the first film, as well as the “psychedelic scene breaks” from the first and second films and ignore the relatively ‘90s-sounding “Daddy Wasn’t There” from Austin Powers in Goldmember, which seems like a reject from one of Matthew Sweet’s later albums (Sweet is a member of and co-songwriter for the fictional Ming Tea). Again, part of my love for Ming Tea could be due to my love for The Bangles, whose Susanna Hoffs was a member of the fake group (she is also the wife of Jay Roach, who directed all three Austin Powers movies). Someday I’d like to see another Nuggets box set featuring only fictional garage rock bands like Ming Tea, The Archies, etc. “Riverbottom Nightmare Band” by The Riverbottom Nightmare Band (or simply The Nightmare), from Emmet Otter’s Jug-Band Christmas Speaking of The Archies, if a fictional rock band from a cartoon can have a hit song continually played on oldies radio, why can’t this fictional rock band from a Muppet TV special get the same treatment? Is it because the vocals are actually pretty terrible? Is it because they’re the villains of the story? Maybe The Archies’ “Sugar Sugar” was the #1 pop song of 1969, but this eponymous tune was written by Oscar-winner Paul Williams, who also gave us such memorable songs as “(Just an) Old Fashioned Love Song,” “The Rainbow Connection” and The Carpenters’ “Rainy Days and Mondays” and “We’ve Only Just Begun.” Plus, if it’s any consolation, RNB’s keyboardist, a bear named Chuck, could totally kick Archie’s ass. Also worthy of radio play, though it’s probably not quite as underrated: “Can You Picture That” by Dr. Teeth and the Electric Mayhem, from The Muppet Movie (and also co-written by Williams). “Goodbye, Eddie, Goodbye” by The Juicy Fruits, from Phantom of the Paradise I’m not always a big fan of this doo-wop revival kind of glam rock, but I really like this track from Brian DePalma’s musical, favoring it over such “real” tunes as Gary Glitter’s cover of Dion’s “The Wanderer” and “made-up” songs as those in The Rocky Horror Picture Show. Maybe it’s because this song is also penned by Paul Williams? Technically, because the movie bombed and is still hardly celebrated (at least compared to TRHPS), the whole soundtrack should be on this list. “Two-Way Romeo” by The Bang Bang, from Brothers of the Head I don’t think anyone else even saw this faux rock documentary (it’s not funny enough to be considered a mockumentary), let alone paid attention to its better-than-necessary soundtrack. Basically the song is by British pop-punk band Crackout (or members of the band, anyway), but it’s pretty authentic sounding for the film’s ‘70s setting. “Never Did No Wanderin’” by The Folksmen, from A Mighty Wind Part of my disappointment with this movie was that the songs are actually pretty good — and not necessarily funny. Silly, yes. Witty, yes. But not exactly over the top, laugh-out-loud funny, the way I prefer Christopher Guest movies to be. Yet I would actually go see The Folksmen before I would go see Spinal Tap, which features the same three actors (Guest, Michael McKean and Harry Shearer, who in fact opened for themselves by having The Folkmen and Spinal Tap tour together in 2001). If they didn’t perform their cover of The Rolling Stones’ “Start Me Up,” though, I would be very dissatisfied. Much of the non-Folksmen songs on the soundtrack are actually pretty lame, including the Oscar-nominated “A Kiss at the End of the Rainbow.” I believe that had it all been more upbeat, a la The Folksmen’s “Old Joe’s Place” (which, along with “Blood on the Coal,” was actually introduced on Saturday Night Live way back in 1984), “Corn Wine” and “Never Did No Wanderin’” it could have been as successful an album as the O Brother, Where Art Thou? CDs. “Sweat of My Balls” by CB4, from CB4 The more memorable song from this near-mockumentary might be “Straight Outta Locash,” yet like the songs by The Rutles, it’s too clear a redo of a preexisting song (N.W.A.’s “Straight Outta Compton”). I guess I’m not that knowledgeable about rap music, but I had always thought “Sweat of My Balls” was actually original. Turns out, it’s actually a parody of Kool G. Rap’s “Talk Like Sex.” Well, since that song is also underrated (enough that I’d never heard of it), I stand by my inclusion of the less familiar-sounding CB4 track. “My Peanuts” by N.W.H., from Fear of a Black Hat I am at least aware that this song, which comes from a film similar to — though much less successful than — CB4, is a redo of Run-DMC’s “My Addidas.” But it’s so damn ridiculous that I wasn’t able to make the connection between the songs until many years after first seeing the movie. Just imagine how popular peanuts would be if the National Peanut Board used this rap in advertisements. “(Just Around the Corner to the) Light of Day” by The Barbusters, from Light of Day It’s not uncommon for a song written for a movie to become a real-world hit. And when it’s written by Bruce Springsteen, as this one was, you almost expect it to be a success. Yet despite the fact that both Springsteen and Joan Jett, who stars in the film as a member of the fictional Barbusters, have made the tune a staple of their respective live concert sets, it still doesn’t get the kind of general attention paid to, say, “On the Dark Side” from that other ‘80s bar band movie, Eddie and the Cruisers. Why isn’t this played heavily on classic rock radio? And by “this” I of course mean the version featuring Michael J. Fox and, yes, Michael McKean (man, he loves the fictional bands). “It Don’t Worry Me” by Albuquerque, from Nashville This is just a solo singer (played by Barbara Harris) rather than a whole group, but she’s still fictional and the song was still written for the film. And it’s sung during what may be the best film ending of all time (hence its appropriate position at the end of the list). Somehow Keith Carradine won an Oscar for writing the most boring tune in this Robert Altman classic (“I’m Easy”), while this song, also written by Carradine, is clearly more enjoyable. Originally posted on:SpoutBlog
]]>Thu, 21 Aug 2008 20:01:18 GMTSpoutBlogSpoutBlog on spout.com8/21/2008 4:01:18 PM This week, thanks to The Rocker, we can add another fictional band to the long list of music groups created solely for the movies. They’re called Vesuvius, and they’re an ‘80s hair band with a hit song titled “Promised Land.” As part of the film’s marketing, the track was offered as a free download for play on Rock Band (see the clip above). But if you ask me, the wrong tune was used in the promotion. Another song from the soundtrack, also credited to Vesuvius, is called “Pompeii Nights,” and it’s definitely the better of the two. I’m not surprised, though. While most people favor the songs of Spinal Tap, a once-fictional band that has become popular enough to evolve into a “semi-fictional” performing act, I’ve preferred such gems as “The Whites of Their Eyes” by PEZ® People, from The Big Picture. Also co-written by This is Spinal Tap’s Christopher Guest and Michael McKean, and sung by McKean, this song is apparently so underrated that I can’t even find an audio sample, let along a YouTube clip of the fake band’s music video, which was directed by fictional filmmaker Lydia Johnson (Jennifer Jason Leigh). Fortunately, for the benefit of this list, the rest of these under-appreciated tracks have a few fellow fans. “Howard the Duck” by Cherry Bomb, from Howard the Duck I’m still certain that I was this movie’s biggest fan. While growing up, I owned a VHS copy, the comic book adaptation and the novelization, and I still watched the edited version whenever it showed up on commercial television. Unfortunately, though, I never owned the soundtrack, which is, unsurprisingly, out of print (though available on eBay). It’s okay, because the catchy theme song has forever been lodged in my head. Performed diegetically by a fictional Runaways-inspired band, the Razzie-nominated “Howard the Duck” features vocals by actress Lea Thompson and funk legend George Clinton, plus Joe Walsh on guitar and Thomas Dolby, who co-wrote and produced all of Cherry Bomb’s songs, on synthesizer (off screen the song is credited to “Dolby Cube”). Cherry Bomb had four songs in the movie’s soundtrack, and some were definitely better than others. “Hunger City” is also kinda catchy, but that’s possibly only because it sounds reminiscent of Hall & Oats’ “Family Man.” Meanwhile, I absolutely love the slower “Don’t Turn Away,” which, unlike the title number, lacks Clinton’s vocals and Walsh’s guitar playing; yet it makes up for it with a little harmonica part performed by none other than Stevie Wonder. Perhaps its just my being a fan of ‘80s girl groups like The Go-Gos (check out Thompson doing a duet with Belinda Carlisle here) and The Bangles, but I could really have gone for a full album, and maybe a tour, a la Spinal Tap, from Cherry Bomb. “BBC” by Ming Tea, from Austin Powers: International Man of Mystery As far as fictional ‘60s bands go, Ming Tea is by far my favorite over such groups as The Oneders, aka The Wonders (from That Thing You Do!) and The Rutles (from All You Need is Cash), the latter of which is only as good as the Beatles tunes they spoof. Of course, I do like to think only of this poppy number from the first film, as well as the “psychedelic scene breaks” from the first and second films and ignore the relatively ‘90s-sounding “Daddy Wasn’t There” from Austin Powers in Goldmember, which seems like a reject from one of Matthew Sweet’s later albums (Sweet is a member of and co-songwriter for the fictional Ming Tea). Again, part of my love for Ming Tea could be due to my love for The Bangles, whose Susanna Hoffs was a member of the fake group (she is also the wife of Jay Roach, who directed all three Austin Powers movies). Someday I’d like to see another Nuggets box set featuring only fictional garage rock bands like Ming Tea, The Archies, etc. “Riverbottom Nightmare Band” by The Riverbottom Nightmare Band (or simply The Nightmare), from Emmet Otter’s Jug-Band Christmas Speaking of The Archies, if a fictional rock band from a cartoon can have a hit song continually played on oldies radio, why can’t this fictional rock band from a Muppet TV special get the same treatment? Is it because the vocals are actually pretty terrible? Is it because they’re the villains of the story? Maybe The Archies’ “Sugar Sugar” was the #1 pop song of 1969, but this eponymous tune was written by Oscar-winner Paul Williams, who also gave us such memorable songs as “(Just an) Old Fashioned Love Song,” “The Rainbow Connection” and The Carpenters’ “Rainy Days and Mondays” and “We’ve Only Just Begun.” Plus, if it’s any consolation, RNB’s keyboardist, a bear named Chuck, could totally kick Archie’s ass. Also worthy of radio play, though it’s probably not quite as underrated: “Can You Picture That” by Dr. Teeth and the Electric Mayhem, from The Muppet Movie (and also co-written by Williams). “Goodbye, Eddie, Goodbye” by The Juicy Fruits, from Phantom of the Paradise I’m not always a big fan of this doo-wop revival kind of glam rock, but I really like this track from Brian DePalma’s musical, favoring it over such “real” tunes as Gary Glitter’s cover of Dion’s “The Wanderer” and “made-up” songs as those in The Rocky Horror Picture Show. Maybe it’s because this song is also penned by Paul Williams? Technically, because the movie bombed and is still hardly celebrated (at least compared to TRHPS), the whole soundtrack should be on this list. “Two-Way Romeo” by The Bang Bang, from Brothers of the Head I don’t think anyone else even saw this faux rock documentary (it’s not funny enough to be considered a mockumentary), let alone paid attention to its better-than-necessary soundtrack. Basically the song is by British pop-punk band Crackout (or members of the band, anyway), but it’s pretty authentic sounding for the film’s ‘70s setting. “Never Did No Wanderin’” by The Folksmen, from A Mighty Wind Part of my disappointment with this movie was that the songs are actually pretty good — and not necessarily funny. Silly, yes. Witty, yes. But not exactly over the top, laugh-out-loud funny, the way I prefer Christopher Guest movies to be. Yet I would actually go see The Folksmen before I would go see Spinal Tap, which features the same three actors (Guest, Michael McKean and Harry Shearer, who in fact opened for themselves by having The Folkmen and Spinal Tap tour together in 2001). If they didn’t perform their cover of The Rolling Stones’ “Start Me Up,” though, I would be very dissatisfied. Much of the non-Folksmen songs on the soundtrack are actually pretty lame, including the Oscar-nominated “A Kiss at the End of the Rainbow.” I believe that had it all been more upbeat, a la The Folksmen’s “Old Joe’s Place” (which, along with “Blood on the Coal,” was actually introduced on Saturday Night Live way back in 1984), “Corn Wine” and “Never Did No Wanderin’” it could have been as successful an album as the O Brother, Where Art Thou? CDs. “Sweat of My Balls” by CB4, from CB4 The more memorable song from this near-mockumentary might be “Straight Outta Locash,” yet like the songs by The Rutles, it’s too clear a redo of a preexisting song (N.W.A.’s “Straight Outta Compton”). I guess I’m not that knowledgeable about rap music, but I had always thought “Sweat of My Balls” was actually original. Turns out, it’s actually a parody of Kool G. Rap’s “Talk Like Sex.” Well, since that song is also underrated (enough that I’d never heard of it), I stand by my inclusion of the less familiar-sounding CB4 track. “My Peanuts” by N.W.H., from Fear of a Black Hat I am at least aware that this song, which comes from a film similar to — though much less successful than — CB4, is a redo of Run-DMC’s “My Addidas.” But it’s so damn ridiculous that I wasn’t able to make the connection between the songs until many years after first seeing the movie. Just imagine how popular peanuts would be if the National Peanut Board used this rap in advertisements. “(Just Around the Corner to the) Light of Day” by The Barbusters, from Light of Day It’s not uncommon for a song written for a movie to become a real-world hit. And when it’s written by Bruce Springsteen, as this one was, you almost expect it to be a success. Yet despite the fact that both Springsteen and Joan Jett, who stars in the film as a member of the fictional Barbusters, have made the tune a staple of their respective live concert sets, it still doesn’t get the kind of general attention paid to, say, “On the Dark Side” from that other ‘80s bar band movie, Eddie and the Cruisers. Why isn’t this played heavily on classic rock radio? And by “this” I of course mean the version featuring Michael J. Fox and, yes, Michael McKean (man, he loves the fictional bands). “It Don’t Worry Me” by Albuquerque, from Nashville This is just a solo singer (played by Barbara Harris) rather than a whole group, but she’s still fictional and the song was still written for the film. And it’s sung during what may be the best film ending of all time (hence its appropriate position at the end of the list). Somehow Keith Carradine won an Oscar for writing the most boring tune in this Robert Altman classic (“I’m Easy”), while this song, also written by Carradine, is clearly more enjoyable. Originally posted on:SpoutBlog http://www.spout.com/groups/Best_movie_quotes/Re_Some_quotes_I_use_a_lot/17/29168/1/ShowPost.aspx Post By: chrismorrell
Post To: Best movie quotes
Post Date: 5/14/2008 1:53:05 PM
Body: [quote user="chrismorrell"] "I dunno...er..what are the hours?"..(last line) from "This Is Spinal Tap"..along with "But enough of my yakkin".."she means Dolby" ,basically,the whole film... i just assume that things like "These go to eleven" ,and "they were still booing him when we came on",are just in general usage. "Viddy well little brother" "yah Blockos" "oh my brother" and "Appy-polly- logies"..from "A Clockwork Orange" ... "Cleaning Woman!" and "You need a cup of my famous java!" ...from "Dead Men Dont Wear Plaid" "Can you prove to me that you are twenty one?" from "Raging Bull" "There's a man...in back of this place" ..."he's the one who's doing it"..."i can see him through the wall!"... from "Mulholland Drive"...oh and when i hear talk of David Beckham i say "Dr Beckerman?" from "Ghostbusters"..oh,and "That's a Dooooseeee!" from "Groundhog Day" ..bugger! i could carry on for ever with this ...it seems i havnt had an original thought since 1980,when i started quoting " Gregory's Girl "and "Manhatten" [/quote]Hello Chris.. and in reply to myself..You know the thing you are saying now is "Amra Ha!, Amra Ha!"quoting from Mike Leigh's new film "Happy Go Lucky" Eddie Marsan plays an uptight driving instructor , he has the mantra "Amra Ha" for "Mirror Signal Manouvre",obsessed as he his like Johnny from "Naked" with all things secret society,the eye on the pyramid on the dollar bill,the hieght of the Washington Monument ,Nostradamus and all that other claptrap.
]]>Wed, 14 May 2008 17:53:05 GMTchrismorrellBest movie quotes5/14/2008 1:53:05 PM[quote user="chrismorrell"] "I dunno...er..what are the hours?"..(last line) from "This Is Spinal Tap"..along with "But enough of my yakkin".."she means Dolby" ,basically,the whole film... i just assume that things like "These go to eleven" ,and "they were still booing him when we came on",are just in general usage. "Viddy well little brother" "yah Blockos" "oh my brother" and "Appy-polly- logies"..from "A Clockwork Orange" ... "Cleaning Woman!" and "You need a cup of my famous java!" ...from "Dead Men Dont Wear Plaid" "Can you prove to me that you are twenty one?" from "Raging Bull" "There's a man...in back of this place" ..."he's the one who's doing it"..."i can see him through the wall!"... from "Mulholland Drive"...oh and when i hear talk of David Beckham i say "Dr Beckerman?" from "Ghostbusters"..oh,and "That's a Dooooseeee!" from "Groundhog Day" ..bugger! i could carry on for ever with this ...it seems i havnt had an original thought since 1980,when i started quoting " Gregory's Girl "and "Manhatten" [/quote]Hello Chris.. and in reply to myself..You know the thing you are saying now is "Amra Ha!, Amra Ha!"quoting from Mike Leigh's new film "Happy Go Lucky" Eddie Marsan plays an uptight driving instructor , he has the mantra "Amra Ha" for "Mirror Signal Manouvre",obsessed as he his like Johnny from "Naked" with all things secret society,the eye on the pyramid on the dollar bill,the hieght of the Washington Monument ,Nostradamus and all that other claptrap. http://www.spout.com/groups/Best_movie_quotes/Re_Some_quotes_I_use_a_lot/17/27111/1/ShowPost.aspx Post By: chrismorrell
Post To: Best movie quotes
Post Date: 4/8/2008 7:23:40 PM
Body: "I dunno...er..what are the hours?"..(last line) from "This Is Spinal Tap"..along with "But enough of my yakkin".."she means Dolby" ,basically,the whole film... i just assume that things like "These go to eleven" ,and "they were still booing him when we came on",are just in general usage. "Viddy well little brother" "yah Blockos" "oh my brother" and "Appy-polly- logies"..from "A Clockwork Orange" ... "Cleaning Woman!" and "You need a cup of my famous java!" ...from "Dead Men Dont Wear Plaid" "Can you prove to me that you are twenty one?" from "Raging Bull" "There's a man...in back of this place" ..."he's the one who's doing it"..."i can see him through the wall!"... from "Mulholland Drive"...oh and when i hear talk of David Beckham i say "Dr Beckerman?" from "Ghostbusters"..oh,and "That's a Dooooseeee!" from "Groundhog Day" ..bugger! i could carry on for ever with this ...it seems i havnt had an original thought since 1980,when i started quoting " Gregory's Girl "and "Manhatten"
]]>Tue, 08 Apr 2008 23:23:40 GMTchrismorrellBest movie quotes4/8/2008 7:23:40 PM "I dunno...er..what are the hours?"..(last line) from "This Is Spinal Tap"..along with "But enough of my yakkin".."she means Dolby" ,basically,the whole film... i just assume that things like "These go to eleven" ,and "they were still booing him when we came on",are just in general usage. "Viddy well little brother" "yah Blockos" "oh my brother" and "Appy-polly- logies"..from "A Clockwork Orange" ... "Cleaning Woman!" and "You need a cup of my famous java!" ...from "Dead Men Dont Wear Plaid" "Can you prove to me that you are twenty one?" from "Raging Bull" "There&#39;s a man...in back of this place" ..."he&#39;s the one who&#39;s doing it"..."i can see him through the wall!"... from "Mulholland Drive"...oh and when i hear talk of David Beckham i say "Dr Beckerman?" from "Ghostbusters"..oh,and "That&#39;s a Dooooseeee!" from "Groundhog Day" ..bugger! i could carry on for ever with this ...it seems i havnt had an original thought since 1980,when i started quoting " Gregory&#39;s Girl "and "Manhatten" http://www.spout.com/blogs/chrismorrell/archive/2008/1/20/24133.aspx Post By: chrismorrell
Post To: chrismorrell Blog
Post Date: 1/20/2008 10:23:24 PM
Body: 'Waiting for Guffman'... the Chris Guest film that i had unaccountably missed seeing up to now , unaccountably, because i AM one of those people who can quote, endlessly from 'This Is Spinal Tap'.. and , of course i love 'Best in Show' and 'A Mighty Wind'... so it's a must for Guest fans...members of the variable ensemble are here ..Catherine O'hara, Eugene Levy, Parker Posey ,Fred Willard..Apart from the beautifully observed , totally 'camped out' Corky,(Guest)...highlight,for me is Parker Posey in pure 'White Trash' gum-chewin mode,with her innapropriately sexy audition,of 'Teachers Pet'...seemingly quite happy , whatever happens!!... "Waiting for Guffman"... .hurrah!!!
]]>Mon, 21 Jan 2008 03:23:24 GMTchrismorrellchrismorrell Blog1/20/2008 10:23:24 PM&#39;Waiting for Guffman&#39;... the Chris Guest film that i had unaccountably missed seeing up to now , unaccountably, because i AM one of those people who can quote, endlessly from &#39;This Is Spinal Tap&#39;.. and , of course i love &#39;Best in Show&#39; and &#39;A Mighty Wind&#39;... so it&#39;s a must for Guest fans...members of the variable ensemble are here ..Catherine O&#39;hara, Eugene Levy, Parker Posey ,Fred Willard..Apart from the beautifully observed , totally &#39;camped out&#39; Corky,(Guest)...highlight,for me is Parker Posey in pure &#39;White Trash&#39; gum-chewin mode,with her innapropriately sexy audition,of &#39;Teachers Pet&#39;...seemingly quite happy , whatever happens!!... &quot;Waiting for Guffman&quot;... .hurrah!!! http://www.spout.com/blogs/usesoap/archive/2008/1/12/23818.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 1/12/2008 9:04:25 AM
Body: After a second-half career slump, director Rob Reiner has taken great pains to critic-proof his latest film, “The Bucket List.” “I'll pair two of America's best-loved elder actors, give them oddly endearing eccentricities, saddle them with a terminal illness, but show how they learn to LOVE LIFE!!!” he says (exclamation marks are a necessity here).So when a critic attempts to lay into the film for being rote and pandering, he or she will be derided for besmirching the actors' good names and callously drubbing those dealing with cancer.Well, bring on the hate mail. This is “Wild Hogs for the septuagenarian set (“Mild Hogs?” “Terminal Hogs?”), and it is a TV dinner of a film – everything spooned out in carefully measured proportions, pre-packaged and cold, without a hint of spice or surprise.The two ailing leads are a cantankerous old wisecracking coot and a gentle, grounded guru who are both diagnosed with the big C. Take a guess at which one Jack Nicholson plays and which one Morgan Freeman plays.I am convinced Nicholson doesn't even look at scripts to display his talents – he merely kicks back and waits for one to roll in that adapts to his persona.It's hard to even recall his character's name, for it's the same part he's been playing on- and off-screen for the past decade. He's shallow, he's boisterous, and yet oh-so lovable.Freeman, who has played everyone from the U.S. President (sigh. If only.) to God, is also in his comfort zone. Even though he's playing a humble mechanic, he's worldly and wise and never without a trivial tidbit to share like some Zen Pez dispenser.Once they both receive the news, they jet set around the world (oh, yeah, Nicholson's character is loaded, by the way), checking off items of things to do before kicking the titular bucket.Even though they visit post-card-perfect locales from across the planet (Italy, the Taj Mahal, the Himalayas), the same scene skips like a dusty DVD – Freeman spits out some obscure-yet-meaningful factoid. Nicholson gives a witty (read: sexist) rejoinder. They share a little bit more with each other.Lather. Rinse. Repeat.You could say it plays out over and over again, but to use the verb “play” may suggest something jovial about the proceedings. Make no mistake, this is as labored as it gets. The script (by relative newcomer Justin Zackham) seems as though it was merely a template in some computer screenwriting program that was not altered in the slightest. Every “spontaneous” scream of joy, every tear of sorrow feels scripted and calculated even to which direction said tear should travel down the cheek.Beneath this mountain of sentiment sits Reiner, a man who had a laundry list of great films (“This is Spinal Tap,” “Princess Bride,” “Stand by Me,” “When Harry Met Sally,” “Misery”) before it all got buried beneath the compost of his latter-day efforts (pretty much everything after 1992's “A Few Good Men”).His career, like Nicholson's, seems to be coasting on auto-pilot of late. And for both of them to be included in a film that is supposed to be about taking risks is a sadly ironic twist.Look, there is nothing wretched about anything in “The Bucket List,” but expectations from this caliber of talent raise the bar. And because of this, a movie that is supposed to be life-affirming is rather depressing.
]]>Sat, 12 Jan 2008 14:04:25 GMTusesoapusesoap Blog1/12/2008 9:04:25 AMAfter a second-half career slump, director Rob Reiner has taken great pains to critic-proof his latest film, &ldquo;The Bucket List.&rdquo; &ldquo;I&#39;ll pair two of America&#39;s best-loved elder actors, give them oddly endearing eccentricities, saddle them with a terminal illness, but show how they learn to LOVE LIFE!!!&rdquo; he says (exclamation marks are a necessity here).So when a critic attempts to lay into the film for being rote and pandering, he or she will be derided for besmirching the actors&#39; good names and callously drubbing those dealing with cancer.Well, bring on the hate mail. This is &ldquo;Wild Hogs for the septuagenarian set (&ldquo;Mild Hogs?&rdquo; &ldquo;Terminal Hogs?&rdquo;), and it is a TV dinner of a film &ndash; everything spooned out in carefully measured proportions, pre-packaged and cold, without a hint of spice or surprise.The two ailing leads are a cantankerous old wisecracking coot and a gentle, grounded guru who are both diagnosed with the big C. Take a guess at which one Jack Nicholson plays and which one Morgan Freeman plays.I am convinced Nicholson doesn&#39;t even look at scripts to display his talents &ndash; he merely kicks back and waits for one to roll in that adapts to his persona.It&#39;s hard to even recall his character&#39;s name, for it&#39;s the same part he&#39;s been playing on- and off-screen for the past decade. He&#39;s shallow, he&#39;s boisterous, and yet oh-so lovable.Freeman, who has played everyone from the U.S. President (sigh. If only.) to God, is also in his comfort zone. Even though he&#39;s playing a humble mechanic, he&#39;s worldly and wise and never without a trivial tidbit to share like some Zen Pez dispenser.Once they both receive the news, they jet set around the world (oh, yeah, Nicholson&#39;s character is loaded, by the way), checking off items of things to do before kicking the titular bucket.Even though they visit post-card-perfect locales from across the planet (Italy, the Taj Mahal, the Himalayas), the same scene skips like a dusty DVD &ndash; Freeman spits out some obscure-yet-meaningful factoid. Nicholson gives a witty (read: sexist) rejoinder. They share a little bit more with each other.Lather. Rinse. Repeat.You could say it plays out over and over again, but to use the verb &ldquo;play&rdquo; may suggest something jovial about the proceedings. Make no mistake, this is as labored as it gets. The script (by relative newcomer Justin Zackham) seems as though it was merely a template in some computer screenwriting program that was not altered in the slightest. Every &ldquo;spontaneous&rdquo; scream of joy, every tear of sorrow feels scripted and calculated even to which direction said tear should travel down the cheek.Beneath this mountain of sentiment sits Reiner, a man who had a laundry list of great films (&ldquo;This is Spinal Tap,&rdquo; &ldquo;Princess Bride,&rdquo; &ldquo;Stand by Me,&rdquo; &ldquo;When Harry Met Sally,&rdquo; &ldquo;Misery&rdquo;) before it all got buried beneath the compost of his latter-day efforts (pretty much everything after 1992&#39;s &ldquo;A Few Good Men&rdquo;).His career, like Nicholson&#39;s, seems to be coasting on auto-pilot of late. And for both of them to be included in a film that is supposed to be about taking risks is a sadly ironic twist.Look, there is nothing wretched about anything in &ldquo;The Bucket List,&rdquo; but expectations from this caliber of talent raise the bar. And because of this, a movie that is supposed to be life-affirming is rather depressing. http://www.spout.com/blogs/eagle795/archive/2007/8/27/18849.aspx Post By: eagle795
Post To: eagle795 Blog
Post Date: 8/27/2007 1:11:37 AM
Body: THE original mockumentary. For some reason this film has kinda lost popular steam over the years, but watch it again…it’s still funny. Maybe it needs to be shown on TV more often. The “Stonehenge” scene and the amp that has a volume switch that goes to 11….still hilarious.
]]>Mon, 27 Aug 2007 05:11:37 GMTeagle795eagle795 Blog8/27/2007 1:11:37 AMTHE original mockumentary. For some reason this film has kinda lost popular steam over the years, but watch it again&hellip;it&rsquo;s still funny. Maybe it needs to be shown on TV more often. The &ldquo;Stonehenge&rdquo; scene and the amp that has a volume switch that goes to 11&hellip;.still hilarious. http://www.spout.com/members/0/tags/Classic/MemberTagFilms.aspxClassic
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