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"content": "\u003cp>How can a city be unlivable and un-leave-able at the same time? British filmmaker, Terence Davies was born and spent his first 28 years in Liverpool, the city that also spawned The Beatles. After moving away, he has spent much of his writing and directing career returning to that city on film, most famously with 1988’s \u003cb>Distant Voices, Still Lives\u003c/b>. \u003cb>Of Time and the City\u003c/b> is Davies’s latest trip home.\u003c/p>\n\u003cp>Expressing the impulse to flee and the equally strong urge to return to the place of one’s childhood, Davies states, “We love the place we hate, then hate the place we love.” The filmmaker’s portrait of that place is woven together from various bits of archival footage, representing the first 28 years of his life and ending in 1973, when Davies left the city for good. The portrait is sometimes loving, but often brutal, populated with gray air, iron schoolyards, and grim buildings black with soot. Liverpool is a hardscrabble place, built upon the kind of industrial production that used a man’s back in concert with the might of the machine — both man and machine end up broken and crumbling. The film has the feeling of a modern Dickens, “wet shoes and leaky galoshes” — a flickering, black and white yesteryear covered in row after row of row houses, children playing in the streets, in the dust and garbage that is held aloft by what looks like a cold wind.\u003c/p>\n\u003cp>It’s a personal story — an autobiography of place — told with the voices of many, through a collage of radio broadcasts, classical music, pop songs, literary quotes and grounded by the filmmaker’s narration. The many voices of Liverpool weave together to form the filmmaker’s own, and his singular vision becomes the experience of many. It is a portrait of the modern urban, of a population coagulating around resources, industry and commerce to create goods and services for the benefit of others that develops into an environment that is anything but beneficial. As time passes, the stark, Stalinist architecture of modernity crams itself into the skyline, concrete apartment buildings become brutal affronts to the living. Davies describes it as “municipal architecture combined with the British genius for making the dismal … anything but Elysian.” One can see the progression of various recessions written as graffiti along the city walls. The crush of poverty crumbles the brickwork into a dust that clogs the city’s lungs.\u003c/p>\n\u003cp>But like in any city, there is also respite — the early glamour of 1950’s film premieres, the rise of The Beatles “screamed away on a tide of Mersey Beat,” the diversion of football, a trip to the beach. Perhaps this is the most magical sequence: what looks like a whole nation deprived of luxury, a crush of the working class boarding a ferry in black and white and disembarking at the seashore in color. It is the magic of Oz, an escape from color-free Kansas. Happiness on a budget, a simple day at the beach replete with colorful bathing suits and contests of skill and beauty ends with a setting sun, a deep, amber dusk. Making fun and making do are the only other constants to a life of work, struggle and procreation. DeKooning said, “The trouble with being poor is that it takes up all your time.” Narrating images of the Queen Mother, Davies replies, “The trouble with being rich is that it takes up everyone else’s.” In early 2009, with the TARP half spent and the rest about to be, these are sentiments we can all appreciate.\u003c/p>\n\u003cp>\u003cb>Of Time and the City\u003c/b> is a film of mindless building and inevitable decay, a broken everything contemplating the wrecking ball. One hopes it is also a portrait of the slow death of an idea as well, the end of a particular kind of industrial production, one that uses up and throws away, one that spoils the land and makes the habitat uninhabitable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One can understand why Davies had to and why he can never escape his hometown. It is the place that formed him. Just as anything else produced by the city’s industry, Davies is also a product of Liverpool and from there he must have learned how to create things of great beauty, insight and compassion. We shape the city just as the city shapes us. Quoting Jung, Davies says, “We meet our destiny on the road we take to avoid it.” But what if we turn instead to face our destiny — can we have a hand in shaping it?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Of Time and the City\u003c/b> opens Friday, February 13, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How can a city be unlivable and un-leave-able at the same time? British filmmaker, Terence Davies was born and spent his first 28 years in Liverpool, the city that also spawned The Beatles. After moving away, he has spent much of his writing and directing career returning to that city on film, most famously with 1988’s \u003cb>Distant Voices, Still Lives\u003c/b>. \u003cb>Of Time and the City\u003c/b> is Davies’s latest trip home.\u003c/p>\n\u003cp>Expressing the impulse to flee and the equally strong urge to return to the place of one’s childhood, Davies states, “We love the place we hate, then hate the place we love.” The filmmaker’s portrait of that place is woven together from various bits of archival footage, representing the first 28 years of his life and ending in 1973, when Davies left the city for good. The portrait is sometimes loving, but often brutal, populated with gray air, iron schoolyards, and grim buildings black with soot. Liverpool is a hardscrabble place, built upon the kind of industrial production that used a man’s back in concert with the might of the machine — both man and machine end up broken and crumbling. The film has the feeling of a modern Dickens, “wet shoes and leaky galoshes” — a flickering, black and white yesteryear covered in row after row of row houses, children playing in the streets, in the dust and garbage that is held aloft by what looks like a cold wind.\u003c/p>\n\u003cp>It’s a personal story — an autobiography of place — told with the voices of many, through a collage of radio broadcasts, classical music, pop songs, literary quotes and grounded by the filmmaker’s narration. The many voices of Liverpool weave together to form the filmmaker’s own, and his singular vision becomes the experience of many. It is a portrait of the modern urban, of a population coagulating around resources, industry and commerce to create goods and services for the benefit of others that develops into an environment that is anything but beneficial. As time passes, the stark, Stalinist architecture of modernity crams itself into the skyline, concrete apartment buildings become brutal affronts to the living. Davies describes it as “municipal architecture combined with the British genius for making the dismal … anything but Elysian.” One can see the progression of various recessions written as graffiti along the city walls. The crush of poverty crumbles the brickwork into a dust that clogs the city’s lungs.\u003c/p>\n\u003cp>But like in any city, there is also respite — the early glamour of 1950’s film premieres, the rise of The Beatles “screamed away on a tide of Mersey Beat,” the diversion of football, a trip to the beach. Perhaps this is the most magical sequence: what looks like a whole nation deprived of luxury, a crush of the working class boarding a ferry in black and white and disembarking at the seashore in color. It is the magic of Oz, an escape from color-free Kansas. Happiness on a budget, a simple day at the beach replete with colorful bathing suits and contests of skill and beauty ends with a setting sun, a deep, amber dusk. Making fun and making do are the only other constants to a life of work, struggle and procreation. DeKooning said, “The trouble with being poor is that it takes up all your time.” Narrating images of the Queen Mother, Davies replies, “The trouble with being rich is that it takes up everyone else’s.” In early 2009, with the TARP half spent and the rest about to be, these are sentiments we can all appreciate.\u003c/p>\n\u003cp>\u003cb>Of Time and the City\u003c/b> is a film of mindless building and inevitable decay, a broken everything contemplating the wrecking ball. One hopes it is also a portrait of the slow death of an idea as well, the end of a particular kind of industrial production, one that uses up and throws away, one that spoils the land and makes the habitat uninhabitable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One can understand why Davies had to and why he can never escape his hometown. It is the place that formed him. Just as anything else produced by the city’s industry, Davies is also a product of Liverpool and from there he must have learned how to create things of great beauty, insight and compassion. We shape the city just as the city shapes us. Quoting Jung, Davies says, “We meet our destiny on the road we take to avoid it.” But what if we turn instead to face our destiny — can we have a hand in shaping it?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Of Time and the City\u003c/b> opens Friday, February 13, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Imagine an episode of \u003cb>Project Runway\u003c/b> without the manufactured drama, the shameless product placements, and Heidi Klum’s blind stab at acting. It is possible, dear reader! \u003cb>Eleven Minutes\u003c/b>, Michael Selditch and Robert Tate’s documentary, follows Jay McCarroll, the show’s first winner, during the months leading up to his debut fashion show. What results is a raw and entertaining look at the underbelly of the fashion industry and what it truly takes to be a successful designer.\u003c/p>\n\u003cp>Winning a reality competition like \u003cb>Project Runway\u003c/b> is great. You get a car, some cash, and the title of “next great American designer” mandated by the Bravo channel. Young teenage girls, not to mention gaggles of gays, idolize you. And your likeness is immortalized in continuous marathons that will run until the end of time. What could be better? Well, judging from \u003cb>Eleven Minutes\u003c/b>, a whole lot.\u003c/p>\n\u003cp>For starters, despite beating out thousands of applicants to take the title of a wildly popular show, McCarroll is at best a meager \u003ca href=\"http://cm1.theinsider.com/media/0/50/95/Kathy-Griffin-br04.0.0.0x0.432x675.jpeg\" target=\"offsite\" rel=\"noopener\">D-list\u003c/a> somebody. When discussing the possible celebrities that might attend his show, one of his publicists name-drops Lindsay Lohan as if she were the Dalai Lama. Of course, Lindsay doesn’t make it, too busy crashing cars and blogging about her why-the-hell-not lesbianism. But, wait, the publicist says, JC Chasez is coming! You know, the guy who stood somewhere behind Justin Timberlake in the ’90s. No, not the \u003ca href=\"http://www.erati.com/wp-content/uploads/2008/08/lance-bass.jpg\" target=\"offsite\" rel=\"noopener\">gay one\u003c/a>. Oh, forget it. But he’s coming! Oh, wait, nevermind, he backed out. That burns.\u003c/p>\n\u003cp>On top of being dissed by former boy band members, McCarroll struggles against his shelf life, which gets shorter as \u003cb>Project Runway\u003c/b> produces season after season featuring even more audacious characters. There’s also the issue of overcoming the stigma of being just an over-the-top reality show personality and earning respect as a legitimate designer.\u003c/p>\n\u003cp>Shows like \u003cb>Project Runway\u003c/b> lead viewers to believe that all there is to becoming the next big thing in fashion is a knack for design and sewing. This documentary does away with that polished concept of designers and captures the less glamorous business end of the industry. Who will finance the line, manufacture, distribute, merchandise, and advertise it? The filmmakers follow McCarroll as he tries to sort out the above while coordinating the myriad behind-the-scenes elements behind the eleven minutes of his fashion show: factories in New York and China, jewelry, wig, and shoe makers, and, worst of all, dreadful publicists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The latter is where all the ills of the fashion world congeal in the form of the documentary’s villain. Kelly Cutrone, who is best known for making \u003ca href=\"http://www.recapist.com/files/images/405-lauren.preview.jpg\" target=\"offsite\" rel=\"noopener\">blonde girls cry\u003c/a> on \u003cb>The Hills\u003c/b>, hams it up for yet another camera crew, torturing subordinates and making life for Jay harder than it has to be. “I don’t like those atoms surrounding the hot-air balloon,” she complains about a flyer, “what about stars?” Jay appears disgusted at the suggestion, as if saying, “And this woman is supposed to know about taste?” He later rants that she initially brushed him off until she witnessed the amount of photo-lenses flashing in his direction, and promptly changed her tune. When juxtaposed with characters like Cutrone, it seems as though Jay would be better off without the fashion industry, which seems to inflate egos and give birth to lurching sartorial critics that feast on the blood of baby lambs and virgins.\u003c/p>\n\u003cp>After the Fashion Week tents have been dismantled and Bryant Park has been restored to its former green patch status, Jay doesn’t have much to show for all his toil. Sales reps from Urban Outfitters visit his studio and pretend to like a few pieces, but end up canceling the order. No other retail outlets are interested. He is so lacking in funds that he is having trouble reimbursing his friends who worked for months without pay. He must get a job designing someone else’s vision to make ends meets. Just another casualty of the cutthroat business so many desperately wish to be a part of.\u003c/p>\n\u003cp>McCarroll ends the documentary declaring that he might just scrap it all, move to Maine, work at an ice cream parlor and make quilts. Which leads to the question: is fame worth all of the overblown egos, all the critics, all the back-stabbing trouble? The answer depends on which part of you answers, the rational mind would confess that there are bigger things in life than being respected by bitchy fashionistas, but then that troublesome ambition crops up and professes that yes, it is worth the long hours, the anxiety and tears that come with realizing a dream. Only time will tell which half of Jay McCarroll is loudest, but, despite the obvious allure of quilt making, I have a feeling that we haven’t heard the last of him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Eleven Minutes\u003c/b> opens on February 20, 2009 at the Landmark Opera Plaza. For \u003ca href=\"http://landmarktheaters.com/market/SanFrancisco/OperaPlazaCinema.htm\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit landmarktheaters.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine an episode of \u003cb>Project Runway\u003c/b> without the manufactured drama, the shameless product placements, and Heidi Klum’s blind stab at acting. It is possible, dear reader! \u003cb>Eleven Minutes\u003c/b>, Michael Selditch and Robert Tate’s documentary, follows Jay McCarroll, the show’s first winner, during the months leading up to his debut fashion show. What results is a raw and entertaining look at the underbelly of the fashion industry and what it truly takes to be a successful designer.\u003c/p>\n\u003cp>Winning a reality competition like \u003cb>Project Runway\u003c/b> is great. You get a car, some cash, and the title of “next great American designer” mandated by the Bravo channel. Young teenage girls, not to mention gaggles of gays, idolize you. And your likeness is immortalized in continuous marathons that will run until the end of time. What could be better? Well, judging from \u003cb>Eleven Minutes\u003c/b>, a whole lot.\u003c/p>\n\u003cp>For starters, despite beating out thousands of applicants to take the title of a wildly popular show, McCarroll is at best a meager \u003ca href=\"http://cm1.theinsider.com/media/0/50/95/Kathy-Griffin-br04.0.0.0x0.432x675.jpeg\" target=\"offsite\" rel=\"noopener\">D-list\u003c/a> somebody. When discussing the possible celebrities that might attend his show, one of his publicists name-drops Lindsay Lohan as if she were the Dalai Lama. Of course, Lindsay doesn’t make it, too busy crashing cars and blogging about her why-the-hell-not lesbianism. But, wait, the publicist says, JC Chasez is coming! You know, the guy who stood somewhere behind Justin Timberlake in the ’90s. No, not the \u003ca href=\"http://www.erati.com/wp-content/uploads/2008/08/lance-bass.jpg\" target=\"offsite\" rel=\"noopener\">gay one\u003c/a>. Oh, forget it. But he’s coming! Oh, wait, nevermind, he backed out. That burns.\u003c/p>\n\u003cp>On top of being dissed by former boy band members, McCarroll struggles against his shelf life, which gets shorter as \u003cb>Project Runway\u003c/b> produces season after season featuring even more audacious characters. There’s also the issue of overcoming the stigma of being just an over-the-top reality show personality and earning respect as a legitimate designer.\u003c/p>\n\u003cp>Shows like \u003cb>Project Runway\u003c/b> lead viewers to believe that all there is to becoming the next big thing in fashion is a knack for design and sewing. This documentary does away with that polished concept of designers and captures the less glamorous business end of the industry. Who will finance the line, manufacture, distribute, merchandise, and advertise it? The filmmakers follow McCarroll as he tries to sort out the above while coordinating the myriad behind-the-scenes elements behind the eleven minutes of his fashion show: factories in New York and China, jewelry, wig, and shoe makers, and, worst of all, dreadful publicists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The latter is where all the ills of the fashion world congeal in the form of the documentary’s villain. Kelly Cutrone, who is best known for making \u003ca href=\"http://www.recapist.com/files/images/405-lauren.preview.jpg\" target=\"offsite\" rel=\"noopener\">blonde girls cry\u003c/a> on \u003cb>The Hills\u003c/b>, hams it up for yet another camera crew, torturing subordinates and making life for Jay harder than it has to be. “I don’t like those atoms surrounding the hot-air balloon,” she complains about a flyer, “what about stars?” Jay appears disgusted at the suggestion, as if saying, “And this woman is supposed to know about taste?” He later rants that she initially brushed him off until she witnessed the amount of photo-lenses flashing in his direction, and promptly changed her tune. When juxtaposed with characters like Cutrone, it seems as though Jay would be better off without the fashion industry, which seems to inflate egos and give birth to lurching sartorial critics that feast on the blood of baby lambs and virgins.\u003c/p>\n\u003cp>After the Fashion Week tents have been dismantled and Bryant Park has been restored to its former green patch status, Jay doesn’t have much to show for all his toil. Sales reps from Urban Outfitters visit his studio and pretend to like a few pieces, but end up canceling the order. No other retail outlets are interested. He is so lacking in funds that he is having trouble reimbursing his friends who worked for months without pay. He must get a job designing someone else’s vision to make ends meets. Just another casualty of the cutthroat business so many desperately wish to be a part of.\u003c/p>\n\u003cp>McCarroll ends the documentary declaring that he might just scrap it all, move to Maine, work at an ice cream parlor and make quilts. Which leads to the question: is fame worth all of the overblown egos, all the critics, all the back-stabbing trouble? The answer depends on which part of you answers, the rational mind would confess that there are bigger things in life than being respected by bitchy fashionistas, but then that troublesome ambition crops up and professes that yes, it is worth the long hours, the anxiety and tears that come with realizing a dream. Only time will tell which half of Jay McCarroll is loudest, but, despite the obvious allure of quilt making, I have a feeling that we haven’t heard the last of him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Eleven Minutes\u003c/b> opens on February 20, 2009 at the Landmark Opera Plaza. For \u003ca href=\"http://landmarktheaters.com/market/SanFrancisco/OperaPlazaCinema.htm\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit landmarktheaters.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Import/Export: Seidl's negative balance of trade",
"headTitle": "Import/Export: Seidl’s negative balance of trade | KQED",
"content": "\u003cp>When the provocative Austrian director Ulrich Seidl casts his unblinking, unflinching eye on late-stage capitalism, we’d be wise to take in the sobering view. Ostensibly about the degradation of Eastern European wage slaves, \u003cb>Import/Export\u003c/b> plays like a coming attraction of our own near future.\u003c/p>\n\u003cp>With a handful of bleak opening shots, Seidl etches the hard life of a tall, pretty Ukrainian nurse. Olga is dedicated to her work with children, enduring the strapped hospital’s primitive facilities and braving the long winter commute on foot. But she can’t go on supporting her son and mother on cut-back paychecks.\u003c/p>\n\u003cp>Desperately seeking income, Olga joins a friend who works for a cybersex company, exposing herself via Webcam to the demeaning instructions of anonymous strangers (in Germany and Austria, one gathers). But Olga has too much self-respect — although she never says so — so she stoically kisses her mother and son goodbye and takes the train to Austria in search of menial labor.\u003c/p>\n\u003cp>Meanwhile, a rough-hewn, short-hair Viennese named Pauli trains to work as a security guard. Part bully, part ignorant youth, he loses his first job when a late-night pack of young drunks trusses him up in the building’s empty garage. With no skills, no experience and no prospects, Pauli has no choice but to make a euro accompanying his stepfather on a vending-machine delivery to the Ukraine.\u003c/p>\n\u003cp>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seidl favors static, fixed-camera compositions that emphasize the walls and limits (if not borders) constraining his characters. But he doesn’t try to replicate documentary-style realism, or to rub our noses in the grit. In fact, there’s nary a whiff of indignation in the entire two and a quarter hours, and only the tiniest, most ineffectual ripples of anger.\u003c/p>\n\u003cp>Above all, there’s neither tragedy nor catharsis — the twin grails of American social-realist filmmaking — in \u003cb>Import/Export\u003c/b>, which screened as part of Berlin & Beyond in 2008. The upshot is that Seidl elicits a far more complicated response than pity or empathy.\u003c/p>\n\u003cp>The film’s numerous proofs that exploitation is the inevitable byproduct of capitalism provoke a shock of recognition, adding to the horror. In the movie’s longest and most discomfiting scene, Pauli’s soused stepfather makes “harmless” sport of a Ukrainian prostitute, all the while instructing Pauli to absorb “a lesson in the power of money.”\u003c/p>\n\u003cp>By matter-of-factly delineating gradations of humiliation, the filmmaker doesn’t aim to wallow in human misery but to present the various strategies by which a person at the bottom of the food chain can preserve her or his dignity. We might have been able to watch a film like \u003cb>Import/Export\u003c/b> from a comfortable distance not so long ago, but with layoffs and foreclosures on the rise, dignity is shaping up to be the new American value.\u003c/p>\n\u003cp>Similarly, had we met Olga and Pauli in the first giddy days after the fall of the Iron Curtain, we would have viewed them as lucky young people with new opportunities in a suddenly open society. We imagined the East catching up to the West in creature comforts and standard of living. Today it looks like the opposite scenario is more likely. \u003cb>Import/Export\u003c/b> may represent our future, and it’s not a pretty picture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Import/Export\u003c/b> screens Thursday, February 12 through Saturday, February 14, 2009 at 7:30 p.m. at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org/tickets/production/view.aspx?id=8654.com\">tickets and information\u003c/a> visit ybca.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the provocative Austrian director Ulrich Seidl casts his unblinking, unflinching eye on late-stage capitalism, we’d be wise to take in the sobering view. Ostensibly about the degradation of Eastern European wage slaves, \u003cb>Import/Export\u003c/b> plays like a coming attraction of our own near future.\u003c/p>\n\u003cp>With a handful of bleak opening shots, Seidl etches the hard life of a tall, pretty Ukrainian nurse. Olga is dedicated to her work with children, enduring the strapped hospital’s primitive facilities and braving the long winter commute on foot. But she can’t go on supporting her son and mother on cut-back paychecks.\u003c/p>\n\u003cp>Desperately seeking income, Olga joins a friend who works for a cybersex company, exposing herself via Webcam to the demeaning instructions of anonymous strangers (in Germany and Austria, one gathers). But Olga has too much self-respect — although she never says so — so she stoically kisses her mother and son goodbye and takes the train to Austria in search of menial labor.\u003c/p>\n\u003cp>Meanwhile, a rough-hewn, short-hair Viennese named Pauli trains to work as a security guard. Part bully, part ignorant youth, he loses his first job when a late-night pack of young drunks trusses him up in the building’s empty garage. With no skills, no experience and no prospects, Pauli has no choice but to make a euro accompanying his stepfather on a vending-machine delivery to the Ukraine.\u003c/p>\n\u003cp>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seidl favors static, fixed-camera compositions that emphasize the walls and limits (if not borders) constraining his characters. But he doesn’t try to replicate documentary-style realism, or to rub our noses in the grit. In fact, there’s nary a whiff of indignation in the entire two and a quarter hours, and only the tiniest, most ineffectual ripples of anger.\u003c/p>\n\u003cp>Above all, there’s neither tragedy nor catharsis — the twin grails of American social-realist filmmaking — in \u003cb>Import/Export\u003c/b>, which screened as part of Berlin & Beyond in 2008. The upshot is that Seidl elicits a far more complicated response than pity or empathy.\u003c/p>\n\u003cp>The film’s numerous proofs that exploitation is the inevitable byproduct of capitalism provoke a shock of recognition, adding to the horror. In the movie’s longest and most discomfiting scene, Pauli’s soused stepfather makes “harmless” sport of a Ukrainian prostitute, all the while instructing Pauli to absorb “a lesson in the power of money.”\u003c/p>\n\u003cp>By matter-of-factly delineating gradations of humiliation, the filmmaker doesn’t aim to wallow in human misery but to present the various strategies by which a person at the bottom of the food chain can preserve her or his dignity. We might have been able to watch a film like \u003cb>Import/Export\u003c/b> from a comfortable distance not so long ago, but with layoffs and foreclosures on the rise, dignity is shaping up to be the new American value.\u003c/p>\n\u003cp>Similarly, had we met Olga and Pauli in the first giddy days after the fall of the Iron Curtain, we would have viewed them as lucky young people with new opportunities in a suddenly open society. We imagined the East catching up to the West in creature comforts and standard of living. Today it looks like the opposite scenario is more likely. \u003cb>Import/Export\u003c/b> may represent our future, and it’s not a pretty picture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Import/Export\u003c/b> screens Thursday, February 12 through Saturday, February 14, 2009 at 7:30 p.m. at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org/tickets/production/view.aspx?id=8654.com\">tickets and information\u003c/a> visit ybca.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Even though that still-revered stop-motion animation breakthrough from 1993 goes by the official title \u003cb>Tim Burton’s The Nightmare Before Christmas\u003c/b>, hardcore fans know props should go to its lead animator and actual director, Henry Selick, a one-time Bay Area film-scene mainstay.\u003c/p>\n\u003cp>Selick’s new film, \u003cb>Coraline\u003c/b>, is another breakthrough: the first stop-motion animated feature conceived and filmed entirely in stereoscopic 3D. And it’s beautifully realized; old fans will not be disappointed and new ones will be made. Adapted by Selick from Neil Gaiman’s best-selling book, \u003cb>Coraline\u003c/b> tells the tale of a resourceful young girl (voiced by Dakota Fanning) who moves with her neglectful parents (Teri Hatcher and John Hodgman) into a big, strange house in the Pacific Northwest. Therein she discovers a hidden doorway to an alternate version of her own life — which seems much better, until it seems much worse.\u003c/p>\n\u003cp>Selick talked to KQED about his Bay Area moviemaking roots, the time-intensive art of animated adaptation, and where he might like to go next.\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> First, tell us about your time in the Bay Area, and what it meant for you creatively.\u003c/p>\n\u003cp>\u003cb>SELICK:\u003c/b> I came to the Bay Area in the fall of 1981, and lived here 24 years, and it was very much about creativity. I had gone to Cal Arts in Southern California, and worked at Disney for several years. One of my teachers, Jules Engle, told me about this independent animated film being done up in the Bay Area, \u003ca href=\"http://www.imdb.com/title/tt0086489/\">Twice Upon a Time\u003c/a>, by John Korty. And I got to meet with him and it was very impressive. My wife, who became an animation producer, is also an artist, and both of us just changed our life plans immediately and moved to the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Remember, it was Korty, shooting movies with a lot of improvisation on a shoestring, who’d encouraged George Lucas and Francis Coppola to come up here. Anyway, I ended up being a sequence director on \u003cb>Twice Upon a Time\u003c/b>, which means there are a couple of sequences that I storyboarded and directed. At that time it was in Mill Valley — the whole production was in this big house, every room jammed with artists and cameras. Lucas was an executive producer. I think it cost about 4 million dollars for the whole movie.\u003c/p>\n\u003cp>The Bay Area was a creative beacon then, and continues to be. Later I worked with Walter Murch, and with Carol Ballard, which was fantastic and very challenging. You wore many hats when you worked with these people.\u003c/p>\n\u003cp>Ultimately I started doing a lot of animation through my own little company, Twitching Images, for MTV. I brought in other animators to work with me, a core group. And we did a bunch of animations for Colossal Pictures, which was this great commercials house in town for a number of years. Then when Tim Burton left Disney and had the power to resurrect his \u003cb>Nightmare Before Christmas\u003c/b>, that core group became the supervisors. We set it up in the Bay Area, took over some warehouses, and off we went. It’s a great place for independent spirits. You’re a cog in a wheel in Los Angeles, where there are these incredible teams of people that work on films; in the Bay Area, you carry more weight as an individual.\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> In recent years you’ve been up in Portland, with the Laika company, where you made \u003cb>Coraline\u003c/b>. Do you feel you’ve had the kind of freedom there and the resources that you need?\u003c/p>\n\u003cp>\u003cb>SELICK:\u003c/b>At Laika, the creative support was phenomenal. This is very much my vision, with the help of an army of incredibly talented designers and animators and artists up on the screen.\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b>So, tell us about turning \u003cb>Coraline\u003c/b> the book into \u003cb>Coraline\u003c/b> the movie.\u003c/p>\n\u003cp>\u003cb>SELICK:\u003c/b> You have to rip it apart. You start from the outside, and you think, “Oh, I just need to do these surface things and it’s a movie,” but you need to rip it apart and reassemble it many, many times. It still needs to feel like the book, to smell like the book. This book is great. Fans of the book need to feel that it wasn’t abandoned. But the surgery is very deep and took time.\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> Speaking of which, Neil Gaiman has said that the book took him a very long time to write. And of course the process of stop-motion animation is sort of famously time-consuming. What can you say about the creative value of taking your time? What does time give you?\u003c/p>\n\u003cp>\u003cb>SELICK:\u003c/b> This film took a very long time to get up on its feet, to get people to support and believe in it artistically, but it’s the best possible thing that it took that long. I met Neil Gaiman and read an early manuscript in 2000. I convinced him and our producer to let me adapt \u003cb>Coraline\u003c/b> and write the screenplay, and so my first draft was way too faithful to the book. It wasn’t a movie. It’s only because in that early stage there wasn’t a schedule or funding for a whole movie that I had the time to become a much better screenwriter. I was able to go away from Neil in order to transform the story into something that was working. That second draft is where I changed it from England to the U.S., I introduced this new character, and so on. Surprisingly, even though it had some fairly big changes to the book, that’s the one that Neil, and the producer, responded to.\u003c/p>\n\u003cp>I also had to move over to do other projects along the way to pay the bills, but I would never stop thinking about \u003cb>Coraline\u003c/b>. I would always take out the screenplay and work on it. I had time to grow a complete vision in my mind. I imagined every scene in the film again and again and again. I was making the movie in my head for several years before finally hooking up with the Laika company. And then there’s just these lucky accidents. I was interested in 3D, and there was enough time for that technology to get to the point where it was out into the theaters just as I was starting production. If the film had gone into production earlier, I wouldn’t have been able to shoot it that way.\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> Part of what’s compelling about \u003cb>Coraline\u003c/b> is that it’s so sophisticatedly beautiful but also so unsettling. You’re invited into what seems like an enchanted world, and it is, but you come to discover something very sinister in that enchantment.\u003c/p>\n\u003cp>\u003cb>SELICK:\u003c/b> I’m not interested in creating comfort food for the audience. I’m hoping it’s a combination of beauty and a challenge — something they might remember for more than five minutes at the end of the day. The film is unsettling at times because that’s the story. And the 3D not only captures stop-motion effectively — this real stuff that’s flawed because humans are manipulating puppets — but it’s used pretty carefully to draw the audience in, as \u003cb>Coraline\u003c/b> gets drawn in, to this alternate reality. It seems very pleasant but then turns out to be a trap. And we manipulate the 3D at that point too, to make a pleasant 3D experience actually get a little more…intense.\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> As you keep moving forward in this medium, are there particular people you hope to work with, or techniques you hope to master? Maybe particular stories you hope to tell?\u003c/p>\n\u003cp>\u003cb>SELICK:\u003c/b> At this point I’m very much in the \u003cb>Coraline\u003c/b> moment, but there are things that have been discussed, possible collaborations, and always ideas. The film I most want to see right now — I haven’t seen it yet — is \u003cb>Waltz with Bashir\u003c/b>, the Israeli film, which tackles an incredibly serious subject and uses animation. I’m very interested in that. I would like to keep pushing what animation can do in this country.\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> One thing we know about animation in America now is how well it lends itself to merchandising. And maybe even more so with a film like \u003cb>Coraline\u003c/b>, whose creation required actual “action figures.” How do you feel about the merchandising of your films?\u003c/p>\n\u003cp>\u003cb>SELICK:\u003c/b> With \u003cb>Nightmare Before Christmas\u003c/b>, originally, there was only a limited amount of merchandise. People didn’t necessarily have that much faith in it on that front; it was too different. So it’s actually very gratifying to have kids come to my house on Halloween, who don’t know I had anything to do with the film, all dressed up as the characters. It’s a nice thing to see it out in the world. Certainly it can get grotesque when things are over-merchandised, and I would want things to be done nicely with high quality. We have too much junk. So I’d rather make less stuff but make it really good, make it something that lasts. As with the movies themselves.\u003c/p>\n\u003cp>Read a \u003ca href=\"http://jonathankiefer.wordpress.com/2009/02/02/coraline/\">full review\u003c/a> of \u003cb>Coraline\u003c/b> on Jonathan Kiefer’s blog.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Coraline\u003c/b> opens everywhere Friday, February 6, 2009. For \u003ca href=\"http://www.coraline.com\">more information\u003c/a>, visit coraline.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even though that still-revered stop-motion animation breakthrough from 1993 goes by the official title \u003cb>Tim Burton’s The Nightmare Before Christmas\u003c/b>, hardcore fans know props should go to its lead animator and actual director, Henry Selick, a one-time Bay Area film-scene mainstay.\u003c/p>\n\u003cp>Selick’s new film, \u003cb>Coraline\u003c/b>, is another breakthrough: the first stop-motion animated feature conceived and filmed entirely in stereoscopic 3D. And it’s beautifully realized; old fans will not be disappointed and new ones will be made. Adapted by Selick from Neil Gaiman’s best-selling book, \u003cb>Coraline\u003c/b> tells the tale of a resourceful young girl (voiced by Dakota Fanning) who moves with her neglectful parents (Teri Hatcher and John Hodgman) into a big, strange house in the Pacific Northwest. Therein she discovers a hidden doorway to an alternate version of her own life — which seems much better, until it seems much worse.\u003c/p>\n\u003cp>Selick talked to KQED about his Bay Area moviemaking roots, the time-intensive art of animated adaptation, and where he might like to go next.\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> First, tell us about your time in the Bay Area, and what it meant for you creatively.\u003c/p>\n\u003cp>\u003cb>SELICK:\u003c/b> I came to the Bay Area in the fall of 1981, and lived here 24 years, and it was very much about creativity. I had gone to Cal Arts in Southern California, and worked at Disney for several years. One of my teachers, Jules Engle, told me about this independent animated film being done up in the Bay Area, \u003ca href=\"http://www.imdb.com/title/tt0086489/\">Twice Upon a Time\u003c/a>, by John Korty. And I got to meet with him and it was very impressive. My wife, who became an animation producer, is also an artist, and both of us just changed our life plans immediately and moved to the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Remember, it was Korty, shooting movies with a lot of improvisation on a shoestring, who’d encouraged George Lucas and Francis Coppola to come up here. Anyway, I ended up being a sequence director on \u003cb>Twice Upon a Time\u003c/b>, which means there are a couple of sequences that I storyboarded and directed. At that time it was in Mill Valley — the whole production was in this big house, every room jammed with artists and cameras. Lucas was an executive producer. I think it cost about 4 million dollars for the whole movie.\u003c/p>\n\u003cp>The Bay Area was a creative beacon then, and continues to be. Later I worked with Walter Murch, and with Carol Ballard, which was fantastic and very challenging. You wore many hats when you worked with these people.\u003c/p>\n\u003cp>Ultimately I started doing a lot of animation through my own little company, Twitching Images, for MTV. I brought in other animators to work with me, a core group. And we did a bunch of animations for Colossal Pictures, which was this great commercials house in town for a number of years. Then when Tim Burton left Disney and had the power to resurrect his \u003cb>Nightmare Before Christmas\u003c/b>, that core group became the supervisors. We set it up in the Bay Area, took over some warehouses, and off we went. It’s a great place for independent spirits. You’re a cog in a wheel in Los Angeles, where there are these incredible teams of people that work on films; in the Bay Area, you carry more weight as an individual.\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> In recent years you’ve been up in Portland, with the Laika company, where you made \u003cb>Coraline\u003c/b>. Do you feel you’ve had the kind of freedom there and the resources that you need?\u003c/p>\n\u003cp>\u003cb>SELICK:\u003c/b>At Laika, the creative support was phenomenal. This is very much my vision, with the help of an army of incredibly talented designers and animators and artists up on the screen.\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b>So, tell us about turning \u003cb>Coraline\u003c/b> the book into \u003cb>Coraline\u003c/b> the movie.\u003c/p>\n\u003cp>\u003cb>SELICK:\u003c/b> You have to rip it apart. You start from the outside, and you think, “Oh, I just need to do these surface things and it’s a movie,” but you need to rip it apart and reassemble it many, many times. It still needs to feel like the book, to smell like the book. This book is great. Fans of the book need to feel that it wasn’t abandoned. But the surgery is very deep and took time.\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> Speaking of which, Neil Gaiman has said that the book took him a very long time to write. And of course the process of stop-motion animation is sort of famously time-consuming. What can you say about the creative value of taking your time? What does time give you?\u003c/p>\n\u003cp>\u003cb>SELICK:\u003c/b> This film took a very long time to get up on its feet, to get people to support and believe in it artistically, but it’s the best possible thing that it took that long. I met Neil Gaiman and read an early manuscript in 2000. I convinced him and our producer to let me adapt \u003cb>Coraline\u003c/b> and write the screenplay, and so my first draft was way too faithful to the book. It wasn’t a movie. It’s only because in that early stage there wasn’t a schedule or funding for a whole movie that I had the time to become a much better screenwriter. I was able to go away from Neil in order to transform the story into something that was working. That second draft is where I changed it from England to the U.S., I introduced this new character, and so on. Surprisingly, even though it had some fairly big changes to the book, that’s the one that Neil, and the producer, responded to.\u003c/p>\n\u003cp>I also had to move over to do other projects along the way to pay the bills, but I would never stop thinking about \u003cb>Coraline\u003c/b>. I would always take out the screenplay and work on it. I had time to grow a complete vision in my mind. I imagined every scene in the film again and again and again. I was making the movie in my head for several years before finally hooking up with the Laika company. And then there’s just these lucky accidents. I was interested in 3D, and there was enough time for that technology to get to the point where it was out into the theaters just as I was starting production. If the film had gone into production earlier, I wouldn’t have been able to shoot it that way.\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> Part of what’s compelling about \u003cb>Coraline\u003c/b> is that it’s so sophisticatedly beautiful but also so unsettling. You’re invited into what seems like an enchanted world, and it is, but you come to discover something very sinister in that enchantment.\u003c/p>\n\u003cp>\u003cb>SELICK:\u003c/b> I’m not interested in creating comfort food for the audience. I’m hoping it’s a combination of beauty and a challenge — something they might remember for more than five minutes at the end of the day. The film is unsettling at times because that’s the story. And the 3D not only captures stop-motion effectively — this real stuff that’s flawed because humans are manipulating puppets — but it’s used pretty carefully to draw the audience in, as \u003cb>Coraline\u003c/b> gets drawn in, to this alternate reality. It seems very pleasant but then turns out to be a trap. And we manipulate the 3D at that point too, to make a pleasant 3D experience actually get a little more…intense.\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> As you keep moving forward in this medium, are there particular people you hope to work with, or techniques you hope to master? Maybe particular stories you hope to tell?\u003c/p>\n\u003cp>\u003cb>SELICK:\u003c/b> At this point I’m very much in the \u003cb>Coraline\u003c/b> moment, but there are things that have been discussed, possible collaborations, and always ideas. The film I most want to see right now — I haven’t seen it yet — is \u003cb>Waltz with Bashir\u003c/b>, the Israeli film, which tackles an incredibly serious subject and uses animation. I’m very interested in that. I would like to keep pushing what animation can do in this country.\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> One thing we know about animation in America now is how well it lends itself to merchandising. And maybe even more so with a film like \u003cb>Coraline\u003c/b>, whose creation required actual “action figures.” How do you feel about the merchandising of your films?\u003c/p>\n\u003cp>\u003cb>SELICK:\u003c/b> With \u003cb>Nightmare Before Christmas\u003c/b>, originally, there was only a limited amount of merchandise. People didn’t necessarily have that much faith in it on that front; it was too different. So it’s actually very gratifying to have kids come to my house on Halloween, who don’t know I had anything to do with the film, all dressed up as the characters. It’s a nice thing to see it out in the world. Certainly it can get grotesque when things are over-merchandised, and I would want things to be done nicely with high quality. We have too much junk. So I’d rather make less stuff but make it really good, make it something that lasts. As with the movies themselves.\u003c/p>\n\u003cp>Read a \u003ca href=\"http://jonathankiefer.wordpress.com/2009/02/02/coraline/\">full review\u003c/a> of \u003cb>Coraline\u003c/b> on Jonathan Kiefer’s blog.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In 2005’s \u003cb>The Joy of Life\u003c/b>, a poignant personal history of the Golden Gate Bridge as suicide landmark, filmmaker and LGBT cinema historian Jenni Olson seemed to reach the apotheosis of a deceptively simple experimental cinema technique: static shots of mostly unpeopled urban spaces, arranged in mesmerizing sequence and overlaid with disembodied yet deeply intimate voice-over narration.\u003c/p>\n\u003cp>That film still feels like one of the essential texts of San Francisco cinema. But Olson and the method she’s so finely honed — by now a familiar recipe, in lesser artists’ hands, for pretentious rubbish — are by no means exhausted. To wit: her most recent short, \u003cb>575 Castro Street\u003c/b>, with which Olson traveled to the ’09 Sundance Film Festival.\u003c/p>\n\u003cp>In \u003cb>575 Castro Street\u003c/b>‘s case, the empty urban space is the inside of the Castro Camera Store, recreated at that address as a set for Gus Van Sant’s momentous biopic, \u003cb>Milk\u003c/b>. The narration, of sorts, is a careful abridgement of the November, 1977, audiotape Harvey Milk made “to be played only in the event of my death by assassination.”\u003c/p>\n\u003cp>These words and images will be familiar to anyone who’s seen even the trailers of \u003cb>Milk\u003c/b>, for which Sean Penn’s performance of that prescient recording serves as a narrative bracket. (It also includes the slain gay rights hero’s still-rousing slogan, “You gotta give ’em hope.”) But Olson’s arrangement, lasting all of seven minutes, is not redundant; it’s reinvigorating.\u003c/p>\n\u003cp>The film has only four shots. Its only action, per se, comes from spills of light and shadow kicked up by passing cars on the street outside. But because Olson is such a keen, open-hearted noticer, equally attuned to verbal and visual lyricism, stasis is precisely what she avoids. Her compositions exude the elegance and fortitude warranted by their duty as selected echo chambers for Harvey Milk’s official last words.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>575 Castro Street\u003c/b> doesn’t strain for grandeur and doesn’t need to; the power comes from resonant simplicity. It plays like a memory-infused dream, in which all that’s fully palpable is a feeling of absence, the residue of a human soul.\u003c/p>\n\u003cp>What’s more, the hauntedness goes many-layers deep — not just because the film records an actual place, recreated in its own image explicitly for the purpose of fictively commemorative cinematography, but because, as an introductory title card explains, \u003cb>575 Castro Street\u003c/b> shares some formal DNA with the short, experimental queer-cinema ditties that once went to Harvey Milk’s Castro Camera Store for processing.\u003c/p>\n\u003cp>And so it works on the heart \u003ci>and\u003c/i> on the mind; as a companion to Van Sant’s \u003cb>Milk\u003c/b> \u003ci>and\u003c/i> an extension of Olson’s \u003cb>The Joy of Life\u003c/b>; as a fleeting beauty and an enduring one.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch \u003cb>575 Castro Street\u003c/b> at 575castrostreet.blogspot.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2005’s \u003cb>The Joy of Life\u003c/b>, a poignant personal history of the Golden Gate Bridge as suicide landmark, filmmaker and LGBT cinema historian Jenni Olson seemed to reach the apotheosis of a deceptively simple experimental cinema technique: static shots of mostly unpeopled urban spaces, arranged in mesmerizing sequence and overlaid with disembodied yet deeply intimate voice-over narration.\u003c/p>\n\u003cp>That film still feels like one of the essential texts of San Francisco cinema. But Olson and the method she’s so finely honed — by now a familiar recipe, in lesser artists’ hands, for pretentious rubbish — are by no means exhausted. To wit: her most recent short, \u003cb>575 Castro Street\u003c/b>, with which Olson traveled to the ’09 Sundance Film Festival.\u003c/p>\n\u003cp>In \u003cb>575 Castro Street\u003c/b>‘s case, the empty urban space is the inside of the Castro Camera Store, recreated at that address as a set for Gus Van Sant’s momentous biopic, \u003cb>Milk\u003c/b>. The narration, of sorts, is a careful abridgement of the November, 1977, audiotape Harvey Milk made “to be played only in the event of my death by assassination.”\u003c/p>\n\u003cp>These words and images will be familiar to anyone who’s seen even the trailers of \u003cb>Milk\u003c/b>, for which Sean Penn’s performance of that prescient recording serves as a narrative bracket. (It also includes the slain gay rights hero’s still-rousing slogan, “You gotta give ’em hope.”) But Olson’s arrangement, lasting all of seven minutes, is not redundant; it’s reinvigorating.\u003c/p>\n\u003cp>The film has only four shots. Its only action, per se, comes from spills of light and shadow kicked up by passing cars on the street outside. But because Olson is such a keen, open-hearted noticer, equally attuned to verbal and visual lyricism, stasis is precisely what she avoids. Her compositions exude the elegance and fortitude warranted by their duty as selected echo chambers for Harvey Milk’s official last words.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>575 Castro Street\u003c/b> doesn’t strain for grandeur and doesn’t need to; the power comes from resonant simplicity. It plays like a memory-infused dream, in which all that’s fully palpable is a feeling of absence, the residue of a human soul.\u003c/p>\n\u003cp>What’s more, the hauntedness goes many-layers deep — not just because the film records an actual place, recreated in its own image explicitly for the purpose of fictively commemorative cinematography, but because, as an introductory title card explains, \u003cb>575 Castro Street\u003c/b> shares some formal DNA with the short, experimental queer-cinema ditties that once went to Harvey Milk’s Castro Camera Store for processing.\u003c/p>\n\u003cp>And so it works on the heart \u003ci>and\u003c/i> on the mind; as a companion to Van Sant’s \u003cb>Milk\u003c/b> \u003ci>and\u003c/i> an extension of Olson’s \u003cb>The Joy of Life\u003c/b>; as a fleeting beauty and an enduring one.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch \u003cb>575 Castro Street\u003c/b> at 575castrostreet.blogspot.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If \u003cb>Scott Walker: 30 Century Man\u003c/b> doesn’t quite know what to do with its subject, aside from revering him, well, who does?\u003c/p>\n\u003cp>Director Stephen Kijak, in this points-for-bravery, first-ever Scott Walker documentary, does at least shrewdly begin by invoking Orpheus, the famed poet-musician of Greek myth whose skills were serious enough to persuade Hades to give back his girlfriend. The idea is to make us think “wow” and “yikes” at the same time.\u003c/p>\n\u003cp>And that is about what it’s like to witness Walker’s long strange trip from ’60s Britpop trio the Walker Brothers, who were not related or actually named Walker or even British in his case, to avant-garde recluse adored by fellow artistes as disparate as Sting and Radiohead and responsible for increasingly strange and infrequent recordings to which he won’t ever listen upon their completion, probably because even he doesn’t fully understand.\u003c/p>\n\u003cp>Yes, when Brian Eno says, “These are very, very spaced-out pop songs,” and David Bowie says, “I have no idea what he’s singing about,” the artist being discussed is nothing if not a serious one. Kijak may even figure he doesn’t need to work too hard; as an insidery profile of an ultimate outsider, this is music-doc manna.\u003c/p>\n\u003cp>Most of \u003cb>Scott Walker: 30 Century Man\u003c/b> feels like having just been slipped an unknown LP from an earnestly intelligent fanboy friend who has locked the door and won’t let you leave without listening. For starters, just take the voice — that bewitching, reverb-abetted, somehow confidently tremulous baritone. Somebody in the movie says it’s beautiful and unpleasant at the same time, and that’s an understatement. One minute it’s as trivial sounding as some sci-fi ritual ditty sung by Spock in the original \u003cb>Star Trek\u003c/b>; the next it’s, well, still kinda sci-fi, but with enough music-of-the-spheres seriousness to make you think the universe really is singing to you. Or just watch Walker go when he’s in his studio. How demanding life must be within his selective fraternity of random sessioners; how exactingly he gathers, say, the sounds of meat being punched for a piece inspired by the execution of Mussolini.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just get over the idea that your leg’s being pulled, \u003cb>Spinal Tap\u003c/b>-style, with that array of early solo albums: \u003cb>Scott\u003c/b>, \u003cb>Scott 2\u003c/b>, \u003cb>Scott 3\u003c/b> and, according to the prim narration, “what was regarded as his masterpiece of the period, \u003cb>Scott 4\u003c/b>.” Upon this last, incidentally, is inscribed a useful quotation from Camus: “A man’s work is nothing but this slow trek to rediscover through the detours of art those two or three great and simple images in whose presence his heart first opened.”\u003c/p>\n\u003cp>The engagement to be had here isn’t from parsing Walker’s mysteries, or making a case that he’s the peer of James Joyce or Francis Bacon or whomever. It’s about the pleasure of witnessing one man’s steady, uncompromising approach to his own unique artistic ideal.\u003c/p>\n\u003cp>Kijak also makes telling use of footage from archival performances, illustrating both Walker’s divergence from American popular music and his own individual consistency. Whether in a rudimentary TV spot from the ’60s or an actual music video from the ’80s, Walker wears the given era’s trappings awkwardly. Not because he’s unattractive; quite the contrary, as several people here attest. Not because he’s a poseur; even more people, including the man himself, will attest to the conviction with which he has shunned public attention. No, he doesn’t fit in because the trappings can’t trap him — or even seem to keep up. Quite clearly Scott Walker has always been ahead of his time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Scott Walker: 30 Century Man\u003c/b> opens Friday, January 23, 2009 at the Opera Plaza Cinema in San Francisco and the Shattuck Cinemas in Berkeley. For \u003ca href=\"http://www.landmarktheatres.com\">tickets and information\u003c/a> visit www.landmarktheatres.com. An opening night party, sponsored by \u003ca href=\"http://www.noisepop.com/\">Noise Pop\u003c/a>, will be held at 9:30pm Friday, January 23 (TONIGHT) at Casanova, 527 Valencia Street, San Francisco, with director Stephen Kijak as DJ. Kijak will speak to opening weekend audiences: at Opera Plaza in SF on Friday, January 23 at both evening shows, and at Shattuck in Berkeley on Saturday, January 24 at late afternoon and early evening shows.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If \u003cb>Scott Walker: 30 Century Man\u003c/b> doesn’t quite know what to do with its subject, aside from revering him, well, who does?\u003c/p>\n\u003cp>Director Stephen Kijak, in this points-for-bravery, first-ever Scott Walker documentary, does at least shrewdly begin by invoking Orpheus, the famed poet-musician of Greek myth whose skills were serious enough to persuade Hades to give back his girlfriend. The idea is to make us think “wow” and “yikes” at the same time.\u003c/p>\n\u003cp>And that is about what it’s like to witness Walker’s long strange trip from ’60s Britpop trio the Walker Brothers, who were not related or actually named Walker or even British in his case, to avant-garde recluse adored by fellow artistes as disparate as Sting and Radiohead and responsible for increasingly strange and infrequent recordings to which he won’t ever listen upon their completion, probably because even he doesn’t fully understand.\u003c/p>\n\u003cp>Yes, when Brian Eno says, “These are very, very spaced-out pop songs,” and David Bowie says, “I have no idea what he’s singing about,” the artist being discussed is nothing if not a serious one. Kijak may even figure he doesn’t need to work too hard; as an insidery profile of an ultimate outsider, this is music-doc manna.\u003c/p>\n\u003cp>Most of \u003cb>Scott Walker: 30 Century Man\u003c/b> feels like having just been slipped an unknown LP from an earnestly intelligent fanboy friend who has locked the door and won’t let you leave without listening. For starters, just take the voice — that bewitching, reverb-abetted, somehow confidently tremulous baritone. Somebody in the movie says it’s beautiful and unpleasant at the same time, and that’s an understatement. One minute it’s as trivial sounding as some sci-fi ritual ditty sung by Spock in the original \u003cb>Star Trek\u003c/b>; the next it’s, well, still kinda sci-fi, but with enough music-of-the-spheres seriousness to make you think the universe really is singing to you. Or just watch Walker go when he’s in his studio. How demanding life must be within his selective fraternity of random sessioners; how exactingly he gathers, say, the sounds of meat being punched for a piece inspired by the execution of Mussolini.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just get over the idea that your leg’s being pulled, \u003cb>Spinal Tap\u003c/b>-style, with that array of early solo albums: \u003cb>Scott\u003c/b>, \u003cb>Scott 2\u003c/b>, \u003cb>Scott 3\u003c/b> and, according to the prim narration, “what was regarded as his masterpiece of the period, \u003cb>Scott 4\u003c/b>.” Upon this last, incidentally, is inscribed a useful quotation from Camus: “A man’s work is nothing but this slow trek to rediscover through the detours of art those two or three great and simple images in whose presence his heart first opened.”\u003c/p>\n\u003cp>The engagement to be had here isn’t from parsing Walker’s mysteries, or making a case that he’s the peer of James Joyce or Francis Bacon or whomever. It’s about the pleasure of witnessing one man’s steady, uncompromising approach to his own unique artistic ideal.\u003c/p>\n\u003cp>Kijak also makes telling use of footage from archival performances, illustrating both Walker’s divergence from American popular music and his own individual consistency. Whether in a rudimentary TV spot from the ’60s or an actual music video from the ’80s, Walker wears the given era’s trappings awkwardly. Not because he’s unattractive; quite the contrary, as several people here attest. Not because he’s a poseur; even more people, including the man himself, will attest to the conviction with which he has shunned public attention. No, he doesn’t fit in because the trappings can’t trap him — or even seem to keep up. Quite clearly Scott Walker has always been ahead of his time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Scott Walker: 30 Century Man\u003c/b> opens Friday, January 23, 2009 at the Opera Plaza Cinema in San Francisco and the Shattuck Cinemas in Berkeley. For \u003ca href=\"http://www.landmarktheatres.com\">tickets and information\u003c/a> visit www.landmarktheatres.com. An opening night party, sponsored by \u003ca href=\"http://www.noisepop.com/\">Noise Pop\u003c/a>, will be held at 9:30pm Friday, January 23 (TONIGHT) at Casanova, 527 Valencia Street, San Francisco, with director Stephen Kijak as DJ. Kijak will speak to opening weekend audiences: at Opera Plaza in SF on Friday, January 23 at both evening shows, and at Shattuck in Berkeley on Saturday, January 24 at late afternoon and early evening shows.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Black as Ink: Noir City 7",
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"content": "\u003cp>One of the pleasures of film noir is the presence of an array of last-century anachronisms, from fedoras to stenographers to nickel cups of coffee. This year’s \u003cb>Noir City\u003c/b> film festival spotlights another once-familiar part of daily life that’s going the way of the double-breasted suit: newspapers. “Stop the presses” once signified a dramatic crescendo, the hardboiled program reminds us, not a funereal hum.\u003c/p>\n\u003cp>Have no fear that I’m going to strike a maudlin tone here, for Noir City festival director, Eddie Muller’s annual parade of doomed hustlers, scheming femme fatales and slick nighttime streets is nothing if not a celebration — of grown-up style, of stained virtue, and of our own hard-won cynicism and urban smarts. Of cities, above all, and their solid edifices and shadowy inhabitants.\u003c/p>\n\u003cp>Newspapers used to be the heartbeat of cities, the clearinghouse through which every event of any importance or color passed. (Perhaps that’s why my father instructed me to keep the papers when he and my mother went away on vacation every year, and religiously went through them when he returned.) Read properly, your city paper was a kind of real-life, serialized Chekhov novel that, over time, captured the unique contours and character of your hometown.\u003c/p>\n\u003cp>\u003cb>Chicago Deadline\u003c/b>, presented in an ultra-rare print as the second half of this Saturday’s matinee double bill with the mystery-writer tingler \u003cb>Blind Spot\u003c/b>, gives us an intrepid reporter (Alan Ladd) trying to unearth the identity of a woman he finds dead in a low-rent brothel. This is a profile of the newspaperman as urban conscience, aiming to preserve a level of compassion and service long abandoned by the corrupt politicians and seen-it-all cops. This sordid tale is one of a million in the naked city, but it reveals that as early as 1949 everything wasn’t all sunshine and roses in postwar America.\u003c/p>\n\u003cp>For a more poisonous take on the journalist’s creed, look no further than Kirk Douglas’s ambitious, amoral reporter in Billy Wilder’s jaw-dropping \u003cb>Ace in the Hole\u003c/b> (aka \u003cb>The Big Carnival\u003c/b>), playing Sunday with the little-seen hunted-fugitive drama \u003cb>City of the Hunted\u003c/b>. Wilder’s prescient tale anticipates the calculated sensationalism of cable news (as well as reality TV), while alerting us to the threat that untrustworthy media pose to our democracy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No doubt some in the Castro audience this Sunday will be reminded of the media’s complicity in the run-up to the invasion of Iraq. But shoddy newspapers are still better than no papers, and the \u003cb>Noir City\u003c/b> titles with ink-stained wretches as their heroes and villains invite us to consider what lies ahead for our print-challenged democracy.\u003c/p>\n\u003cp>I should note that only a portion of the dark artifacts from the ’40s and ’50s in the 10-day program deal with journalism or publishing, leaving plenty of room for other juicy morsels. An unqualified highlight is the Arlene Dahl double feature this Saturday night, January 24, with the alluring actress fielding Muller’s questions and spinning anecdotes between movies. Here’s another tip: When in doubt, check out a twin bill that’s not available on home video. By joining a horde of strangers parked in front of a big screen, you’re embracing the unspoken theme of \u003cb>Noir City 7\u003c/b>: New technology ain’t all it’s cracked up to be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Noir City 7\u003c/b> plays January 23-February 1, 2009 at the Castro Theatre in San Francisco. For \u003ca href=\"http:/www.noircity.com\">tickets and information\u003c/a> visit noircity.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the pleasures of film noir is the presence of an array of last-century anachronisms, from fedoras to stenographers to nickel cups of coffee. This year’s \u003cb>Noir City\u003c/b> film festival spotlights another once-familiar part of daily life that’s going the way of the double-breasted suit: newspapers. “Stop the presses” once signified a dramatic crescendo, the hardboiled program reminds us, not a funereal hum.\u003c/p>\n\u003cp>Have no fear that I’m going to strike a maudlin tone here, for Noir City festival director, Eddie Muller’s annual parade of doomed hustlers, scheming femme fatales and slick nighttime streets is nothing if not a celebration — of grown-up style, of stained virtue, and of our own hard-won cynicism and urban smarts. Of cities, above all, and their solid edifices and shadowy inhabitants.\u003c/p>\n\u003cp>Newspapers used to be the heartbeat of cities, the clearinghouse through which every event of any importance or color passed. (Perhaps that’s why my father instructed me to keep the papers when he and my mother went away on vacation every year, and religiously went through them when he returned.) Read properly, your city paper was a kind of real-life, serialized Chekhov novel that, over time, captured the unique contours and character of your hometown.\u003c/p>\n\u003cp>\u003cb>Chicago Deadline\u003c/b>, presented in an ultra-rare print as the second half of this Saturday’s matinee double bill with the mystery-writer tingler \u003cb>Blind Spot\u003c/b>, gives us an intrepid reporter (Alan Ladd) trying to unearth the identity of a woman he finds dead in a low-rent brothel. This is a profile of the newspaperman as urban conscience, aiming to preserve a level of compassion and service long abandoned by the corrupt politicians and seen-it-all cops. This sordid tale is one of a million in the naked city, but it reveals that as early as 1949 everything wasn’t all sunshine and roses in postwar America.\u003c/p>\n\u003cp>For a more poisonous take on the journalist’s creed, look no further than Kirk Douglas’s ambitious, amoral reporter in Billy Wilder’s jaw-dropping \u003cb>Ace in the Hole\u003c/b> (aka \u003cb>The Big Carnival\u003c/b>), playing Sunday with the little-seen hunted-fugitive drama \u003cb>City of the Hunted\u003c/b>. Wilder’s prescient tale anticipates the calculated sensationalism of cable news (as well as reality TV), while alerting us to the threat that untrustworthy media pose to our democracy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No doubt some in the Castro audience this Sunday will be reminded of the media’s complicity in the run-up to the invasion of Iraq. But shoddy newspapers are still better than no papers, and the \u003cb>Noir City\u003c/b> titles with ink-stained wretches as their heroes and villains invite us to consider what lies ahead for our print-challenged democracy.\u003c/p>\n\u003cp>I should note that only a portion of the dark artifacts from the ’40s and ’50s in the 10-day program deal with journalism or publishing, leaving plenty of room for other juicy morsels. An unqualified highlight is the Arlene Dahl double feature this Saturday night, January 24, with the alluring actress fielding Muller’s questions and spinning anecdotes between movies. Here’s another tip: When in doubt, check out a twin bill that’s not available on home video. By joining a horde of strangers parked in front of a big screen, you’re embracing the unspoken theme of \u003cb>Noir City 7\u003c/b>: New technology ain’t all it’s cracked up to be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Noir City 7\u003c/b> plays January 23-February 1, 2009 at the Castro Theatre in San Francisco. For \u003ca href=\"http:/www.noircity.com\">tickets and information\u003c/a> visit noircity.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s a famous scene in the Robert Altman film \u003cb>The Player\u003c/b> in which a group of self-infatuated movie producers are enjoying a lavish lunch. Between calorie-counting bites and frequent sips of wine, they talk animatedly about the topical intrigues of their industry until producer Griffin Mill, who’s got issues, challenges his colleagues to change the subject. Naturally, they can’t. After an awkward pause, the group retreats to the familiar terrain of Hollywood chatter.\u003c/p>\n\u003cp>The characters who populate John Guare’s \u003cb>Rich and Famous,\u003c/b> now through February 8, 2009 at A.C.T., are similarly obsessed by their chosen milieu, except they are even more shallow than Mill’s lunchmates. Lacking the talent and brains that might have enabled them to converse about their industry as knowingly as Altman’s players, Guare’s creations are focused entirely, pathetically, on their narcissistic, infantile dreams of fame and fortune.\u003c/p>\n\u003cp>They work hard at their folly. Guare’s protagonist, a playwright named Bing Ringling (Brooks Ashmanskas), cranks out 843 scripts before a masterwork of pretense called \u003cb>Etruscan Conundrum\u003c/b> is picked up by the wildly successful producer Veronica Gulpp-Vestige (Mary Birdsong). Veronica has reaped the rewards of hit after vapid hit but she’s never had a comeback, so she resolves to produce a string of flops with Bing so that she may eventually stage for herself “the greatest comeback since Easter.” Like Bing, she’s prepared to go to a good deal of trouble to achieve failure.\u003c/p>\n\u003cp>Then there’s the insufficiently revered composer Anatol Torah (Stephen DeRosa), who has been minting money his entire career by cranking out meager variations of the same predictable melody. So severe are the pressures of genius on the addled cranium of poor, sensitive Anatol that he routinely flees his pink bedroom-cum-music studio for a quick trip to Hamburg, where he visits a lethal Fight Club to pay for the privilege of strangling a fellow human being to death with piano wire. “It’s delectable,” he purrs.\u003c/p>\n\u003cp>Okay. The desire to be rich and famous clouds the mind, causes us to do insane, unforgivable things and corrupts everything it touches. Got it. And the string of events that litter \u003cb>Rich and Famous\u003c/b> are obviously surreal, so it would be a mistake to take the particulars of the plot too literally.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But what, other than an absurdist take on base desires, is this play really about? In a work of cultural commentary like \u003cb>The Player,\u003c/b> the struggle for fame and fortune is the air the film’s characters breath, but ultimately it’s just the air. That’s probably why Guare’s play feels like such light fare; it’s all about the surface rather than the substance of its characters lives. At best it’s a sophomoric, autobiographical indulgence that would likely not have been taken seriously in the first place were it not for the fact that the author was coming off a hit, \u003cb>The House of Blue Leaves,\u003c/b> when \u003cb>Rich and Famous\u003c/b> opened in New York in 1976. If Guare had been deliberately testing the edges of his newfound success by presenting the world with a play that’s as pompous and inconsequential as Bing’s ill-advised \u003cb>Etruscan Conundrum\u003c/b>, just to see if it would get produced, then maybe we could admire the playwright’s perversity. But you get the feeling that Guare honestly thought (indeed, still believes) that \u003cb>Rich and Famous\u003c/b> is deserving of our time and attention for the lessons and insights it offers grateful audiences. Please.\u003c/p>\n\u003cp>Not to put too fine a point on it, but \u003cb>Rich and Famous\u003c/b> is a handsome, occasionally witty mess. Which makes this production’s mostly strong performances all the more remarkable. Ashmanskas holds things together admirably as Bing. I liked his simultaneous displays of steely determination and fear, his sense of personal integrity fighting with a hair-trigger willingness to sell out, his sincerity and schmaltz. Birdsong has numerous scene-stealing moments. She’s especially good as Leanara, the out-of-her-depth actress in \u003cb>Etruscan Conundrum\u003c/b> who lands a TV role in Hollywood despite forgetting most of Bing’s painstakingly crafted dialogue on opening night. And she’s flat-out hilarious as Bing’s mom, who is so manically obsessed with her precious little boy that she’s bronzed her son’s soiled diapers and saved his bath water in Mason jars.\u003c/p>\n\u003cp>Gregory Wallace is also good as the hapless Aphro; watching Bing struggle to keep a brave face while, off stage, Aphro’s ham-fisted delivery is undermining the play’s key monologue is great fun. Our eyes are on Ashmanskas, but if Wallace was not doing such an expert job of mangling the monologue, Ashmanskas would have nothing for Bing to react to. The only weak link in the small cast is Stephen DeRosa, who elbows his way through his scenes as Anatol Torah and Bing’s dad. These are impressive performances for the sheer volumes of energy that DeRosa brings to the parts, but the unrestrained bluster and bravado push the characters from deliberately absurd to merely annoying, which just so happens to describe \u003cb>Rich and Famous.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Rich and Famous\u003c/b> runs through February 8, 2009 at the Geary Theater in San Francisco. For \u003ca href=\"http://www.act-sf.org\" target=\"offsite\" rel=\"noopener\">tickets and information,\u003c/a>visit act-sf.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a famous scene in the Robert Altman film \u003cb>The Player\u003c/b> in which a group of self-infatuated movie producers are enjoying a lavish lunch. Between calorie-counting bites and frequent sips of wine, they talk animatedly about the topical intrigues of their industry until producer Griffin Mill, who’s got issues, challenges his colleagues to change the subject. Naturally, they can’t. After an awkward pause, the group retreats to the familiar terrain of Hollywood chatter.\u003c/p>\n\u003cp>The characters who populate John Guare’s \u003cb>Rich and Famous,\u003c/b> now through February 8, 2009 at A.C.T., are similarly obsessed by their chosen milieu, except they are even more shallow than Mill’s lunchmates. Lacking the talent and brains that might have enabled them to converse about their industry as knowingly as Altman’s players, Guare’s creations are focused entirely, pathetically, on their narcissistic, infantile dreams of fame and fortune.\u003c/p>\n\u003cp>They work hard at their folly. Guare’s protagonist, a playwright named Bing Ringling (Brooks Ashmanskas), cranks out 843 scripts before a masterwork of pretense called \u003cb>Etruscan Conundrum\u003c/b> is picked up by the wildly successful producer Veronica Gulpp-Vestige (Mary Birdsong). Veronica has reaped the rewards of hit after vapid hit but she’s never had a comeback, so she resolves to produce a string of flops with Bing so that she may eventually stage for herself “the greatest comeback since Easter.” Like Bing, she’s prepared to go to a good deal of trouble to achieve failure.\u003c/p>\n\u003cp>Then there’s the insufficiently revered composer Anatol Torah (Stephen DeRosa), who has been minting money his entire career by cranking out meager variations of the same predictable melody. So severe are the pressures of genius on the addled cranium of poor, sensitive Anatol that he routinely flees his pink bedroom-cum-music studio for a quick trip to Hamburg, where he visits a lethal Fight Club to pay for the privilege of strangling a fellow human being to death with piano wire. “It’s delectable,” he purrs.\u003c/p>\n\u003cp>Okay. The desire to be rich and famous clouds the mind, causes us to do insane, unforgivable things and corrupts everything it touches. Got it. And the string of events that litter \u003cb>Rich and Famous\u003c/b> are obviously surreal, so it would be a mistake to take the particulars of the plot too literally.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But what, other than an absurdist take on base desires, is this play really about? In a work of cultural commentary like \u003cb>The Player,\u003c/b> the struggle for fame and fortune is the air the film’s characters breath, but ultimately it’s just the air. That’s probably why Guare’s play feels like such light fare; it’s all about the surface rather than the substance of its characters lives. At best it’s a sophomoric, autobiographical indulgence that would likely not have been taken seriously in the first place were it not for the fact that the author was coming off a hit, \u003cb>The House of Blue Leaves,\u003c/b> when \u003cb>Rich and Famous\u003c/b> opened in New York in 1976. If Guare had been deliberately testing the edges of his newfound success by presenting the world with a play that’s as pompous and inconsequential as Bing’s ill-advised \u003cb>Etruscan Conundrum\u003c/b>, just to see if it would get produced, then maybe we could admire the playwright’s perversity. But you get the feeling that Guare honestly thought (indeed, still believes) that \u003cb>Rich and Famous\u003c/b> is deserving of our time and attention for the lessons and insights it offers grateful audiences. Please.\u003c/p>\n\u003cp>Not to put too fine a point on it, but \u003cb>Rich and Famous\u003c/b> is a handsome, occasionally witty mess. Which makes this production’s mostly strong performances all the more remarkable. Ashmanskas holds things together admirably as Bing. I liked his simultaneous displays of steely determination and fear, his sense of personal integrity fighting with a hair-trigger willingness to sell out, his sincerity and schmaltz. Birdsong has numerous scene-stealing moments. She’s especially good as Leanara, the out-of-her-depth actress in \u003cb>Etruscan Conundrum\u003c/b> who lands a TV role in Hollywood despite forgetting most of Bing’s painstakingly crafted dialogue on opening night. And she’s flat-out hilarious as Bing’s mom, who is so manically obsessed with her precious little boy that she’s bronzed her son’s soiled diapers and saved his bath water in Mason jars.\u003c/p>\n\u003cp>Gregory Wallace is also good as the hapless Aphro; watching Bing struggle to keep a brave face while, off stage, Aphro’s ham-fisted delivery is undermining the play’s key monologue is great fun. Our eyes are on Ashmanskas, but if Wallace was not doing such an expert job of mangling the monologue, Ashmanskas would have nothing for Bing to react to. The only weak link in the small cast is Stephen DeRosa, who elbows his way through his scenes as Anatol Torah and Bing’s dad. These are impressive performances for the sheer volumes of energy that DeRosa brings to the parts, but the unrestrained bluster and bravado push the characters from deliberately absurd to merely annoying, which just so happens to describe \u003cb>Rich and Famous.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Rich and Famous\u003c/b> runs through February 8, 2009 at the Geary Theater in San Francisco. For \u003ca href=\"http://www.act-sf.org\" target=\"offsite\" rel=\"noopener\">tickets and information,\u003c/a>visit act-sf.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sheesh, it’s a good thing that everything we know about Germany doesn’t only come from English-language films about it. Even now, whether it’s the tastefully depressive (\u003cb>The Boy in the Striped Pajamas\u003c/b>), the shamelessly award-grubbing (\u003cb>The Reader\u003c/b>), the surprisingly stagnant (\u003cb>Valkyrie\u003c/b>) or the grimly perfunctory (\u003cb>Defiance\u003c/b>), the movies still seem stuck on Nazis.\u003c/p>\n\u003cp>Obviously Hollywood isn’t the place to go for a summary of the soul of the German people (and by extension at least some of the Austrian and Swiss peoples). No, for that, we turn to the 14th annual \u003cb>Berlin & Beyond Film Festival\u003c/b>, a week-long motion-picture sammelsurium — yeah, that’s German for smorgasbord — getting underway at the Castro Theatre tonight.\u003c/p>\n\u003cp>Now, to be clear, it’s not that the legacy of German fascism isn’t explored in some of the films, whose thematic questions run a gamut from the practical (How did it happen?) to the rhetorical (Could it happen again?) to the urgently philosophical (Yes, why \u003ci>do\u003c/i> non-German movies keep phoning in stories about it?). It’s just that other things are explored too; the “Beyond” isn’t only geographical, see?\u003c/p>\n\u003cp>Actually, come to think of it, that last question might be a good one for Munich Film Museum director Stefan Drosessler, who on Monday, January 19, leads a talk called “Hollywood Speaks German,” about, indeed, German-language American films from Hollywood’s (and, as it historically happens, the Nazi party’s) early days.\u003c/p>\n\u003cp>But. Yes. Moving on. This year’s fest opens with \u003cb>Cherry Blossoms\u003c/b>, which the press release describes as “a poignant celebration of beauty, new beginnings and transcendence, moving from Berlin to the iconic, fog-shrouded Mount Fuji.” How’s that for beyond?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Quite good, actually. Don’t be thrown by press-release platitudes; its gentle defiance of adequate written description is among \u003cb>Cherry Blossoms\u003c/b>‘ charms. From director Doris Dörrie, this kindhearted tale of a husband and wife’s estrangement from their grown children — and, to everyone’s surprise, from each other — unfurls through lovely, delicate details such as a woman ironing her tears out of a scarf, and impressively non-manipulative narrative reversals best not revealed here. It’s a genuinely affecting account of how our lives accumulate grief and joy in parallel.\u003c/p>\n\u003cp>And that’s just on opening night. Among \u003cb>Berlin & Beyond\u003c/b>‘s other clear highlights is a tribute to and appearance by German New Wave mainstay Wim Wenders, who lived in San Francisco once, and collaborated with Francis Coppola on 1982’s \u003cb>Hammett\u003c/b> but might understandably rather not talk about that. Wenders will introduce his meditative road movie \u003cb>Kings of the Road\u003c/b>, from 1976, and his new film, \u003cb>Palermo Shooting\u003c/b>, in which German punk hero Andreas Frege, aka Campino, plays an existentially yearning fashion photographer and Dennis Hopper plays Death.\u003c/p>\n\u003cp>So it seems that the movies still have much to teach us. And with films like these, who needs Nazis?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Berlin & Beyond\u003c/b> runs from January 15-21, 2009, at the Castro Theatre in San Francisco and January 24, 2009 at the Arena Theater in Point Arena. For \u003ca href=\"http://www.berlinandbeyond.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit www.berlinandbeyond.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sheesh, it’s a good thing that everything we know about Germany doesn’t only come from English-language films about it. Even now, whether it’s the tastefully depressive (\u003cb>The Boy in the Striped Pajamas\u003c/b>), the shamelessly award-grubbing (\u003cb>The Reader\u003c/b>), the surprisingly stagnant (\u003cb>Valkyrie\u003c/b>) or the grimly perfunctory (\u003cb>Defiance\u003c/b>), the movies still seem stuck on Nazis.\u003c/p>\n\u003cp>Obviously Hollywood isn’t the place to go for a summary of the soul of the German people (and by extension at least some of the Austrian and Swiss peoples). No, for that, we turn to the 14th annual \u003cb>Berlin & Beyond Film Festival\u003c/b>, a week-long motion-picture sammelsurium — yeah, that’s German for smorgasbord — getting underway at the Castro Theatre tonight.\u003c/p>\n\u003cp>Now, to be clear, it’s not that the legacy of German fascism isn’t explored in some of the films, whose thematic questions run a gamut from the practical (How did it happen?) to the rhetorical (Could it happen again?) to the urgently philosophical (Yes, why \u003ci>do\u003c/i> non-German movies keep phoning in stories about it?). It’s just that other things are explored too; the “Beyond” isn’t only geographical, see?\u003c/p>\n\u003cp>Actually, come to think of it, that last question might be a good one for Munich Film Museum director Stefan Drosessler, who on Monday, January 19, leads a talk called “Hollywood Speaks German,” about, indeed, German-language American films from Hollywood’s (and, as it historically happens, the Nazi party’s) early days.\u003c/p>\n\u003cp>But. Yes. Moving on. This year’s fest opens with \u003cb>Cherry Blossoms\u003c/b>, which the press release describes as “a poignant celebration of beauty, new beginnings and transcendence, moving from Berlin to the iconic, fog-shrouded Mount Fuji.” How’s that for beyond?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Quite good, actually. Don’t be thrown by press-release platitudes; its gentle defiance of adequate written description is among \u003cb>Cherry Blossoms\u003c/b>‘ charms. From director Doris Dörrie, this kindhearted tale of a husband and wife’s estrangement from their grown children — and, to everyone’s surprise, from each other — unfurls through lovely, delicate details such as a woman ironing her tears out of a scarf, and impressively non-manipulative narrative reversals best not revealed here. It’s a genuinely affecting account of how our lives accumulate grief and joy in parallel.\u003c/p>\n\u003cp>And that’s just on opening night. Among \u003cb>Berlin & Beyond\u003c/b>‘s other clear highlights is a tribute to and appearance by German New Wave mainstay Wim Wenders, who lived in San Francisco once, and collaborated with Francis Coppola on 1982’s \u003cb>Hammett\u003c/b> but might understandably rather not talk about that. Wenders will introduce his meditative road movie \u003cb>Kings of the Road\u003c/b>, from 1976, and his new film, \u003cb>Palermo Shooting\u003c/b>, in which German punk hero Andreas Frege, aka Campino, plays an existentially yearning fashion photographer and Dennis Hopper plays Death.\u003c/p>\n\u003cp>So it seems that the movies still have much to teach us. And with films like these, who needs Nazis?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Berlin & Beyond\u003c/b> runs from January 15-21, 2009, at the Castro Theatre in San Francisco and January 24, 2009 at the Arena Theater in Point Arena. For \u003ca href=\"http://www.berlinandbeyond.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit www.berlinandbeyond.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It has been said, often by Bay Area documentarians, that the Bay Area has more documentarians than any other American metropolis. How often it has been said, and by how many documentarians, is not known. Someone should document this.\u003c/p>\n\u003cp>In the meantime, we can go ahead and estimate that there are just so freaking many of them. The great news is that so freaking many of the so freaking many are great — amply endowed with the Bay Area bona fides of cultural curiosity, political alertness, humane disposition and formal panache.\u003c/p>\n\u003cp>That’s why Bay Area documentarians tend to do so well with Academy Award nominations, which in turn is why the Rafael Film Center, this time in association with the Center for Asian American Media, will screen three short docs from local makers Sunday afternoon. The award for Documentary Short Subject is among the least corrupt of Oscars; it really is an honor just to be nominated — enough so that it’s even an honor just to be shortlisted for the nomination. And each of these three moving and provocative films deserves that honor.\u003c/p>\n\u003cp>Steven Okazaki, a frequent Oscar nominee and winner for 1990’s \u003cb>Days of Waiting\u003c/b>, about the internment of Japanese-Americans during World War II, is at his sharpest when combing through the emotional aftermath of human catastrophe. On the heels of 2007’s Emmy-winning \u003cb>White Light/Black Rain: The Destruction of Hiroshima and Nagasaki\u003c/b>, Okazaki delivers \u003cb>The Conscience of Nhem En\u003c/b>, in which he meets the man whose job as a 16-year-old soldier was to photograph thousands of people arriving at Cambodia’s notorious S-21 prison, where the Khmer Rouge would systematically torture and murder them. “The photographer’s job is to take photographs,” Nhem En says today in his own defense. “As a human being, you have a conscience. Would you die for it?” Even more challengingly, he continues: “The world should thank me for my work. If I hadn’t taken those photos, if it weren’t for me, no one would know or care about Cambodia. They are the proof.”\u003c/p>\n\u003cp>What’s most striking about Okazaki’s potent 25-minute film is his own receptiveness. His stance always seems more inquisitive than judgmental, and he also spends some time with a few of the prison’s survivors (of about 17,000, only 8 are known to have made it out alive). Okazaki duly lingers on Nhem En’s haunting photographs, and concludes with his own series of portraits of contemporary Cambodians — quite clearly haunted themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Director Ruby Yang and producer Thomas Lennon won a documentary Oscar in 2006 for \u003cb>The Blood of Yingzhou District\u003c/b>, about provincial Chinese children orphaned by A.I.D.S. Most recently they’ve re-teamed for \u003cb>Tongzhi in Love\u003c/b>, a brief but memorable portrait of young gay men in modern China — where, “among the three offenses against filial piety, failing to maintain the subsequent generation is the worst.” Thus the already highly distressing solution of marrying lesbians and living lies to please the parents assumes even more obvious practical limitations. Yang, too, accomplishes much in a short span of time (30 minutes), weaving intimately confessional conversations, artful animation sequences and bluesy place-sensitive music by Bill Frisell and Brian Keane into a tapestry of rich, otherwise repressed inner lives.\u003c/p>\n\u003cp>The eponymous young subject of Megan Mylan’s 39-minute film, \u003cb>Smile Pinki\u003c/b>, is “Pinki” Kumari Sonkar, a ridiculously adorable little girl with inviting eyes and a bashful manner who, like many other kids, happens to have been born poor in rural India with a cleft lip. That could be a hurtful and isolating fate, were it not for Pankaj Kumar Singh, a social worker traveling from village to village gathering similarly afflicted children to get them free cosmetic surgery through a donation-based medical program at a Banaras hospital. “Had I known, I would have brought her to you as soon as she came into this world,” Pinki’s father tells Pankaj, with a poignant mixture of feelings that’s characteristic of Mylan’s compassionately observant film. \u003cb>Smile Pinki\u003c/b>‘s main subjects may be children, but it’s their parents’ complex feelings — of shame, pity, revulsion, adoration, gratitude, pride — that drive the film.\u003c/p>\n\u003cp>What this means is that it’s now safe to say that the Bay Area has the most emotionally walloping Academy-shortlisted documentary shorts of any American metropolis.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Bay Area Documentaries: Selections from the Academy’s Shortlist\u003c/b> plays at 4pm Sunday, January 11, 2008, at the Christopher B. Smith Rafael Film Center in San Rafael. For \u003ca href=\"http://www.cafilm.org/rfc/\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit cafilm.org/rfc.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It has been said, often by Bay Area documentarians, that the Bay Area has more documentarians than any other American metropolis. How often it has been said, and by how many documentarians, is not known. Someone should document this.\u003c/p>\n\u003cp>In the meantime, we can go ahead and estimate that there are just so freaking many of them. The great news is that so freaking many of the so freaking many are great — amply endowed with the Bay Area bona fides of cultural curiosity, political alertness, humane disposition and formal panache.\u003c/p>\n\u003cp>That’s why Bay Area documentarians tend to do so well with Academy Award nominations, which in turn is why the Rafael Film Center, this time in association with the Center for Asian American Media, will screen three short docs from local makers Sunday afternoon. The award for Documentary Short Subject is among the least corrupt of Oscars; it really is an honor just to be nominated — enough so that it’s even an honor just to be shortlisted for the nomination. And each of these three moving and provocative films deserves that honor.\u003c/p>\n\u003cp>Steven Okazaki, a frequent Oscar nominee and winner for 1990’s \u003cb>Days of Waiting\u003c/b>, about the internment of Japanese-Americans during World War II, is at his sharpest when combing through the emotional aftermath of human catastrophe. On the heels of 2007’s Emmy-winning \u003cb>White Light/Black Rain: The Destruction of Hiroshima and Nagasaki\u003c/b>, Okazaki delivers \u003cb>The Conscience of Nhem En\u003c/b>, in which he meets the man whose job as a 16-year-old soldier was to photograph thousands of people arriving at Cambodia’s notorious S-21 prison, where the Khmer Rouge would systematically torture and murder them. “The photographer’s job is to take photographs,” Nhem En says today in his own defense. “As a human being, you have a conscience. Would you die for it?” Even more challengingly, he continues: “The world should thank me for my work. If I hadn’t taken those photos, if it weren’t for me, no one would know or care about Cambodia. They are the proof.”\u003c/p>\n\u003cp>What’s most striking about Okazaki’s potent 25-minute film is his own receptiveness. His stance always seems more inquisitive than judgmental, and he also spends some time with a few of the prison’s survivors (of about 17,000, only 8 are known to have made it out alive). Okazaki duly lingers on Nhem En’s haunting photographs, and concludes with his own series of portraits of contemporary Cambodians — quite clearly haunted themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Director Ruby Yang and producer Thomas Lennon won a documentary Oscar in 2006 for \u003cb>The Blood of Yingzhou District\u003c/b>, about provincial Chinese children orphaned by A.I.D.S. Most recently they’ve re-teamed for \u003cb>Tongzhi in Love\u003c/b>, a brief but memorable portrait of young gay men in modern China — where, “among the three offenses against filial piety, failing to maintain the subsequent generation is the worst.” Thus the already highly distressing solution of marrying lesbians and living lies to please the parents assumes even more obvious practical limitations. Yang, too, accomplishes much in a short span of time (30 minutes), weaving intimately confessional conversations, artful animation sequences and bluesy place-sensitive music by Bill Frisell and Brian Keane into a tapestry of rich, otherwise repressed inner lives.\u003c/p>\n\u003cp>The eponymous young subject of Megan Mylan’s 39-minute film, \u003cb>Smile Pinki\u003c/b>, is “Pinki” Kumari Sonkar, a ridiculously adorable little girl with inviting eyes and a bashful manner who, like many other kids, happens to have been born poor in rural India with a cleft lip. That could be a hurtful and isolating fate, were it not for Pankaj Kumar Singh, a social worker traveling from village to village gathering similarly afflicted children to get them free cosmetic surgery through a donation-based medical program at a Banaras hospital. “Had I known, I would have brought her to you as soon as she came into this world,” Pinki’s father tells Pankaj, with a poignant mixture of feelings that’s characteristic of Mylan’s compassionately observant film. \u003cb>Smile Pinki\u003c/b>‘s main subjects may be children, but it’s their parents’ complex feelings — of shame, pity, revulsion, adoration, gratitude, pride — that drive the film.\u003c/p>\n\u003cp>What this means is that it’s now safe to say that the Bay Area has the most emotionally walloping Academy-shortlisted documentary shorts of any American metropolis.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Bay Area Documentaries: Selections from the Academy’s Shortlist\u003c/b> plays at 4pm Sunday, January 11, 2008, at the Christopher B. Smith Rafael Film Center in San Rafael. For \u003ca href=\"http://www.cafilm.org/rfc/\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit cafilm.org/rfc.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While watching \u003cb>How About You\u003c/b>, I imagined an elderly woman slowly unwrapping toffees in the theater seat just in front of me. I imagined the only possible scenario in which I might enter that theater — perhaps it is cold, perhaps it is raining and it’s a matinee that I just happen to wander into. I would have to know absolutely nothing about the film, much the same way that I knew very little about \u003cb>Mrs. Palfrey at the Claremont\u003c/b> a couple of years back. I sat down behind the woman with the toffees, and had a rollickingly good time with an extremely old fashioned British film about a widow who convinces a complete stranger to masquerade as her grandson in order to impress the crotchety residents of her old folks’ home.\u003c/p>\n\u003cp>That film was full of warm surprises, unexpected plot twists and solidly motivated character development. \u003cb>How About You\u003c/b> signals its mediocrity during the title sequence while Bobby Darrin demolishes the title Broadway tune. The impossibly catchy and clichéd song reappears in variations throughout, including a clunky sing-along in a local pub that tries for uplift but falls flat. The tune itself gets stuck to the inside of the ears, all faux folly and outdated references.\u003c/p>\n\u003cp>Young Ellie, a free spirit, shows up on her older sister’s doorstep looking for a place to stay. The doorstep in question is located in a failing Irish retirement home called Woodlands, which her sister bought after her husband’s death from cancer. The home itself is quite beautiful, but the people who live there are bitter, contemptuous old coots, living out the last chapters of their lives in not so quiet self pity. Of course, these old coots are played by fine British actors, including Vanessa Redgrave as Georgia, a faded movie star with an alcohol problem. But the alcohol problem is really just a prop, like the headscarf the character sports, reminding us that Redgrave portrayed Isadora Duncan back in her own glory days. Even though Georgia seems to start each day with a martini and spends most of her time sucking down the drinks, the alcohol doesn’t puff up her face or dull her memory. She can still look into the mirror and spy her long faded glory days. Yawn.\u003c/p>\n\u003cp>The other residents are no more pleasant. A former barrister and two spinster sisters regularly tear at one another and scare away any other potential residents. Naturally, Ellie and her older sister fight over Ellie’s irresponsibility. A turn of events will — can you see it coming? — leave Ellie in charge of the coots, who will challenge her and run amok. Will all differences be set aside in time for Christmas dinner? I wonder…\u003c/p>\n\u003cp>Anthony Byrne, the film’s director, puts together \u003cb>How About You\u003c/b> as though he were pulling its parts out of a do-it-urself kit. Connect Part A, spirited young girl lands in the place where old hams go to die, to Part B, conflict ensues, to Part C, coots visit local village and turn into unlikely eccentrics — you’ll ask yourself, how did the secretive old spinster’s paintings come to inhabit the local pub? — end up at Part D, oldsters melt and become warm and funny characters who just needed a little bit of tough love.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I didn’t want to start off 2009 in a grouchy mood, but this wooden and cliched excuse for a film just made me feel angry and bitter and old…\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>How About You\u003c/b> opens January 9, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While watching \u003cb>How About You\u003c/b>, I imagined an elderly woman slowly unwrapping toffees in the theater seat just in front of me. I imagined the only possible scenario in which I might enter that theater — perhaps it is cold, perhaps it is raining and it’s a matinee that I just happen to wander into. I would have to know absolutely nothing about the film, much the same way that I knew very little about \u003cb>Mrs. Palfrey at the Claremont\u003c/b> a couple of years back. I sat down behind the woman with the toffees, and had a rollickingly good time with an extremely old fashioned British film about a widow who convinces a complete stranger to masquerade as her grandson in order to impress the crotchety residents of her old folks’ home.\u003c/p>\n\u003cp>That film was full of warm surprises, unexpected plot twists and solidly motivated character development. \u003cb>How About You\u003c/b> signals its mediocrity during the title sequence while Bobby Darrin demolishes the title Broadway tune. The impossibly catchy and clichéd song reappears in variations throughout, including a clunky sing-along in a local pub that tries for uplift but falls flat. The tune itself gets stuck to the inside of the ears, all faux folly and outdated references.\u003c/p>\n\u003cp>Young Ellie, a free spirit, shows up on her older sister’s doorstep looking for a place to stay. The doorstep in question is located in a failing Irish retirement home called Woodlands, which her sister bought after her husband’s death from cancer. The home itself is quite beautiful, but the people who live there are bitter, contemptuous old coots, living out the last chapters of their lives in not so quiet self pity. Of course, these old coots are played by fine British actors, including Vanessa Redgrave as Georgia, a faded movie star with an alcohol problem. But the alcohol problem is really just a prop, like the headscarf the character sports, reminding us that Redgrave portrayed Isadora Duncan back in her own glory days. Even though Georgia seems to start each day with a martini and spends most of her time sucking down the drinks, the alcohol doesn’t puff up her face or dull her memory. She can still look into the mirror and spy her long faded glory days. Yawn.\u003c/p>\n\u003cp>The other residents are no more pleasant. A former barrister and two spinster sisters regularly tear at one another and scare away any other potential residents. Naturally, Ellie and her older sister fight over Ellie’s irresponsibility. A turn of events will — can you see it coming? — leave Ellie in charge of the coots, who will challenge her and run amok. Will all differences be set aside in time for Christmas dinner? I wonder…\u003c/p>\n\u003cp>Anthony Byrne, the film’s director, puts together \u003cb>How About You\u003c/b> as though he were pulling its parts out of a do-it-urself kit. Connect Part A, spirited young girl lands in the place where old hams go to die, to Part B, conflict ensues, to Part C, coots visit local village and turn into unlikely eccentrics — you’ll ask yourself, how did the secretive old spinster’s paintings come to inhabit the local pub? — end up at Part D, oldsters melt and become warm and funny characters who just needed a little bit of tough love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>History will judge whether the almost-annual, multi-night runs of Willie Nelson at The Fillmore will rank with Otis Redding’s trio of performances there in 1966 or Tom Petty’s 20-show residency in 1997. This year, after skipping the storied dance hall in 2008 for a handful of gigs at a couple of local wineries, the 75-year-old legend is back for five packed nights, January 16-20, 2009 (Friday and Saturday are long sold out).\u003c/p>\n\u003cp>Odds are high that the man himself isn’t all that concerned about history because he’s too busy living in the present. Last year Nelson played some 150 dates, and he’s booked this year for 36 more, and that’s just through March. For a pothead senior citizen, Nelson works himself and his touring Family pretty darned hard.\u003c/p>\n\u003cp>Every show I’ve seen in the last decade, and no doubt hundreds more before that, have begun with the words “Whiskey River, take my mind,” the first line of his 1978 hit. I can’t tell you exactly how many times I’ve seen Nelson open a show like that, but I can tell you that not once has the crowd displayed disappointment. “Still Is Still Moving To Me” usually follows as tune number two, then there’s a sing-along titled “Beer For My Horses.” At some point in the show, Willie’s “little sister” Bobbie will play an instrumental called “Down Yonder,” Nelson will sing a medley that includes “Crazy” and, if you’re really lucky, you’ll hear one of my favorite Nelson covers, “Pancho and Lefty.” The evening, which usually lasts a couple of hours, feels familiar and friendly rather than plodding and predictable, giving the assembled crowd of grandmothers, movie stars, Hells Angels and secular squares like me the closest thing most of us are going to get to a morning in church.\u003c/p>\n\u003cp>It’s been a while since Nelson had a warm-up act at The Fillmore; the last musician good enough to handle that potentially thankless task was \u003cb>Norah Jones\u003c/b> in 2002. This year he’s got \u003cb>Lukas Nelson and The Promise of The Real\u003c/b> as his opener. Some years ago, my son Sam and I happened to catch Lukas at a show in Berkeley, where the young guitarist was sitting in with his dad and the Family. Even then we could tell that Lukas had it. In a weird coincidence, Sam and Lukas ended up at the same university, which gave Sam several opportunities to observe the younger Nelson’s growing skills as an artist. Word is the kid totally kills, which means this run could be one for the books.\u003c/p>\n\u003cp>\u003cb>For \u003ca href=\"http://www.livenation.com/venue/the-fillmore-tickets\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit livenation.com.\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>History will judge whether the almost-annual, multi-night runs of Willie Nelson at The Fillmore will rank with Otis Redding’s trio of performances there in 1966 or Tom Petty’s 20-show residency in 1997. This year, after skipping the storied dance hall in 2008 for a handful of gigs at a couple of local wineries, the 75-year-old legend is back for five packed nights, January 16-20, 2009 (Friday and Saturday are long sold out).\u003c/p>\n\u003cp>Odds are high that the man himself isn’t all that concerned about history because he’s too busy living in the present. Last year Nelson played some 150 dates, and he’s booked this year for 36 more, and that’s just through March. For a pothead senior citizen, Nelson works himself and his touring Family pretty darned hard.\u003c/p>\n\u003cp>Every show I’ve seen in the last decade, and no doubt hundreds more before that, have begun with the words “Whiskey River, take my mind,” the first line of his 1978 hit. I can’t tell you exactly how many times I’ve seen Nelson open a show like that, but I can tell you that not once has the crowd displayed disappointment. “Still Is Still Moving To Me” usually follows as tune number two, then there’s a sing-along titled “Beer For My Horses.” At some point in the show, Willie’s “little sister” Bobbie will play an instrumental called “Down Yonder,” Nelson will sing a medley that includes “Crazy” and, if you’re really lucky, you’ll hear one of my favorite Nelson covers, “Pancho and Lefty.” The evening, which usually lasts a couple of hours, feels familiar and friendly rather than plodding and predictable, giving the assembled crowd of grandmothers, movie stars, Hells Angels and secular squares like me the closest thing most of us are going to get to a morning in church.\u003c/p>\n\u003cp>It’s been a while since Nelson had a warm-up act at The Fillmore; the last musician good enough to handle that potentially thankless task was \u003cb>Norah Jones\u003c/b> in 2002. This year he’s got \u003cb>Lukas Nelson and The Promise of The Real\u003c/b> as his opener. Some years ago, my son Sam and I happened to catch Lukas at a show in Berkeley, where the young guitarist was sitting in with his dad and the Family. Even then we could tell that Lukas had it. In a weird coincidence, Sam and Lukas ended up at the same university, which gave Sam several opportunities to observe the younger Nelson’s growing skills as an artist. Word is the kid totally kills, which means this run could be one for the books.\u003c/p>\n\u003cp>\u003cb>For \u003ca href=\"http://www.livenation.com/venue/the-fillmore-tickets\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit livenation.com.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"soldout": {
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