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(11/30/05 12:00pm)
Bryan Singer has big shoes, or rather big red boots, to fill. Not only has he abandoned the wildly successful "X-Men" film franchise, not only has he filled a position batted around by Hollywood sluggers (Kevin Smith, Tim Burton, Wolfgang Peterson), but Singer is now tackling one of the most potent American pop culture icons, the Man of Steel, as director of the new Superman film.
Singer (a Princeton-area native) appeared Nov. 18 in the hometown of another superman - actor and stem cell activist Christopher Reeve. Flying to Princeton after first-unit filming wrapped, the globe-trotting Singer was the keynote speaker at the Christopher Reeve Lecture Series. Reeve, of course, is known in the film world as a versatile actor who first embodied the persona of Clark Kent in the 1978 Richard Donner film.
Following his introduction, Singer gave the pitch of an exclusive Superman clip he was about to debut. Only the fans at San Diego ComicCon had seen this footage, and while some of the effects were still being developed, and the film was not necessarily through being manipulated, Singer assured us that this was the real deal.
The lights dimmed, the crowd hushed. Perhaps the biggest treat was being able to see newcomer Brandon Routh's portrayal of Clark Kent. One moment in the clip showed Superman/Clark Kent's love interest Lois Lane walking out of the Daily Planet newspaper offices, suddenly turning to ask the surprised superhero, "Have you ever been in love, Clark?" The look on Routh's face is priceless and is real enough to placate even the most stalwart Christopher Reeve Superman fans. These visuals, combined with dialogue clips, eased my fears about having a soap opera star step into the cape and tights.
After the lecture, Singer answered several audience questions. Credit goes to Singer as the audience was not as hip to the latest movie news as some of the fans. One woman wondered if debuting a clip at a "comic books show" would "really get the word out," to which Singer explained that the ComicCon played host to over 25 people. Of course, there were the prerequisite "duh" questions like "Where does Superman go when he disappears" (like he'd give away a plot point that big).
As for my question, I asked, "In the material I've seen and read, while Superman has left, the world has changed without him. In reality, the world has become a lot more cynical. Superman is a symbol of optimism and hope. Do you think the world is ready for this sort of hope, Superman's final return, and why?"
For a moment, Singer appeared to be caught off guard and looked side to side, laughing slightly, clearing his throat (he had lost his voice on the set). Compared to the technical questions he had just fielded, he did not seem prepared for a semi-philosophical inquiry. But after a beat, he nodded his head vigorously and said, "Of course! Yes! It's a cynical world and even I'm a cynical guy ... but if Superman's having a hard time fitting back in, then everyone can relate ... he's a breath of fresh air. I think we're ready."
I spoke with Singer after the discussion and was able to pick his brain about the teaser. It turns out that he was actually in the air coming back from Australia at the same time the teaser was debuting in the United States. I told him about my experience at the theater in New Jersey and how everyone cheered as they saw the Kent mailbox and the logo at the end. Like a little kid, he jumped up in his seat, his eyes lighting up and said, "Really? They were cheering?"
While I have tried to remain objective on the subject, I feel the need to give credit to Singer for being a stellar representative of the film industry. Not only did he answer every question and sign anything pushed his way, but he stayed for hours after the lecture ended, interacting with fans. Despite having doubts about the director's choice in casting and unanswered questions, I came away from the lecture with a priceless sensation of hope and exhilaration. This was not a press junket. Singer came home to New Jersey to share what he had done. The belief in Superman and in Singer is strong.
The Man of Steel flies back to the big screen on June 30, 2006.
(11/16/05 12:00pm)
A good thriller tends to have a few twists toward the third act to keep the audience on their toes. My work on M. Night Shyamalan's latest film, "Lady in the Water," exhibited these very signs. I was thankful to have learned about my future trade while on a big-budget set, so after three days, I was satisfied. And that was when the phone call from the casting agency came in. Would I be available for another day or two of shooting? After weighing out the loss of sleep, the lack of time with friends and the potential problems with studying, I accepted.
Sadly enough, the last two days of shooting consisted of very little actual work. Day four involved only three shots. With the band SilverTide onstage, a group of 60 extras were pushed into one of the "party rooms" of the fake hotel set constructed in Levittown for the shoot. Outside, the camera crew and Shyamalan set up a shot looking "in" at the party. Meanwhile, I mingled with my sweating colleagues.
Day Four would be a part of a "distraction" moment, as everyone in the room was instructed to avoid looking out the window. Of course, I couldn't resist doing at least once. Apparently I wasn't the only one, as we were told again after the first take not to look out the window.
Surprisingly, only about 100 extras of the over 300-person crowd were hired back for Day Four, which meant for better accommodations (translation - the food did not fly off the table). This also resulted in a faster wrap time, and I was finished by two in the morning.
Day Five was a bittersweet moment. Arriving on set, I was greeted by the wardrobe crew (who all knew me by name after four days), Assistant Director Keith Potter and my entire bunch of acting chums. Tom returned after missing Day Four. Lou and Chris were back for more action. Even our friend Kristy (who had gotten a cold from our first day of shooting, despite our best efforts to keep her warm) was back.
For Day Five, the last day of shooting the party, all 300 extras were back. Shyamalan took his time in setting up each of the last three shots, which involved simple pans over the crowd. I was not involved in any of these, but I watched with a feeling of nostalgic sadness. Even as the shooting was occurring, I knew that in two weeks, the deconstruction of the set would begin. This mock hotel would be nothing more than a pile of garbage in Levittown, a mere memory.
"Lady in the Water" wrapped a week after my last day of work on the production. Rumors of a massive water tank flew on the Internet, and a lawsuit was threatened after a few pictures leaked. No, I was not the culprit. Currently in post-production, the trailer will be playing with select prints of "Harry Potter and the Goblet of Fire."
My friend Chris can next be seen as an extra in the James Franco military flick "Annapolis" and is presently working on another indie picture as a volunteer.
Lou is developing a martial arts script for (hopefully) eventual production.
Potter has returned to the West Coast and is looking to become officially attached to the new John Sayles movie.
Paul Giamatti has a slew of projects on the slate including the animated movie called "Ant Bully" (with Julia Roberts and Nicholas Cage) and "The Illusionist" with Ed Norton and Jessica Biel.
Bryce Dallas Howard is already starring in the historical drama, "Mary Queen of Scots," as the title character.
Keep an eye out for Freddy Rodriguez in the big-name drama "Bobby," starring Demi Moore, Elijah Wood, Meryl Streep and Anthony Hopkins.
As for the puppetmaster himself, Mr. Shyamalan? Who knows. The man who has created his own mystique in film has not announced his next project, which will likely be kept as much of a secret as "Lady."
"Lady in the Water" is set to debut in theaters in June.
(11/09/05 12:00pm)
Just when I thought I was out, M. Night Shyamalan pulled me back in. After two days on the set of his latest effort, "Lady in the Water," I considered myself lucky in two ways. One: to be paid to do something as fun as act. Two: to be alive. By 4 p.m., I had already fallen asleep in my Jazz class and regretted the 3:40 a.m. wrap time for the film from the previous night/really early morning. Bolting to the set, I arrived 10 minutes later than I had hoped. Waiting for me were the wardrobe crew (who surprisingly knew my name without me having to say a word) and a few of my friends.
Something should be said about the bonding experience of being an extra on the set. While many people are competing in the same industry (many extras hope to make that jump from "Kid With Beer #2" to the starring credits), everyone on set seems to connect.
Take for instance, the case of my friends Tom, Chris and Lou. We had worked together - heck, known each other - for less than 24 hours. Yet, when we arrived on set for day three, Lou was missing in action. Sadly, due to the days taken off from work combined with physical exhaustion, our buddy from Philly had to skip out. The days of my crew were over . or so I thought.
To get things started, Assistant Director (AD) Keith Potter rounded up the crew of extras for a pep talk. By 4:30 p.m., we were shuffled off to the set and 15 minutes later, the first shot was set up. However, after two takes, the shooting was stopped. Instead, Shyamalan decided to film a scene of lead actor Paul Giamatti running through tall grass after Bryce Dallas Howard (who appeared to be pulled away by an unseen assailant).
This illustrates one of the greatest movie insights I received on the set. Despite millions of dollars in budgets and accolades galore, sometimes the director's choices make absolutely no sense to anyone else. Why would a director hire 300 extras to shoot a scene that focuses only on the leads and requires none of the hundreds of background performers?
By 8:30 p.m. we were all getting antsy, as nothing was happening that involved us. That and, well, we were hungry. Dinner had yet to be served at 8:45 p.m., and the complaints were slowly mounting. The next shot we were involved in was set up to film across the pool at myself, Tom and Chris. Of course, it was about this time that we broke for dinner.
An hour and change later (11:15 p.m.), we were back in the same setup, but this time, the camera was placed 10 feet away from me. Here, Giamatti jumped up on a chair and my actor friend from day one (Joe "I Married Shannon Elizabeth" Reitman) radioed a band (SilverTide, an actual local rock band).
This was perhaps my last big moment in the feature, as I was able to hear advice Shyamalan was giving Giamatti, including "this is a crucial moment, as you realize both worlds are colliding, and you're overwhelmed." To Reitman and Giamatti, he also mentioned, "this is a big moment for you (Reitman) as he (Giamatti) is admitting some crucial details."
Between takes, I talked to AD Potter about his last project, "Jarhead," and about its editor, Walter Murch, who I met at the Tribeca Film Festival.
The last shot of the night was a zoom from a party room out at the crowd. With the blinds being partially closed, none of the extras would be clearly visible, so continuity was not a problem. However, I found myself paired with this neo-hippie kind of extra who had the pantomiming skills of a brain dead clown. Receiving no clear instruction, I decided to make my own mark and walk up to my friends in mock conversation.
Wrap time for day three: 3:30 a.m. Again. After some confusion, I grabbed my pay waiver and ran for the car. While I was sad that I would not get to see my friends from set again, the pure physical exhaustion was offset by euphoria from hearing the casting hotline announcement of no extra-shooting for the following day. Three paid days on the set of an Oscar-nominated director? Not bad for a Jersey boy. Of course, like a Shyamalan script, my experience in the making of this film would have a couple of twists at the end. Check in next week for my last set report!
(11/02/05 12:00pm)
Rain machines on a cold night with a forecast of heavy precipitation do not bode well for actors. So when I waltzed onto the set of M. Night Shyamalan's "Lady in the Water," I turned to my friends from Day One of shooting (Tom, Lou and Chris) and said simply, "I have a bad feeling about this." Sure enough, my statement would ring true.
That said, this did not stop me from immediately breaking the rules and sneaking on the set. At 3:35 p.m., I walked confidently onto the set (as though I had been working on the production for months and not hours) and was successful in getting into a scene. The prop man gave me a Heineken bottle and I remember breathing a sigh of relief. Day One had me drinking from a cup of Cherry Coke that actually congealed by the end of shooting. Needless to say, I have avoided Cherry Coke ever since.
At 4 p.m., the take parade began. While I was not directly in any shots, I will be in the background. Eventually, the rest of the extras were herded onto the set. Just as we seemed ready to set up a big shot, the rain began.
The assistant directors (ADs) and production assistants (PAs) chose to move us to the second and third story of the hotel set. This delay was the shortest of the night, as we were back in action by 6:05 p.m. However, it took us nearly a half an hour to set up the next shot, and with the rain still trickling down on us, we slowly began to soak.
For the next shot, I was placed against a railing in the background. As fate would have it, I once again faced the camera along with Tom and Lou. Behind us was Freddy Rodriguez of "Six Feet Under" fame. What is amusing about this shot is that Freddy was only done up with makeup on one side of his body, so his left arm and leg are made to look incredibly muscular. Think "Looney Tunes" muscles. Several girls swarmed him between takes to talk to him. Just as I was settling into my spot, an AD informed me to move as I was apparently, for the first time in my life, too tall. Two minutes later, I decided to be sneaky and threw myself in with a trio of extras who walked across the shot. Am I camera hog? Probably. Do I care? Noooope.
The fun was short lived, though. The rain gods conspired against the shoot on Day Two as the skies opened up in a torrential downpour. All attempts to dry off props and actors failed utterly and I began to wonder why Shyamalan was bothering to push this. The prop balloons were popping and twisting in the wind and rain. The food plates were blowing away. And anyone who had makeup on was beginning to resemble a troupe of sad clowns. Finally, Shyamalan called temporary quits and we were allowed to go back to the tent. The temperature began to drop rapidly and as soon as the call for dinner went out, all 250 extras swarmed the food line. Mashed potatoes and hot tea never tasted so good.
Now, we were told to do our own makeup and wardrobe. No special treatment. However, due to the rain, several of us were given just that. Since I was in the background of an important shot, I was escorted to a back room of the set where I had my hair blow-dried and teased into looking the way it did when I first walked in. My shirt, meanwhile, had been thrown in a dryer and was quite toasty by this point. All I needed now was my trailer. Get my agent on the line!
Around 11 p.m., all extras were kicked off the set. Me? Nope. Sitting in a lawn chair and looking preoccupied, I proceeded to talk to several crew members, including Michael from Props who revealed an important tidbit about film work in the tri-state area. Apparently Philly, Jersey and Maryland are in for a lot more work. Why? As sad as it is, the disaster in New Orleans (a hotspot in the film industry) will result in more productions near the College. I never would have figured.
By 1:15 a.m., the silly-ha-ha began to set in. The temperature was close to 40 degrees and many people were still getting dripped on. An older extra, Len, continually ripped on me between moments of imparting wisdom. So many of the takes of a shot from across the pool featured Tom, Lou and I doubled over in laughter. While some people pretended to be laughing, we looked amused to the point of appearing fake.
Sadly, my time with Tom and Lou on screen came to an end and we were separated. It worked out in my favor however, as I found myself standing three feet away from Shyamalan himself during his once-a-movie-cameo. That's right - I'm a part of movie history. However, this was still not enough for the extras to start wondering why we shot the same thing 15 times. As 3 a.m. rolled by . a quarter after . 3:30 a.m .. finally, Shyamalan checked the footage and a silence hung in the air.
"That's a wrap people! Excellent work!"
Maybe Hollywood isn't as glamorous as everyone expects, eh? Check Day Three's set report next issue .
(10/19/05 12:00pm)
Despite my aversion to being starstruck, I was not prepared to be standing next to M. Night Shyamalan on set. Shyamalan (or M as he is simply called by the cast and crew) does not fit the typical mold of an A-list Hollywood director. While he has the authoritative "I'm the boss" look in his eye, he did not rant or rave if things were taking too long. Quiet and intense, occasionally making jokes or goofing around with the actors and crew, Shyamalan was an ideal vision of the boss I want to work for. Or be.
I arrived on the set for day one of shooting "the party scene" around 2:30 p.m. and was herded off to the holding tent - a former parking lot with hot air filtered in to keep the extras warm, with folding tables laid out for later meals. The food spread (our "breakfast" according to Screen Actors Guild regulations as it was our first meal of the day on set) was extensive, with a cook on grill dishing out burgers, fries, hot dogs, pasta, salads, sodas, coffee, lemonade, water and snacks.
At 2:40 p.m., assistant director Keith Potter addressed the group for the first time, teasing us with a bare bones plot synopsis (just so we knew what we should be doing). From what I've gleaned of the story from the Web and from Potter, the story focuses on Paul Giamatti's character, who runs a hotel. In the swimming pool, he finds a mysterious young woman named Story (Bryce Dallas Howard of "The Village") floating around. She turns out to be a narf (sea nymph). As Giamatti falls for her, he realizes that she is part of a fairy tale, a bedtime story that is rapidly coming to life. Story is in need of protection from otherworldly danger, so the tenants band together to help.
Potter explained the basics to first-time film people (that extras begin acting on "Background" rather than "Rolling!"). Then came a staple in the life of being an extra: waiting. Potter later told us to expect to work a full 12-hour day. Translation: 3 a.m. stop time.
Finally, we were moved from the tent to "The Cove" (the hotel set). The building looked incredibly real, complete with patches of faded concrete, rusting signs and crowded rooms. Of course, some of these rooms are merely fronts for the real action behind them - makeup rooms, equipment housing, etc,. I was quickly paired up with two fellow actors, Tom and Lou.
Potter gave the three of us the direction to send Lou across to the other side of the pool, right before the camera passed in front of us. I realized that this would mean I was going to be smack dab in the background of the shot. Our first rehearsal went well. As the night continued, topics of conversation among Tom, Lou and myself included the outwardly flamboyant cameraman, the flat beer we were given as props, the best and worst of Shyamalan's movies, global politics, the Yankees' playoff hopes, Oreos versus Chips Ahoy, etc,.
After about six takes, a supporting character was placed with us, played by Joe Reitman. I knew he looked familiar, but I did not want to venture a guess originally. Sure enough, I was right - Reitman appeared in "The Perfect Storm" and "Jay and Silent Bob Strike Back." It was later pointed out that he may be best known for having married Shannon Elizabeth's character in "American Pie."
After around the eighth take, the first assistant director instructed me to walk past Giamatti and block his view. Unable to help myself, I turned to look across the pool. The result? I have a nice profile view for the camera while standing next to Mr. Academy Award Nominee Giamatti. We repeated this five times. Yes it's true - I am a ham.
As the night continued, things started to blur. Tom, Lou and I bonded, beginning to make each take funnier than the last. I was later set up in another shot where I essentially walked back and forth in front of the camera. I discovered myself shoulder to shoulder with Giamatti and later locked in a deadly serious game of Rock Paper Scissors with Howard.
It was around 2 a.m. that Lou and I realized that we may have caused a continuity error by being assigned to two different locations for two consecutive shots. Barring super-speed, there was no way our characters could be in two places at once. Go me and my $80 million film- wrecking abilities!
Finally, at 2:45 a.m., the final shot (a crane shot from above) wrapped, and cheers abounded. For some, this one night would have been enough, but wait until next issue. My adventures continue.
(10/12/05 12:00pm)
When I was in high school reviewing new releases for the "Asbury Park Press," I remember seeing M. Night Shyamalan's "Unbreakable" and thinking to myself how uplifting it was that someone so young by the Hollywood standard could go out and make his own films. Shyamalan was one of the directors I've placed on a pedestal with George Lucas, Steven Spielberg, Robert Zemeckis and Sam Raimi - people who didn't necessarily follow the Los Angeles trend. He was someone I read and wrote about, never thinking that I'd one day work for him.
Until I got a call three weeks ago asking if I would be available to do just that. Backstory? While interning at the New Jersey Film Commission, I heard that Shyamalan was going to hold an open casting call for extras in Philadelphia. So in mid-July, I hopped in my car, took off from work, grabbed my girlfriend Jaime and off we went. Three hours and 95 degrees later, we had essentially melted on the hot pavement in an endless line of hopefuls. Some were seasoned veterans of the acting craft, others were greenhorns such as myself. Once inside, we received only a five-minute briefing, filled out a r?sum? card and had a headshot taken.
After almost three months, I had assumed that was the end of my story. That was when Rebellion casting called looking for me. Thus began the whirlwind adventure that is my experience on the set of "Lady in the Water."
After agreeing to work on the picture (talk about a no-brainer), I was assigned a date to come in for a costume analysis and was asked to bring three changes of clothes for potential wardrobe. I left campus early, budgeting enough time to account for the apparent 25-minute drive. Of course, randmcnally.com helped about as much as mapquest.com usually does. By 4:45 p.m., while stuck in downtown Trenton traffic, I had serious doubts that I would make it to my 5 p.m. appointment in Levittown, Penn.
After making two wrong turns (which apparently did, in fact, make a right), I miraculously found myself on the road to the set. Once again, despite all of my preparations, I was only kept for perhaps 10 minutes. I pulled up to the set (which I believe was actually made from part of an old industrial park) and asked the security guard where I needed to go. She checked the list for my name (that's right - I was finally on the list) and pointed me in the right direction.
The wardrobe department was the first thing that threw me for a loop. As a film major and general movie geek, I'm used to seeing extensive wardrobes. Except, usually it's on a special feature for a movie, not right in front of my face. I revealed my three sets of clothing, only to have the woman in charge tell me that she loved my shirt (which I didn't even think about as I wore it only to change into and out of) and the brown khaki shorts I had on. Apparently she liked the "shading" of them, the worn quality. I didn't have the heart to tell her that their quality was due to them having been worn all summer while I ran sweating around a baseball stadium lugging a camera. Didn't fit the glamorous mold of the movie world.
After having my pay voucher signed (yes, I was in fact paid $16 for 10 minutes of showing off my Target-purchased apparel), I slowly made my way out of the set. I still did not know anything about the movie. Shyamalan is known for his secretive nature. There was no sign of the cast or crew, although I saw a massive five to six level structure off in the distance, behind the rows and rows of trailers and tents. Was this where I was going to work? It looked like someone played tinkertoys with a bunch of modular homes.
Curious and excited, I returned to campus, after getting lost again. I didn't care. I reflected upon my good fortune. I was about to make my professional film debut (not as a crew member) on an M. Night Shyamalan movie. One starring Bryce Dallas Howard, daughter of director legend Ron Howard. One starring Academy Award nominee and champion of "The Everyman," Paul Giamatti. Would I meet any of these people? Time would tell.
And sure enough, Wardrobe Day was only the tip of the iceberg. I'll have more on my adventures on the set of "Lady in the Water" next week.
(10/05/05 12:00pm)
It's not every day I get the opportunity to see a film before the rest of the world. Despite having done professional and Signal-related movie reviews, I have never been able to snare advanced screening passes on available days.
The streak came to an end on Sept. 16 when I received tickets to the East Coast advanced screening of the indie flick "Thumbsucker," starring Vince Vaughn, Keanu Reeves, Tilda Swinton and newcomer Lou Taylor Pucci.
After over an hour train ride, plus an extra 20 minutes of subway transport, I arrived at the Clearview Theater on 23rd and 8th in New York City. The theater itself was nicer than most New Jersey multiplexes in that it had multiple levels and was generally cleaner.
Aside from one minor detail, I never would have known this film was being secretly screened - the one detail, of course, being the line that stretched for almost a block out the door.
"Thumbsucker" focuses on the tribulations of Justin Cobb (Pucci), who, at age 18, still has the nervous habit of sucking his thumb. Despite the protests of his parents (the perfectly cast Vincent D'Onofrio and Swinton), Justin continues to live an unmotivated life centering around his primary digit. That is, until his neo-hippie dentist (Reeves, in his funniest role in years) uses a hypnotic trance to turn Justin's habit off. Justin proceeds to embark on a personal odyssey through different forms of escape: drugs, sex, alcohol and more.
What makes "Thumbsucker" unique is the fact that it chooses to show Justin's habits as being neither repulsive and wrong nor logical and correct. Because of his apparent inability to focus, Cobb is prescribed a medication that he later discovers is only "three molecules away from speed." He is recruited by a nebbish debate team teacher (Vaughn) to learn social interaction and instead, discovers that his newfound knowledge can, in fact, be a detractor when flaunted.
My primary problem with this film is actually its classification. Despite having high caliber, A-list talent in the form of Benjamin Bratt, Reeves, Vaughn and company, the public relations crew in charge of this film has chosen to dub this an "indie" film.
What exactly qualifies an independent film? Most independent films do not feature cameos by men who have made top-10 grossing films. Is it the content? Despite the unique neutral opinion on Justin's addictions, this film's personal-journey story is nothing new.
Many elements - the more knowledgeable kid brother, the distant parents, the feeling of isolation for teenagers - are recycled to death. I don't need to have a camera shot of the back of the head of the counselor in charge of medicating Justin. The same goes for these badly timed, very funky scene breaks at the start of each of Justin's new experiences. Since these "break-in-the-action" lapses were used in a uniform manner, I could see this being an effective means to push the story along. Instead, these four or five interludes seem contrived to make the audience think this film is new and different or perhaps a throwback to more artistic films.
Regardless of these problems, "Thumbsucker" has its own unique charm. Pucci has the brooding appearance of a young Johnny Depp and has potential as an up-and-coming actor.
The supporting characters, though they are stereotypes (wow, a TV star in rehab, that's new), are funny and effective. Swinton in particular puts in a solid performance as a torn mother. And I am convinced that Vaughn has hit superstar status, as the man can make a weather report sound funny in his droll voice. The offbeat humor is what keeps "Thumbsucker" alive.
While the film is only in limited release, it can still be viewed in Princeton or in Philadelphia. Thanks to a solid ensemble support team and an intriguing perspective into the pro-con nature of escapism, this film works.
(09/07/05 12:00pm)
Some people enter college dreading it. Others are itching to get started. According to popular knowledge, the career-based odyssey requires infinite amounts of patience and no expectations of pay. The hours are supposedly long, the supervision is difficult and the payoff is substandard.
For upperclassmen (and even for some overachieving underclassmen), the internship is a 'necessary evil' to learn career skills and graduate on time. My chance to experience this rite of passage came over the past summer as I chose to follow in the footsteps of a friend and intern at the New Jersey State Film Commission.
Mentally, I was testing the prior "knowledge" on the evils of interning. Off the bat, one became abundantly clear: the commute can kill you. Choosing an internship close to home can make the experience a lot easier on some people.
Being a glutton for punishment, I packed up my lunch, threw on my shirt and tie each Wednesday and Thursday and burned rubber up the Parkway to reach downtown Newark. An hour and a half, both ways, twice a week may not seem like much until you try and balance out a pair of paying jobs and a social life. No pain no gain indeed.
Popular culture has often displayed interns as the whipping boys (or girls) who are sent scurrying around the office to carry out meaningless tasks for overbearing bosses. While I'm sure that is the case in many other internships, I was fortunate enough to dodge this bullet. There were certainly many mind-numbing chores to do (you try calling 120 film producers and not feel like a telemarketer in the end), but the skills learned are essential: people like to be treated with respect. Even the most difficult people I handled on the phone could be dealt with if I calmed them down. As for the infamous paper collating and coffee-making for the boss? Never happened. And this film office was a veritable archive of paperwork.
Instead, my bosses - Dave, Steve, Andrew and Chuck - all dished out responsibilities that they thought I could handle. This ranged from updating the scanned photo archive of potential filming locations to seeking out the cast of upcoming films that may choose to set up shop in New Jersey. I was never treated like a child and instead was given a workload as though I had been an employee of the state for years.
I took calls and gave directions to Princeton to the producers of the hit Fox series "House." Acclaimed director Julie Taymor (the woman behind "The Lion King" stage show) wants to shoot in New Jersey? Guess who looked up land ownership for areas around the Meadowlands?
Several of my own preconceptions about filmmaking were also put to rest through this internship. Who would have thought that New Jersey would be a popular place for Indian and Japanese filmmakers to set up shop? Working for the Film Commission, I made calls to Australia, England, Japan and all over the United States. Some productions came out of nowhere to shoot, all with just a couple weeks notice. But not even big name stars can save certain films. Robin Williams and Liv Tyler were set to star in a film scheduled to shoot in New Jersey, only to have the production slam into a brick wall.
Of course, gas prices being what they are, this bi-weekly commute may seem foolish as it did not add a single penny to my bank account. Certain perks of the job clearly make up for this. I sat next to Ralph "Karate Kid" Macchio on one set visit in North Jersey. A week after finishing up the internship, I was given a paying production assistant job on a Travel Channel spot in Ocean City. Oliver Stone's next script made its way into my hands.
Money may be nice, but the fact that I now know how to acquire filming permits and what channels to go through to secure filming rights are, to me, more important than a paycheck.
So when the time comes to schedule for an internship, ask yourself what you are looking for: a r?sum? booster with work or a day off, a paycheck or a piece of enlightenment. Some people may luck out with paying apprentice work. Others will have to suffer through the grunt work portrayed by stereotypes. But if you're afraid the work may not pay off, talk to Carly Reichert, my friend who referred me to the Film Commission. Of course, you'll have to put in a call to California to the set of "ER." Happy hunting.
(04/27/05 12:00pm)
A long time ago in a country far, far away, a struggling filmmaker looked out at the wreckage of his film set. A sandstorm the night before had torn through the Tunisian landscape, ripping to shreds many of the film's sets. To make matters worse, the director was beginning to miss his California home and wife, the crew was becoming sick with stomach illnesses and budgetary questions were continuing to plague the production. One thing is for certain - George Lucas has certainly come a long way. As for that fateful film that was tested in the desert? On May 19, the circle is complete for the "Star Wars" film series.
With the critical panning of Lucas's most recent chapters in the saga, "The Phantom Menace" and "Attack of the Clones," it is easy to forget that Lucas, a graduate of the University of Southern California film program, has developed the series for his own enjoyment. The story of "Star Wars" dates back to Lucas' college days. While working on "American Graffitti" (a classic in its own right), Lucas began to develop the concept of a grand space opera with roots in the old serials of Buck Rogers and Flash Gordon. An avid follower of mythology guru Joseph Campbell, Lucas crafted a story of duality: the oppressed Rebellion and the evil Empire, the wise Jedi and the crafty Sith.
With the success of "American Graffiti," Lucas was able to get just enough money to finance his dream project for a May 1977 release, hiring veteran actors like Sir Alec Guiness and Peter Cushing and rising talent like Harrison Ford and Mark Hamill. Despite confusion over the fantastic world Lucas created, the result was a modern masterpiece, hailed by many as the savior of the sci-fi genre.
Lucas pioneered usage of computer technology and blue-screen work for special effects and crafted a timeless tale that won over fans around the world. The director became an underdog's dream when fans discovered that the multimillion dollar baby had been turned down by almost every major studio until 20th Century Fox finally offered aid. Also, at this time, Lucas began to develop a business sense, tapping into the merchandising world by releasing hot-selling "Star Wars" toys, comics, apparel and more.
In "Star Wars," children could find characters to root for and fear. Luke Skywalker (Mark Hamill) was the quintessential hero, the driven man who has the fate of millions on his shoulders. Harrison Ford's Han Solo was the slick, sarcastic mercenary whose real-world counterpart would have the fastest car and the coolest attitude. Girls even had the spirited Princess Leia to look up to, as Leia not only needed rescuing but also saved the boys from time to time. And, of course, the echoing breath of Darth Vader became instantly recognizable.
Then the director walked away. After suffering physical ailments from the production's long hours, Lucas chose not to direct the sequel to "Star Wars: A New Hope" and passed the mantel on to Irvin Kershner. Lucas watched the series and its stars go through ups and downs for the next few years. "The Empire Strikes Back" became a fan favorite and a critically-lauded success. "Return of the Jedi" wrapped the saga up, with subpar reviews. Later, Lucas revealed that his close friend Steven Spielberg would have directed "Jedi" had there not been a union-related issue.
Then "King George" disappeared, taking his millions and his characters and living a life producing and financing films from his California home. His adopted children were the focus now, he said in interviews. On the side, Lucas developed revolutionary special effects companies Industrial Light and Magic (ILM) and the THX Sound System. But the "Star Wars" dream apparently would not die, as Lucas began production on the prequels around the series' 20th anniversary in 1997.
The original trilogy ("A New Hope," "Empire," "Jedi") focused on the adventures of Luke, Han and Leia as they attempted to overthrow the tyrannical government enforced by Darth Vader and his evil Emperor. In the new trilogy, Lucas chose the bold move of showing how the Empire came to be and the fall of Anakin Skywalker, the future Darth Vader and father of the heroic Luke.
In Episode One, the eight-year-old Anakin is rescued from slavery by a young Obi Wan Kenobi (Ewan McGregor) and the young queen, Padme Amidala (Natalie Portman). In the second chapter, Anakin (Hayden Christiansen), now grown up and trained as a Jedi, forms a romantic bond with Padme. However, with the death of his mother and the cautious training of Obi-Wan, Anakin slowly becomes unhinged.
With the announcement of the completion of "Revenge of the Sith" on April 22, fans have begun to prepare for the countdown by prepurchasing tickets. "Sith" will feature the downfall of Anakin to the dark side and his eventual confrontation with his mentor in a climactic duel that fans have anticipated for over two-and-a-half decades.
From his roots as a starving filmmaker in the imperialistic Hollywood back lots to his life as the richest independent filmmaker in the world, George Lucas' saga has come a long way from its humble origins in the Tunisian deserts.
(04/13/05 12:00pm)
The film industry has always had an exotic, luxurious aura attached to it. The public is so enamored with the concept of sunny California movie back lots and virgin foreign lands that it often forgets where the American movie business has its roots. Forget Los Angeles. Not New Zealand. Japan is incorrect as well. Since the beginning of film, New Jersey and New York have been at the forefront of filming locales. From Edison's experiments with motion pictures to the present day, the Garden State has been a rock in the cinema world.
"Goodfellas," "Ocean's 11," "Independence Day," "Zoolander." A grab bag of titles released within the last 15 years. Tom Hanks, Al Pacino, Jack Nicholson, Charlize Theron, Johnny Depp, Drew Barrymore, Denzel Washington, Natalie Portman. All are titans of the film industry, well-known and admired names. Why are these names special? Because they are all connected to New Jersey.
The Garden State is recognized in the cinema world as a hotbed for independent filmmakers. From the lewd-but-shrewd Kevin Smith to the big-budget Princetonian Bryan "X-man" Singer to rising star Zach Braff, the small state has been home to many of the industry's biggest names behind the camera. Braff has earned critical acclaim for last year's hit "Garden State" (set and shot in his hometown), while Smith has cornered the market on suburban shoots.
New Jersey poses a unique option for filmmakers. Aside from the more urban locales in the greater Newark/Elizabeth area, the state also allows companies to shoot in any real location needed: from the forests of the Pine Barrens to the suburbs of South Jersey to the seaside properties at the Shore.
Steven Spielberg knew this; the Oscar-winning director took Tom Cruise and one the most expensive films in history from site to site around the state, blowing up one piece of property after another. Newark bit the dust. Say goodbye to Howell. Bye bye Bayonne. All were targets of the next big alien invasion in a remake of the classic sci-fi tale "The War of the Worlds," which, by the way, is infamous because the radio broadcast sent much of New Jersey into a paranoid frenzy in the 1950s.
Things getting blown up or shot at in New Jersey is nothing new. Despite an effort to distance the state image from the organized crime stereotype, some of the world's best mafia movies have been captured from within the state. Go watch "Goodfellas" or "Casino" for reference material, look for local sites and check out the notorious performances by Jersey boy Joe Pesci.
Whenever a major production moves into town, the local newspapers are lit up with celebrity sightings. Princetonians may remember when Ron Howard chose to shoot a portion of the Oscar-winning drama "A Beautiful Mind" on the university campus. Due to threats made to temperamental star Russell Crowe, a tightly-formed security detail closed the areas off to the public.
Even now, big names are prepping to shoot. Martin "Please For The Love of God, Give me an Oscar!" Scorcese heads to town for the undercover cop/undercover gangster drama. His leads? Two schmoes named Matt Damon and Leonardo DiCaprio. Oh, and for good measure, he cast local guy Jack Nicholson too. The North Jersey-bound flick will shoot from April to September.
Charlize Theron will return to town for "Ice at the Bottom of the World," filming in August through the fall. For the crime drama to be shot in Monmouth County, "Lucky Number Seven," former resident Bruce Willis rounds out a cast featuring Josh Hartnett, Lucy Liu, Morgan Freeman and Ben Kingsley.
It would appear that The State That Hollywood Almost Forgot is back with a vengeance. Despite a falloff in the early '90s, New Jersey has hosted dozens of productions in the past few years. With over $70 million pouring into the state thanks to the entertainment industry in 2003, it would appear that people are finally shifting focus back to the place where movies began. So keep your eyes pealed - you never know what stars you might bump into this summer.
(03/30/05 12:00pm)
The temperature is rising and cinema executives across the country are keeping their fingers crossed, hoping that the spring season will come in their favorite shade: green. With very few early heavy hitters in the box office for the first quarter of the year, Hollywood looks to heat things up with a grab bag of big-name stars leading the way. So read on as we take a look into the crystal ball once again to see what you'll be seeing soon enough.
Comic book fans have had plenty to boast about over the past few years. One of the bigger graphic novels in recent years is finally given the green light on April 1 in the form of noir (in layman's terms, black-and-white) pulp classic "Sin City."
Before I predict anything, can someone please ask Robert Rodriguez to tell me his secret? Listen to this high-voltage cast: Josh Hartnett, Elijah Wood, Bruce Willis, Jessica Alba, Clive Owen, Michael Clarke Duncan, Benicio DelToro ... All of these stars will light up the screen to tell the story of a city torn apart by corruption where even the just have a hard time staying alive. The trailers for this movie are among the most intriguing I've seen in a while and while the task of combining three complex stories is arduous, if anyone is the right consultant to help with this, it's "Sin City" scribe Frank Miller. Crystal ball prediction: four stars.
Looking for something a little less gritty? The Jimmy Fallon-Drew Barrymore comedy "Fever Pitch" (to be released April 8) chronicles the conflict between a Boston Red Sox fan's obsession with his team (Fallon) and his hopes to date the baseball-oblivious Barrymore. As a baseball fan, I shudder at the thought that the makers of this film actually were allowed to capitalize on the Red Sox World Series victory by shooting scenes on the field. Fallon, who I believe is a Yankees fan, should be ashamed of himself. However, Barrymore's last romantic comedy ("50 First Dates") did fairly well at the box office and you can be sure that there are plenty of girls who can relate to this story. As a Yankee fan, count me out on this one. Crystal ball (aside from baseball affiliation): two-and-a-half stars.
Since the Spielberg/Lucas/Ford production of "Indiana Jones IV" has been put on hold, Hollywood has pushed its backup choice for a globetrotting, scruffy adventurer in the form of marine archaeologist Dirk Pitt (Matthew McConaughey), star of the April 8 release "Sahara." This isn't Pitt's first foray from page to screen. A little-known, widely panned version of the classic Clive Cussler novel "Raise the Titanic" sunk to the box office abyss back in the early 1980s and author Cussler swore off movie rights for his characters. Apparently Cussler was persuaded to change his mind. However, if the reports of Cussler's dissatisfaction with changes made to his story and characters are true, this could bode badly for Sahara. It also has the unfortunate question mark in its director: Breck Eisner, son of Mickey Mouse's soon-to-be former boss, Michael. Pitt's biggest challenge in "Sahara" won't be the toxins that are polluting the water nor the assassins targeting love interest Penelope Cruz. "Sahara" and Pitt have to survive the critics. Crystal ball says: three stars.
The following week features "The Amityville Horror," a highly anticipated remake from the horror genre. Ryan "Don't Call Me Van Wilder" Reynolds and former "Alias" cast member Melissa George play a couple who purchase a suburban home. But what kind of horror movie would this be if nothing terrible or demonic occurred? The homeowners soon learn that there are more terrifying things than property rates and taxes. The concept of a possessed house may seem laughable, but this film (and the house that the story is based on) is legendary for its fright factors. I'm not exactly a fan of remakes for horror movies unless they get really creative or scare the heck out of me. This hasn't happened a lot recently. Still, I'll give this one a shot because Reynolds is a rising star. Crystal ball says: three stars.
I'm not a fan of Orlando Bloom. I loved "Pirates of the Carribean," but not his character. Girls drool over his good looks. But is Bloom as good of an actor as he is (apparently) good looking? Director Ridley Scott is banking on Bloom's abilities to steal the screen in "Kingdom of Heaven," a Crusades-era picture. Muslims are denouncing this film and historians are already tearing their hair out undoubtedly. Bloom plays a Jerusalem-based blacksmith who must defend his people from invaders. While "Gladiator" caught me off guard (in a good way), I doubt that this film will be able to capture the magic the way that the Coliseum did. Crystal ball says: two-and-a-half stars.
April 29 is a date geeks worldwide have waited for for more than 20 years. No, don't panic. It's not an early release of a new "Star Wars." After years of development, the Douglas Adams comic sci-fi creation "Hitchhiker's Guide to the Galaxy" hits the big screen. With a hip young cast (Zooey Deschanel, Mos Def, Sam Rockwell), the film has the acting chops, and the huge fan base of Adams devotees will surely show up. This is one of the more unique genre-bending films I can think of in recent years and while I'm really interested in seeing the film, I wonder how many casual moviegoers will want to see this quirky galaxy quest. The silly sojourn into the stars should get a stamp of approval from me! Crystal ball says: three- and-a-half stars.
Then comes May, and the movement away from college and the feeling of summer ... and the haunting, echoing breathing of Darth Vader on May 20. But I'll have more on that when the time draws near. Until next time, see you at the movies!
(03/23/05 12:00pm)
All that Rodney Copperbottom (Ewan McGregor) wanted was to make his father proud. After the ailing dishwashing droid needs a part replaced, Rodney takes it upon himself to gain the services of big-hearted, big-bottomed boss bot Bigweld, who has mysteriously gone into hiding. With the help of an eclectic cast of misfit machines, Rodney challenges cash-hungry executive Ratchet to help out the lower class.
Did "Robots" keep me riveted to my seat? No. But it was hardly the rusty remains of other films that other critics claimed it was.
"Robots" has the unique feel of being a throwback sort of film with cutting edge technology. This is not a film that is necessarily meant to be interpreted and constantly appreciated by adults. Sometimes, kids just need movies for themselves. "Robots" is an example of this.
However, Rodney's adventures are not without some sly winks to the older-than-eight crowd. Most of the grown-up gags are featured in the background or left in subtle dialogue. Pay particular attention to the bathroom doors in one scene - rather than have him/her images on the placards, we instead are given pictures of a plug and a wall socket to digest. Hmm. Male and female electric appliances. Stick one in the other ... now do you get it? Children definitely wouldn't get these references, hence why I find it ridiculous that the film was lambasted over this subject.
Put simply, this film is not "The Incredibles" or "Finding Nemo." The humor is not as sharp as the superhero family flick or as cute and bubbly as the oceanic odyssey. The storyline for "Robots" is simple: a boy follows his dream to save his dad and overcomes upper-class schemes to save the day. No, it's not original - but it is timeless and when combined with the dynamic, vibrant colors and shapes of the computer graphics, it can be considered tolerable.
McGregor is one of my favorite actors and here he loses his Scottish brogue to sound more boyish and youthful, effectively breathing life into Rodney. Mel Brooks is perfect as his larger-than-life inventor idol, as is Stanley Tucci. The comparison in voices (Brooks' loud, abrasive and theatrical voice versus the subdued, placid voice of Tucci) is a credit to the casting director. The rest of the supporting cast gets very little time to chat- Halle "Anything is better than 'Catwoman'" Berry, Amanda Bynes, Drew Carey, Dianne Wiest and company. But keep your ears tuned - names like Al Roker, James Earl Jones, Paul Giamatti, Terry Bradshaw and Jay Leno drop by for a line or two.
The reason why all other characters take a backseat is because of the indomitable, uncontrollable force that is known as Robin Williams. Some people complain that the man tries too hard - and in some ways he does. Some of his one-liners, as Rodney's sidekick and friend Fender, seem forced and flat. However, his voice is a needed high-octane jolt to keep the post-pubescent crowd awake and alert.
As for incongruities and strange inclusions: can someone explain to me the obsession with cross-dressing in this film? Rodney gets his female cousin's parts for high school and Fender spends the last 20 minutes of the movie dressed like a Valykrie. Maybe it's Robin Williams. Seriously! Reference material: "Mrs. Doubtfire," "The Birdcage," "To Wong Foo"...
And somehow, I didn't think Jim Broadbent could turn in a performance any stranger than Zidler in "Moulin Rouge," but here he plays a crabby, possessive mother robot. And to think this guy won an Oscar.
My primary problem with this film was that it did in fact fall prey to many stereotypes where other recent "family" films did not. There were no Britney Spears references in "The Incredibles." "Toy Story" did not focus on fart jokes for most of its laughs. Even the company that produced "Robots" knew what it was doing with "Ice Age." Here, the film may have been too focused on winning over children. They're little adults - we may as well treat them with respect and give them quality stories and laughs.
All in all, "Robots" was an enjoyable, quick and painless flick that had me chuckling in both frustration and also genuine amusement. Too bad Rodney couldn't have fixed some of the rusty jokes and plot points.
(03/16/05 12:00pm)
Have you ever felt attached to a person or a movie or a story without having ever seen or interacted with it? Believed in a theme simply because of the power behind the words? When I heard that the College Union Board (CUB) was sponsoring a trip to see the Jonathan Larson rock-musical RENT, I jumped at the chance to finally challenge my imagination.
Why should my imagination be sparked by a musical that has been around since I was in sixth grade? Simple. For most of my adolescence, I believed that musicals and plays were, simply put, uncool. It seems as though the drama crew is often seen as an eccentric and isolated group. Stage dramas were only for a certain type of person. Only after I became friends with many actors and actresses was I formally introduced to non-Shakespearean theater. Any preconceived notions about live performance acting died quickly.
I often laugh at people who write off theater as being too strange to go to. These are the same people who eat up the films of Hugh Jackman and Nicole Kidman and Natalie Portman, but are oblivious to the fact that they have all taken their turn on Broadway.
After realizing this and seeing the excitement inherent in theater experiences, I was introduced to the story of RENT - how the creator of the play wanted to create a story with rock music and modern themes to which today's teenagers can relate. How the same visionary died shortly after finishing the final rehearsals. How the story featured character struggles ranging from financial difficulties (penniless college students should relate) to the acceptance of death and disease. I listened to the catchy cast recording of it dozens of times over the past few years, imagining how the play would look and how the characters would appear.
Finally, on Feb. 27, I got to compare the image I had developed in my head to the actual play. The end result? A spectacular human story that shows you don't need elaborate sets of stunning visuals to drive home a message. RENT focuses on a group of 20-somethings living in New York, overcoming disease and poverty at the turn of the millennium. The play has won awards ranging from Tonys to a Pulitzer and many of its stars have crossed over into film.
The performance I was fortunate to see featured a cast of young rising talent, as headliner Drew Lachey had the day performance off. The stage was sparse, except for a monstrous tree constructed of garbage, which was different from what I originally imagined, as the play is set in New York. Initially, I was put off by some of the vocals - I was used to the original cast's voices and Colin Hanlon, a newcomer to the character of filmmaker Mark, immediately annoyed me. I've had role-originator Anthony Rapp in my mind as Mark for so long that it was hard to accept this new take on the character. However, Hanlon came off as a believable college-aged guy, and his voice was less nasal than Rapp's and I soon forgot about my preconceptions.
I wish I could say the same for Cary Shields, who played tortured musician Roger. I knew he was just an understudy, but his voice was too close to Hanlon's, so they sounded too similar. Plus, the original Roger, Adam Pascal, had a voice that lent an edge to the character. I pictured him as more of a tough guy, brooding. Shields sounded too young and a tad whiney.
The only other person who kind of irked me was Kelly Karbacz as Maureen. Idina Menzel, who won a Tony in this role, has since moved on to fame in "Wicked." Her Maureen sounded more like a radical than a ditz. But Karbacz dyed her hair blonde and acted the part. She came off like a trailer-park airhead.
Other performances meshed perfectly with the vision I had created over time. Karmine Alers as Mimi not only has the look for the character, but also the attitude, without the stuffy voice of the original Mimi. In a way, I liked Alers' Mimi more. And the pivotal role of inspirational transvestite Angel was also played with grace and panache.
There definitely were more little things I didn't expect, such as one character flashing another. Certain lines in the songs made more sense with the sparse-but-crucial exposition. But most importantly, the shiver-inducing wisdom in the play shines through a hundred times more when witnessing the emotional tornado in person. The beauty of RENT is that it has something for everyone: straight guys and girls, homosexuals, crossdressers, executives, bohemians, artists.
The characters and the actors who bring them alive are a cornucopia of races and shapes and colors that unite to drive home the message to live each day as though there is no other. The only thing more satisfying than seeing the show and hearing its message was realizing that in almost every way, RENT lived up to all my standards and expectations.
(03/02/05 12:00pm)
It seems as though the Academy does indeed listen to the cries for justice and change. Film fanatics have complained that the Oscars run longer than the "Lord of the Rings" trilogy. The Academy replied by running a compact three-hour show.
For those who criticize boring hosts that don't connect with the present generation, funny man Chris Rock was on hand to cut loose.
Oh, and speaking of those Hobbits - what about diversity in selection? Did the Academy avoid the landslide of lavish praise to one film this time around? The answer is, undoubtedly, yes.
This year's Oscars were surprisingly new and different in ways many people may not have expected. Gone were the "I draped a dead swan over me" dresses of Bj?rk and instead, the red carpet was trampled by fairly conservative and elegantly attired stars and starlets. Either the wrath of the fashion critics has become too much for Hollywood or perhaps the Janet Jackson fiasco has once again caused more changes. Regardless, the titans of Hollywood played it safe for clothing.
The awards themselves were given a bit of a twist as the audience seemed to be jumped by presenters in different locations. Host Chris Rock made a wisecrack about perhaps having an Oscar presented in the parking lot at some point. While torn on the decision, I would have to admit that it made for a much easier time for the cameramen, as the presenters were almost always standing next to the seated nominees.
Rock as host proved to be a controversial choice, as he publicly announced that the Oscars were, in other terms, a joke. On the stage, however, I was rather surprised at how tame he was. The first half of the show, he appeared to have more flexibility for jokes. His segment on whether 'real' moviegoers see Oscar picks was kind of stupid though, as Rock clearly had an agenda to fill and the whole concept seemed contrived for "Saturday Night Live" or "Mad TV." Overall though, he gave a solid turn as host and I wouldn't be surprised if the Academy made another bold choice next year with a newer, younger host.
As for the winners, there were very few surprises. It seems as though almost everyone who was nominated got something by the end of the night. "Spider-Man 2" was rewarded for its elaborate fights with the Visual Effects Oscar, while "Ray" and "The Incredibles" snared Sound Mixing and Sound Editing, respectively. In a surprise for the Best Score category, Jan Kaczmarek was given the gold for the "Finding Neverland" soundtrack - the film's only award. In an upset, Jorge Drexler's "Al Otro del Rio" ("The Motorcycle Diaries") surprised all with a win for Best Song.
Fans of Charlie Kaufman were given hope after the Academy honored his efforts with the Best Original Screenplay for "Eternal Sunshine of the Spotless Mind" and the surprise hit "Sideways" snared the Best Adaptation award. Both were proper choices for the writing categories.
Who were the big winners overall though? While Martin Scorsese was snubbed yet again for Best Director (the Academy instead chose to make Clint Eastwood's day), his gamble with Leonardo Dicaprio was rewarded with wins in the categories of Film Editing, Costume Design, Cinematography, Art Direction and Best Supporting Actress (Cate Blanchett as Katherine Hepburn).
While "The Aviator" was recognized for superior visuals, "Million Dollar Baby" hit it rich in the acting categories with Morgan Freeman receiving a long-deserved statue for Best Supporting Actor. Clint Eastwood thanked his nonagenarian 96-year-old mother in the audience for sticking around to see him win another directing Oscar, after his first win for "Unforgiven" in 1992, and tough guys all over the world to see the famous stony fa?ade crumble with a tear or two in his eyes. Hilary Swank snapped up her second Oscar in 10 years, punching her cinematic weight and giving a thank you speech that still resembled a Most Wanted List. Hilary, you forgot to thank your parakeet and your third-grade teacher and your accountant ...
But perhaps the most emotional person during the evening was the man who everyone had pegged to take home the gold - Jamie Foxx. The star of "Ray" told an emotional tale of his grandmother (who was his first acting teacher) and a chill-inducing anecdote from Sidney Poitier, who passed on responsibility to the younger man.
That's perhaps the best way to describe this year's Oscars - the passing of the torch from the old style to the new, with a mixed bag of winners and moments.
(02/23/05 12:00pm)
The countdown until the big day for Hollywood bigwigs is drawing closer and with no titanic films owning the categories (see a little movie from previous years about a ring) stars, executives and crews will all hold their breath. And if you're holding your breath waiting for the second half of my Oscar review, breathe you fools! Have no fear; read on and peruse the potential victors of the silver screen.
In previous years, there have been several arguments about whether or not the nominees for Best Animated Feature Film should also be allowed a nomination for Best Picture. This year, I would argue that one should indeed be included: "The Incredibles." Months after seeing it, I'm still smiling. Its competition presents a pair of two different computer-animated pictures - smash sequel "Shrek 2" and surprise hit "Shark Tale" (which proves that a lambasting by critics doesn't necessarily mean a film will sink). I don't forsee "Shark Tale" putting up much of a fight and the predecessor of "Shrek 2" already won this category.
With a fantastic voice crew, a timeless plot that the entire family can enjoy, I place my bet that it will be an "Incredible" evening for Pixar.
Everyone always complains that the movie is never as good as the book. The writers in the Best Adapted Screenplay category beg to disagree.
This year's contestants for the golden statue are Richard Linklater and company for "Before Sunset," David Magee for "Finding Neverland," Paul Haggis for "Million Dollar Baby," Jose Rivera for "The Motorcycle Diaries" and Alexander Payne and Jim Taylor for "Sideways."
All of these are worthy nominations, but you can eliminate "Sunset" and "Neverland" from the list simply because of lack of interest and controversy over characterization respectively.
I'm rooting for Payne and Taylor, but the competition from late-season hit "Baby" will be rough. On the outside is indie favorite "Motorcycle Diaries." This race may be too close to call.
Meanwhile, for those who go for a truly original idea, the Best Original Screenplay category is up for grabs. I have qualms with "The Aviator" qualifying for this category - John Logan adapted someone's life. It wasn't exactly new material. Also nominated are Charlie Kaufman and crew for "Eternal Sunshine of the Spotless Mind," Brad Bird (the multitasking actor/director/writer) for "The Incredibles," Mike Leigh for "Vera Drake" and the heavy-hitting script for "Hotel Rwanda" from Terry George and Keir Pearson.
"The Incredibles" is out because of its previous nomination, "Vera Drake" is the least well known of the group and not everyone is a fan of Charlie Kaufman stories. My bet is that Best Picture favorite "Hotel Rwanda" takes this category with no questions asked. See the movie and understand.
I read a joke somewhere that the Best Supporting Actress category can be stolen if a usually beautiful actress does one of two things: sleeps with a Billy Bob Thornton type on screen (thus gaining our pity) or puts on enough makeup and weight to be almost unrecognizable. Ask Charlize Theron or Halle Berry. Think about it - what did Halle Berry do after getting her Oscar? Agreed to star in Catwoman (oh bad memories).
This year's ladies include Cate Blanchett for "The Aviator," Natalie Portman for "Closer," Laura Linney for "Kinsey," Virginia Madsen for "Sideways" and Sophie Okonedo for "Hotel Rwanda."
I'm going to eliminate Madsen and Linney for first time and multiple nomination reasons. Blanchett nailed her portrayal of Kate Hepburn, so she might be the dark horse. My bet is that Portman and Okonedo will be left standing.
In the men's category we have Alan Alda ("The Aviator"), Thomas Haden Church ("Sideways"), Jamie Foxx ("Collateral"), Morgan Freeman ("Million Dollar Baby") and Clive Owen ("Closer").
Foxx is out because he's up for Best Actor anyway and splits his own chance of winning. Alda wasn't overly impressive in "The Aviator." Haden Church is my dark horse as he turned in a solid, semi-sleazy performance and Morgan Freeman is due ... but you can't top Clive Owen's cold-as-ice, nuts-as-a-Snickers-bar role in "Closer." My guess is he gets the gold.
Without guidance, a film flops. So the Best Director's category is important to pay attention to as it is often linked to the Best Picture. The nominees are Mike Leigh ("Vera Drake"), Martin Scorsese ("The Aviator"), Clint Eastwood ("Million Dollar Baby"), Taylor Hackford ("Ray") and Alex Payne ("Sideways").
I'd pretty much give this one to Scorsese - he has been neglected for ages for fantastic movies and gets Dangerfield levels of respect. "The Aviator" was solid enough - give him the freakin' Oscar, Academy!
The Lead Actress category features an established group of actresses with a pair of newcomers.
Up this year for the award are returners Annette Benning ("Being Julia"), Hilary Swank ("Million Dollar Baby") and Kate Winslet ("Eternal Sunshine"), joined by newbies Imelda Staunton for "Vera Drake" and Catalina Sandino Moreno for "Maria Full of Grace."
Aside from Academy darling Swank, this category is too close to call for me, with no real front runner. Someone will go home surprised!
The Best Actor category features the battle of an early release and a late release. Don Cheadle ("Hotel Rwanda") and Jamie Foxx ("Ray") have both received countless positive reviews for their performances. Johnny Depp returns once again to the big time, but again, will likely be denied (he'll be back). Clint Eastwood knows the Oscars well enough to know that he probably should just be happy being honored for "Million Dollar Baby." Leonardo Dicaprio ("The Aviator") also should take heart in knowing that his performance has cemented him into veritable leading man status and not just eye candy for young girls.
But it will be a knock-down brawl of votes to see if Cheadle or Foxx takes home the statue. My guess? Jamie Foxx earned the praise and maintained it for a longer period of time. Give him some love, Hollywood.
So you made it through the whole Oscar show to see which movie takes home the Best Picture prize, eh? Congrats - it's a marathon to sit through, I know. Up this year are "The Aviator," "Finding Neverland," "Million Dollar Baby," "Ray" and "Sideways" - the elite of the past year's films. While I loved "Sideways" and "Neverland," my guess is that this will be a three-way race between "The Aviator," "Ray" and "Million Dollar Baby." If Foxx gets Best Actor, don't expect "Ray" to win Best Picture. My guess is that Clint and company are going to feel like a million bucks after this award.
Stick around until next week to see how close I came with some of my picks. And if you haven't had the chance to see some of these films, go raid the local rental store or take a trip to the theater while you still can!
(02/16/05 12:00pm)
February is perhaps the hardest transition for movie goers. All of the late Christmas bloomers have left theaters and it is still months before the summer rush begins. But there's still excitement for the film fanatics when rumors begin to swirl about who will take home the golden statue of the nude man holding a sword. That's right - it's Oscar time! Let's take a look at who is on the hot seat to take home Hollywood glory in 2005.
What better way to get your film in the Oscar hunt then by setting the mood with the right music. Up for the Best Score category are "Finding Neverland," "Harry Potter and the Prisoner of Azkaban," "A Series of Unfortunate Events," "The Passion of the Christ" and "The Village." Frankly, while I'm happy that James Newton Howard was recognized for his excellent body of work, anything involving "The Village" is pretty much a no-go.
I'm rooting for Oscar regular John Williams to take home the turkey for his "Harry Potter" soundtrack, but more likely than not, the prize will go to the man who set the haunting notes for "The Passion," John Debney. My dark horse pick is the excellent music set for "Finding Neverland," by Jan Kaczmarek.
While discussing music, what about Best Song? Up in this category are "Shrek 2's" "Accidentally in Love," "Al Otro Lado Del Rio" from "The Motorcycle Diaries," "Believe" from "The Polar Express," "Learn to be Lonely" from "Phantom of the Opera" and "Look to Your Path," features in "The Chorus." The choice that immediately jumps out at me is "Learn to be Lonely" simply because it is one of only a few nominations for the extremely late release of "Phantom." It's particularly controversial not only because of its last-second dash to the theaters, but also because this song is not in the Broadway play and theater aficionados are affronted by this adaptation's disregard for material.
That having been said, while I love "Accidentally in Love," it is clearly too mainstream to win. The next best bet is "Al Otro Lado Del Rio" by Jorge Drexler. My money is on "Learn to Be Lonely" though.
Aside from hearing the sound of dollars entering the register and credit cards swiping, the next best thing for a producer to hear involving the subject of sound is the news that the sound editing team is up for an Oscar. This was the case for the crew of "The Incredibles," the "Polar Express" and "Spider-Man 2."
Here, my vote is split between the two superhero movies. "Spider-Man 2" featured some of the most complicated battle scenes I think I've ever witnessed on film (go watch the DVD featurette on the train fight), while "The Incredibles" could have sunk to caricature had it not been for the entire production crew's attention to detail. As much as I loved Spidey, I think the statue belongs to the "incredible" work of Mike Silvers and Randy Thom.
Constructing a sound film requires believable characters that blend with their environment. For example: would it look right for Brad Pitt to stroll up towards the gates of Troy in jeans and a leather jacket? Perhaps that example is a bit extreme; still, it is important to recognize the kings and queens of costuming from the past year: Sandy Powell ("Aviator"), Alexandra Byrne ("Neverland"), Colleen Atwood ("Unfortunate Events"), Sharen Davis ("Ray") and Bob Ringwood ("Troy"). While I sincerely hope that "Ray" wins a few Oscars, I don't think that a movie set in fairly contemporary times deserves credit for originality.
Powell's "Aviator" garb required plenty of Hollywood-star eye candy, while Ringwood had to recreate Greek armor without being clich?d. My guess is that the Academy will be flipping a coin here, with "Ray" edging in from the outside.
As my former roommate put it, some people just enjoy watching explosions. The category of Best Visual Effects gives a nod to the men and women who make us believe we can fly, swing or, well, explode. This year's nominees are from crowd-pleasers "Harry Potter 3," "I, Robot" and "Spider-Man 2." As a fan of all three, it's difficult for me to be objective. I've always found the effects in the Potter films to be somewhat subpar, and "I, Robot" could have been a little more polished. Frankly speaking though, it's hard to pull off a believable fight involving a guy with eight mechanical arms on a movie vehicle or up and down a skyscraper. Give the gold to John Dykstra and company from the Spidey faction.
We can conclude the first half of the Oscar picks with the Achievement in Film Editing category. Up this year are Thelma Schoonmaker ("Aviator"), Jim Miller and Paul Rubell ("Collateral"), Matt Chesse ("Neverland"), Joel Cox ("Million Dollar Baby") and Paul Hirsch ("Ray"). I'd rule out "Aviator" simply because there wasn't much to the plot manipulation. The same goes to "Finding Neverland" - the continuity of the story was fairly linear. Look for veteran Hirsch to be a contender, while Joel Cox looks to cash in for "Million Dollar Baby." The outside threat is the "Collateral" duo - their film had a frantic, breathless pace. This could result in Academy approval.
Tune in next week for my picks for the writing and acting categories. Until then, see you at the movies!
(11/17/04 12:00pm)
You can always tell it's the holiday season when a) the temperature starts dropping, b) your bank account is racing the temperature to the zero mark and c) Hollywood blitzes the market with a barrage of late-year flicks featuring the biggest stars teamed up with even larger budgets. Since you only have so much money to spend (especially after your meal plan dries up), The Signal proudly presents the annual Winter Movie Extravaganza.
It's not every day you see four A-list actors competing for attention in a winter flick. However, Mike Nichols has succeeded in bringing together Jude Law, Julia Roberts, Natalie Portman and Clive Owen for the highly anticipated "Closer." The film centers around two couples whose philandering ways cause each to reach the breaking point. Portman, who plays an enigmatic stripper, is taking a risk here in one of her more mature roles so far and with all of the buzz (and not just over the alleged cut nude scene) she is getting from early viewings, she could get an Oscar nomination along with the film.
The only setback to the film is the concept - how many couple-switches have we seen so far? The crystal ball predicts four of five stars. Coming Dec. 3.
So you're not up for a drama - how about "The Da Vinci Co- uh, I mean "National Treasure," the latest Bruckheimer blockbuster? Here, Nicholas Cage attempts to locate a massive treasure hidden by America's presidents of old. His clues and location? Hidden on the back of the Declaration of Independence. Now if only Bruckheimer could find a clue as to how to make a movie that doesn't smack off a certain Dan Brown best seller. You can be assured that Nicholas Cage will be quirky as ever and as this is a Bruckheimer-bash, explosions will occur. Not even Sean Bean - who seems to always bring more to the table - can save this one. This is destined to be a mainstay on DVD to be sure - methinks this will be a generous two out of five stars. Due Nov. 19.
Am I the only one getting kind of tired of the sword-and-sandals genre? A few years ago, I would have been shocked at my own statement here, but after "Gladiator," "Troy," a half a dozen TV movies and now "Alexander," it's almost like clockwork now to expect a major epic like these.
The inspirational tale of Alexander the Great needs to be told in a bold manner, to be sure, but I have misgivings here. The trailers shows plenty of the overused sweeping battle shots, coupled with dime-a-dozen "Braveheart"-esque speeches ... yawn. No offense Colin, but if you expect to be taken seriously as an actor, quit whining about your "talent being deleted from films" - and I don't mean acting Talent.
Sure, Oliver Stone is a great filmmaker and I'm sure this work will be solid - but I've heard so much about how this is groundbreaking because of the Alexander-had-a-male-lover angle that I'm already bored.
I'll be generous and predict a three out of five stars, even if early reviews are coming in on a harsher tangent. Due out Nov. 24.
Tim Allen is Santa Claus. He has to be! The man never seems to find work except at Christmas time! This year, we are not treated with "Santa Clause 3: Ho Ho Homygoshwemadeanotherone" but instead are treated to "Christmas with the Kranks," based on the best-selling novel "Skipping Christmas" by John Grisham.
When the daughter of Luther (Tim Allen) and Nora (Jamie Lee Curtis) Krank decides to unexpectedly come home from the Peace Corps in Peru to celebrate Christmas, the parents must ditch their tropical getaway plans to salvage any kind of yuletide spirit.
The competition from "Alexander" will take away some of this flick's box office cash, but could this be a happy holiday for Tooltime Tim again? If the film stays around long enough into December, who knows?
With the unstoppable Dan Aykroyd supporting, you can't go wrong. A hopeful three out of five stars. Due out Nov. 24.
Finally, you have two Oscar-buzz films coming out Dec. 10 and 17: the Bill Murray-led "Life Aquatic" and the Leonardo "Don't Think Titanic" DiCaprio biopic "The Aviator."
Both have star presence and strong casts but feature very different plots. While Murray's Jacques Cousteau-based film is more of a comedy, DiCaprio's straight-up take on a millionaire adventurer has more of a dramatic edge - especially since DiCaprio's career may depend on it making a splash.
Despite the success of "Catch Me If You Can" and "Gangs of New York," DiCaprio stands to gain more than Murray, who at best gets another Oscar nomination (please let the man win just once!). Both are strong-looking films and will likely get four stars from me.
So until next time, enjoy the movies, roll the camera and I'll see you at the theater!
(11/10/04 12:00pm)
Who can save the world from peril? Super Baby? Samuel L. Jackson? I'm guessing "Coach" Craig T. Nelson wasn't high on your guessing list as hero to humanity, but in the latest brilliant stroke by Pixar, "Mr. Incredible," the man with the monotone, is our only hope.
In a world where super-humans have been forced to hide undercover due to legal issues, a former man of might is drawn into a conspiracy by a mysterious benefactor. It's up to his super-wife and kids to save him and the world and be back in time for dinner!
Confession: I'm a comic book geek. With a radio nickname like SuperScott, that should be apparent. So when I heard Pixar would be animating a superhero movie, it's needless to say that I was excited. Was I disappointed with what I saw? Yes - I was disappointed a movie like this took so long to come out! This is what a superhero movie should be like.
I really hope Craig T. Nelsons' career gets a boost from his stint as the patriarch of the Fantastic Family. It's funny how he can drop his voice to a low growl and sound like a totally different character. His Bob Parr/Mr. Incredible is the opposite of what we're used to seeing in superhero movies. "Spider-Man," "X-Men" - where is the witty banter?
Here, Mr. Incredible not only cracks jokes and acts dashing, but he also is a vulnerable character - he just wants to help, even if the world doesn't. Pay close attention to the scene where he is captured and receives some terrible news about his family - the voice, acting and animation combine for a heartbreaking and emotional moment that is rare for an animated movie and for superheroes.
The cast, in general, turns in strong performances. Sam "Baddest Man in the World" Jackson is barely in the movie for 20 minutes, but he makes any movie better. Does anyone think his Frozone looks like Dave Chapelle animated? Maybe it's just me.
I'm a huge fan of Holly Hunter and her Elastigirl/Helen doesn't just look like her - you can practically see Hunter's mannerisms on the screen. We are inadvertently supposed to not like Helen, since she tries to hide her kids' gifts, but when push comes to shove, she is a fierce protector of her children and the field general of the family.
Jason Lee deserves a better fate than a B-list actor and with each solid showing, I hope he gets that much closer to stardom. The Kevin Smith film-alum may have brought to life a villain as dynamic as this year's other big baddie, Doc Ock from "Spider-Man 2."
Lee's "Syndrome" (honestly, would you believe in a superhero with a malevolent moniker like that?) is not only of the James Bond-ian breed of ubervillain, but he also is every well-adjusted geek's worst nightmare - an over-obsessed fan-boy gone terribly wrong.
With new takes on "Superman" and "Batman" in the works, try not to laugh at the history of superhero fashion development with Edna Mode ("Incredibles" writer/director Brad Bird). You'll think twice about the cape-craze after this movie. Bird's performance steals this show hands down, and the packed house I saw this film with agreed.
Why did this film work? Because animation allows the writers to develop a story that directors Sam Raimi (Spider-Man) and Bryan Singer (X-Men) can't afford to attempt - a world where characters can run at super-speed or stretch into forms at which even a Yoga master would blanch.
Even with computer technology at the point it is at, audiences would never buy a live action variation of Elastigirl, er, Elastimom turning into a giant parachute. The joy of animation is that it can afford to look somewhat comical - the imagination takes leaps of logic.
What does this mean for the dialogue? It means that I can finally say a movie has brought attention to the obvious - that villains use monologues to the point where even Hamlet would say "shut up!" Cue the witty superhero banter at last! Even superpowers like superspeed and invisibility are tackled with new angles (have you ever felt invisible around another?).
This is not your typical animated film. With a PG rating, Bird pushes the envelope with the story content. In this world, people die, people are tortured ... there is even a social commentary about how people would sue superheroes for saving their lives despite risking their own.
I thoroughly enjoyed this James Bond-meets-Superman-meets-Playstation 2 concoction.
(10/20/04 12:00pm)
Editor's note: Scott Napolitano attended a speech by Christopher Reeve on Sept. 29, and wrote about his experience in the Oct. 6 issue of The Signal. Below, he shares his reaction to the actor's recent death.
I've been told that your childhood ends when one of your heroes passes away and you wake up the next day feeling that much older. I can confirm this with the passing of Christopher Reeve. Having only seen him two weeks ago, his death came as a total shock. While I am sad that he is no longer with us, I feel proud to have known him and to be able to pass on his wisdom as part of his legacy to future generations.
Upon hearing he had died, I received numerous e-mails, phone calls and instant messages with expressions of consolation. I had never taken a celebrity's death so close to heart, but this time it was different - I was one of the last people to have the gift of hearing him speak.
Never in my mind did I think he would fall short of his goal of walking again. But time took its toll and on Oct. 10, he was gone.
One of the hardest things I've had to do in a while was to go to WTSR to do my radio show and immediately read a story about his passing. What struck me the most was a quote saying doctors said Reeve lived as long as could be expected for someone in his situation. Having listened to the man talk with utter disdain about limitations and doctors' edicts, I knew upon reading the story that he would have hated to have heard that.
Reeve, who grew up in Princeton, was more than just an actor. This was a man who would come to embody the traits of the character he once portrayed. He will be forever linked to the character of Superman. In my mind, it's a noble comparison, since Reeve fought tirelessly to show us the truth about paralysis, to bring justice to those in need and to give hope to the downtrodden.
Reeve may have claimed to be an ordinary man - but sometimes a hero is just an ordinary person who does extraordinary things. That is why Reeve was and will remain a hero in my eyes. Safe flight, Superman. We'll miss you.
(10/06/04 12:00pm)
Christopher Reeve, best known as the man who made a generation believe a man can fly as Superman, appeared at First Energy Park in Lakewood as the keynote speaker for "Empower New Jersey 2004: A Night of Motivation and Inspiration" on Sept. 29. The paralyzed actor made his audience believe he will walk again.
Despite fears that the soggy evening might cause a cancellation of the Reeve speech, the former Man of Steel was wheeled out to the speaker's circle behind the home plate area upon introduction by "Empower" sponsor Diane Turton. The crowd, spread between seats on the field and in the stands, all rose to give Reeve a thunderous standing ovation.
Reeve acknowledged his New Jersey roots. "I spent my summers sailing on Barnegat Bay, driving around Toms River, Mantoloking, Point Pleasant - it's all a part of who I am. The Princeton native said, "For me, New Jersey has always been a small state that does big things."
"I come from New Jersey, not from Krypton," Reeve said. "Actually, Krypton was boring; New Jersey is interesting. There's a lot more going on," the actor would later quip with a smile.
The primary focus of Reeve's speech involved the expansion of one's worldview and the maintainence of an open mind. Reeve said he was particularly proud of the long fight in courts that resulted in New Jersey becoming the second state in the union behind California to allow all forms of stem-cell research. The research, according to Reeve, will begin at a new lab at Rutgers University, where some of the country's most intelligent scientists will look to further their knowledge of cancer, leukemia and paralysis.
"In probably 10 years, 15 years from now - maybe even sooner - when all types of research is in use, we will look back and say, 'What was the fuss?'" Reeve said. "It has happened time and time again."
Reeve, who was paralyzed in a horseback riding accident in 1995, has fought tirelessly for the study of paralysis and stem cell research. He has also been an advocate of self-empowerment.
"It begins with an understanding of oneself," he said. "Some people achieve it very early and unfortunately some never attain it and they miss out. But to begin to understand who you really are and what your capabilities are, what you want your legacy to be, you begin to get to know yourself. It becomes clearer what you want to or have to do."
To illustrate his point, Reeve told a story about his mother, who chased her dream of becoming a writer at the age of 50. Starting out at a small Princeton newspaper writing about dull town meetings, she worked her way up to eventually becoming editor of the same paper. At the same time, she trained herself in sailing, despite doctor's warnings against physical activities that might exacerbate her asthma. She would go on to become a highly competitive sailor at the age of 64.
"I truly feel that if you understand yourself and you set goals without regard to the limits put on you, then nothing is impossible," Reeve said. "Why not set your ideals and goals as high as you can. One of the keys to this is refusing to accept absolutes."
According to the actor, one the most infuriating moments of his life was when doctors told him at 42 that he would never walk again. "I don't take kindly to words like 'never' or general ultimatums," he said.
"If you asked any scientist in 1995, they would say the spinal chord can't regenerate," Reeve said. "If you ask any scientist now, they'd say that the spinal chord can and they are. Things change."
Reeve's words seemed to strike a chord with many audience members. Several people in the stands could be seen shivering or crying.
"All of us have the power to make that change happen by looking inside ourselves and saying 'I'm going to do the best that I can to discover what potential is inside of me,'" Reeve said. "There's more inside of us than we are aware of."
For one College student, the night proved to be a dream come true. "I've been a fan of Christopher Reeve since I was a little kid," Tim Serabian, junior elementary education major, said. "The man is Superman. He isn't just an actor anymore. He embodies that persona."
Serabian was able to ask him about the first thing he wanted to do after he regained his ability to walk. "I won't be doing much standing," Reeve said. "When I get up, I won't fall down. And if I do, I'm going to get right up."
"I'm still shivering," Serabian said. "This goes beyond words."
Writer's Note
Having been a cameraman for the Lakewood BlueClaws baseball team for four years, I have become accustomed to filming and working with celebrities. But when I heard Christopher Reeve was coming to my home turf, I knew I needed to act fast. Reeve has been an inspiration to me for his portrayal of Superman on the screen and for his selfless actions off-screen and I wanted to preserve this speech. Nothing will ever match the moment when I began to roll camera and for an instant, I locked eyes with a childhood hero.