Keanu A-Z News Reports
Sunday, August 31, 2003
The Matrix
[Citizen-Times 29/08/2003 By FROM STAFF REPORTS]
The Matrix reloads in Asheville with "The Matrix Reloaded," now playing at the Asheville Pizza and Brewing Co. Keanu Reeves is still the one in this wild much-awaited sequel. Hang on for more special effects, a battle between Neo and 100 cloned versions of the evil Mr. Smith and a mind- blowing 14-minute car chase. Call 254-1281.
Saturday, August 30, 2003
The Wheel Thing
[Premiere 30/08/2003]
Walker has heard the joke about The Fast and the Furious. You know, the one about how it’s just a remake of Point Break, in which he played Keanu Reeves to Vin Diesel’s Patrick Swayze. “Yeah, a lot of people think that,” Walker says, laughing good-naturedly. “There are similarities. We said that when we were working on it.” But Walker does point out that “Point Break is a classic.”
Trying to explain "The Matrix Reloaded" isn't easy. But for $2, we'll try.
[Citizen Times Aug. 28, 2003]
Trying to explain "The Matrix" movies isn't easy. It's about this guy Neo, and he has these weird powers, and he's always tangling with these villains who wear dark glasses and .
Better to forget the explanations and just enjoy the show. "The Matrix Reloaded" makes its way this week to Asheville Pizza and Brewing Co., 675 Merrimon Ave. Tickets are $2, which means that big crowds will turn out, even if they don't understand what's happening onscreen.
In this second "Matrix" film, Neo (Keanu Reeves) and his gang continue their mission to save humanity. It's a big job, but someone has to do it. ONTHENET: www.ashevillepizza.com and http://whatisthematrix.warnerbros.com/
Summer of fizzle for films
[Washington Times 30/08/2003]
Nancy Meyers, who found immediate success with "What Women Want" after splitting with former spouse and collaborator Charles Shyer, will simplify the angles in "Something's Gotta Give," a romantic comedy that eventually matches playboy Jack Nicholson with playwright Diane Keaton. At the outset Mr. Nicholson is consorting with Miss Keaton's daughter, played by Amanda Peet, positioned for consolation with Keanu Reeves, a doctor smitten with her mom. Evidently, the topic of "age-appropriate" mating is in for a workout.
Friday, August 29, 2003
Critic's corner
[Boston Globe By Matthew Gilbert, Globe Staff, 8/29/2003]
"Charlie Rose" at 11:30 p.m. on Channel 2. Actors Keanu Reeves, Carrie-Anne Moss, Laurence Fishburne, and producer Joel Silver ("The Matrix Reloaded"). In stereo. (Closed-captioned)
Enjoying the ride
[The Sofia Echo 29/08/2003]
Walker, a handsome young man with an irritatingly inappropriate voice evoking that of Keanu Reeves, fails to register any kind of emotion while gracing the screen. This, for American critic Rene Rodri-guez is ample grounds to dub him "the worst actor landing starring roles today". This may be a vicious thing to say, but it is not very far from the truth.
Keanu Matrix rebooted
[The Sun 28/08/2003]
Casual caller ... scruffy
Keanu on pay phone
Pictures: BIG
MOVIE heart-throb Keanu Reeves looks more like a down-and out than a multi-millionaire — as he shambles around Beverly Hills wearing dirty old shoes held together by TAPE.
Stick-up ... tape holds his shoe
The 39-year-old, who earned �15million from Matrix Reloaded alone, completed his scruff image with a tatty old suit and T-shirt as he made a call from a pay phone. Keanu then headed off on his Harley-Davidson motorbike. He’s unlikely to need a hand-out — the third Matrix movie is out in November.
An autumn of hope
[The Globe and Mail 29/08/2003]
Could it be true? Decent movies in theatres between the uninspiring summer and the traditional Christmas flurry of Oscar contenders? With new offerings from the likes of Weir, Tarantino, Campion and the Coens, LIAM LACEY writes, the fall is looking good
NOV. 5
The Matrix Revolutions: Dir. Andy and Larry Wachowski. Starring Keanu Reeves, Carrie-Anne Moss, Laurence Fishburne.
The second part of this summer's Matrix sequel follows the story of the machines invading the underground city of Zion, as the messianic hacker Neo (Reeves), tries to sort out the world of illusion and reality.
Keanu's First 'Whoa'
[Hollywood Elsewhere By Jeffery Wells]
"Keanu definitely said 'whoa' in BILL & TED'S EXCELLENT ADVENTURE I don't know if he did it before then, but between that film and POINT BREAK, it cemented our view of Keanu -- surfer dude for all time. The name doesn't argue with this AT ALL." -- Jason Birzer
"I think the origin of 'whoa' for Reeves has mostly to do with his standout performance as Dianne Wiest's son-in-law in Ron Howard's PARENTHOOD. In addition to playing a burn-out type in that film, there was also, of course, BILL & TED'S EXCELLENT ADVENTURE and Lawrence Kasdan's film I LOVE YOU TO DEATH, which I always thought Reeves (together with William Hurt, playing Reeves' co-burnout) stole." -- Joseph Kay
"Keanu first uttered 'whoa' in THE MATRIX when Laurence Fishburne jumps from oen building to another." -- Laurence Price
Wells to Price: I know he said 'whoa 'in THE MATRIX, but you're sure this was the first time ever?
"It wasn't RIVER'S EDGE or THE PRINCE OF PENNSYLVANIA in which Keanu uttered the infamous 'whoa!'...but the idiotic BILL & TED'S ASININE ADVENTURE. What a ridiculous association, in any case, for one of the finest young actors and nicest guys of our generation!"
"I say this having crossed paths with Keanu in some peculiar karmic way over the last 30 years or so.
"I worked for a p.r. co. in the late 1980s where we had the Hemdale account. I screened a film with no release date called RIVER'S EDGE, and I was the only person who loved it. (Everyone else thought it was vile -- so it was dumped on me, and I was glad to take it on). Eventually Hemdale dropped it and another independent company took it up.
"I thought the entire cast was excellent, but there was a scruffy young actor I'd never heard of who provided the heart of this bleak, despairing film -- Keanu Reeves.
"I next encountered him a year later when I changed jobs to DDL (Dino DeLaurentis's disastrous folly) and saw a rough cut (of his next venture, BILL & TED'S EXCELLENT ADVENTURE (for which thee special effects had not been completed, a nervous producer warned us).
"One more year passed (as did DDL) and I was offered the unit publicist job by New Line on another Reeves film, the low-budget THE PRINCE OF PENNSYLVANIA. I met and spoke with Keanu during the six weeks the film shot in Pittsburgh. He insisted we had met before, though he couldn't remember where or when. I told him he was mistaken. But I was also impressed with his fierce intelligence, sweet-natured good humor, modesty, and kindness.
"Years later my sister gave me her issue of Premiere Magazine with a cover story of Keanu, who was by now a major star. For the first time, he talked a bit about his parents, and then I realized he and his sister were the 3 and 4 year old children of a lovely girl I met when I first moved to N.Y. in 1966.
"I was a grad student, and Patrick Reeves (a British model) was divorced from her Hawaiian husband, and was raising her two kids from that disastrous marriage. I remember her son & daughter both had Hawaiian first-names, and were extremely sweet but quiet young children who rarely smiled. When Patrick moved to Toronto in the mid-70s, we kept in touch but after awhile I stopped hearing from her.
"So Keanu did indeed remember me from his childhood, but I didn't remember him because, during the intervening years, a four year-old child had grown into a handsome young man." -- Scott MacDonough
Sneaky Snaps
[New Magazing [UK] 01/09/2003]
Keanu is on a glamorous new diet...
[I guess it's this mag's idea of a joke....yeah, real funny.....Netz]
Thursday, August 28, 2003
Constantine Script Review [contains spoilers]
[TNMC 28/08/2003]
"Sometimes you can read a script and tell that something is wrong, that it just isn't as good as it could be, but for the life of you, you cannot pin down exactly why. There isn't a specific failing. When I reviewed Paul Anderson’s script for Resident Evil about a year ago, I had this particular problem. RE was just... all right. I suppose the worst you could say about it was that it never went far enough, because you couldn't pin down one big fat honking mistake that squandered the entire screenplay.
I make this my introduction because, in trying to find something good about this undated draft for Constantine (credited to Kevin Brodbin), the best I could do was say that its mistakes are clear, and clearly fixable. They are also, unfortunately, huge, and fixing them would basically mean throwing out the bulk of this draft and starting over from scratch.
Constantine is, of course, the adaptation of DC’s classic comic book series Hellblazer, which is still going strong and remains one of the Vertigo line’s flagship titles. The series follows the exploits of John Constantine, the kind of magician who doesn't waste his time pulling rabbits from hats, but rather wastes his time drinking, smoking, and doing the occasional good/bad/morally questionable deed. Like most comic book adaptations these days, the trick in adapting Hellblazer was wading through the myriad of storylines and deciding whether to adapt previously existing material (like Spider-Man), or to start anew (the Batman series, for example, which played very fast and loose with the original storylines).
A large portion of this draft takes the former route, adapting one of the most acclaimed, certainly the most famous Hellblazer storyline: Garth Ennis’ 'Dangerous Habits'. In the comic, John Constantine found himself hopelessly afflicted with lung cancer, brought about by decades of chain-smoking. For anyone else, the fear of death alone would be enough, but Constantine had the added worry of knowing exactly what’s waiting for him in the afterlife - an eternity in Hell. What’s worse, in the second issue of the story arc, he tricks Lucifer himself into swallowing Holy Water, guaranteeing that when he gets to Hell, his torment will dwarf that of all the rest of the damned put together. But then, right at the end, the clever bastard figures out a way out of it all, in one of the most ingenious 11th hour twists it has ever been my privilege to read.
But as great a movie as this story alone would make, it wouldn't exactly be the kind of horror-themed movie that breaks box office records, so the screenwriter made the wise decision to combine the decidedly talky 'Dangerous Habits' storyline with another, more action/horror oriented one. In principle, this idea is a brilliant one - it allows you to introduce the super-cool Constantine with a huge flaw (making the magician mortal, and thusly more sympathetic to audiences), tell a more conventional horror storyline, and then hit us at the end with a conclusion that not only resolves the traditional storyline, but manages to cure Constantine of his malignant tumor, leaving room for sequels while at the same time wowing audiences with the climax’s cleverness.
In practice however, it doesn't really work at all, because the storyline they chose to combine it with is trite and poorly executed. Having not read every single issue of Hellblazer (cut me some slack - it’s been around for about twenty years), I'm not entirely certain that it isn't an adaptation of an existing storyline. However, the quality of the concept is hardly indicative of the quality of any of the Hellblazer comics I myself have read. More exact reasons for why I feel that it doesn't work will follow, but in the spirit of full-disclosure, it covers the serial murders of psychics and magicians by the devil himself (well, one of them - in Hellblazer, Lucifer, Beelzebub and Balthazar share leadership of the underworld). Constantine could be next at any given time. The rationale, however, is a poorly explained, not particularly interesting notion that one of the devils is building themselves a stairway of souls to the mortal world. Or something like that. The main plot point is a metaphor, and unless you're Alan Moore, that kind of twist generally feels like unconfident writing.
Much ado has been made over some superficial changes to the essential Hellblazer universe in this draft, and these complaints are mostly justified, especially since the changes contribute absolutely nothing to the plot in general. Constantine will probably be portrayed as an American if the rumors have any weight at all (and they probably do, since Nicholas Cage was originally cast in the role), which I think is the second most offensive of the three primary points of contention. John Constantine is British - this isn't some kind of character detail you can gloss over. It’s a vital component of his personality and his experiences. (It would be like making Spider-Man British, which would fundamentally change the character.) The saddest thing however is that at no point in this script does any line of dialogue he says or any action he takes preclude him being played by an Englishman. (Truth be told, the only way I could get through much of this draft was by imagining John as played by Jason Statham, a casting choice I can only pray for.)The least offensive of the three is that the action takes place in New York. Yes, England would have been nice, but it’s hardly integral to this particular storyline. It would even have been easy to explain why Englishman John Constantine was in New York - he has cancer, and the best doctors are in America. He doesn't want to die, so he went to America to try and get out of it. A potentially damaging point of contention with the fanboys could easily be avoided with a simple line of expository dialogue.
But the worst of the seemingly superficial changes, in my mind, is that in the screenplay, John’s cancer has changed from being in his lungs, to being in his brain. Yes, that may seem small, but it played an integral part in the 'Dangerous Habits' storyline. John was being undone by his own conscious actions. He knew that smoking was bad for him, he did it anyway, and he is paying the price. This mirrored perfectly the fact that he was going to Hell. He knew the difference between right and wrong, he did bad things anyway, and he will pay the price. By taking away that his cancer is his own doing, he goes from being the flawed anti-hero to a martyr, and the last person John Constantine can be compared to is Jesus Christ. Maybe the Marlboro people got to the screenwriter, maybe not, but it feels like a completely unnecessary, entirely detrimental change in an otherwise fantastic subplot.
But while all these things are bad, none of them are the single worst aspect of Constantine. No, this one is all new, but at the same time one of the oldest clichés in thriller history. I speak of course about my biggest pet peeve in all of filmmaking, the most annoying character type ever crafted, and the single most unnecessary: The Exposition Girl. No, she doesn't give exposition... this is that girl (occasionally a guy, but a female is more common) who serves little to no other purpose than to have things explained to her, thusly halting the suspense and storyline altogether. You may recognize her from such films as Blade, Broken Arrow, or Midnight in the Garden of Good and Evil (okay, that was John Cusack, but you get the point). The one in Constantine is named Angela Murdoch.
Constantine as a script had failed to inspire me by page 11, but at the bottom of page twelve, where Angela was introduced, my heart stopped, because I had read one of the most terrifying blocks of character description I will hopefully I ever have to read in my life:
'... ANGELA MURDOCH. Poised strength with vulnerable eyes that beguile her drive. Fiery and intelligent but she'll decide when to show it. She knows all the tricks. That’s why she made Detective Sergeant at 28.'
Anyone who reads enough scripts knows that the above means the following:
This tough as nails female authority figure is just a scared little girl inside...
... which means she will need to be saved, because women are never allowed to be able to save themselves in these movies (The Silence of the Lambs being the only memorable exception).
'She knows all the tricks' signifies that she doesn't know anything, really, and will have to have Constantine explain everything to her. But because 'she knows all the tricks,' she won't believe him at all until it suits the storyline.
She’s 28, which means that she will be played by an attractive-Gwyneth-Paltrow-type, which means that she will have sex with the main character.
All of these predictions turned out to be true, by the way. There’s no way around saying that Angela Murdoch is one of the most singularly annoying non-characters I have ever read, and serves no distinct purpose other than to have things explained to her and be the subject of an annoying Angel Heart-esque twist at the end, and make John’s Cure for Cancer twist seem noble, as opposed to desperate. Angela is the kind of the female character that people who don't like to write female characters usually write, and I found myself wishing throughout most of the script that she would just be written out of most of her scenes and replaced with some character-driven interior monologues instead.
Constantine isn't all bad - I doubt I could ever have mustered up the courage to write a review that was only capable of damning someone else’s work. The actual murders committed in the film are all memorable, and worthy of appearing if not in this movie, then in another horror movie more suited to them. Whenever John doesn't have to explain things to Angela, and just gets to be John Constantine, he has memorable moments and comes across as a damnably devilish rogue. And again, the concept of combing 'Dangerous Habits' with another, more visceral storyline is a brilliant one. But the problems with Constantine too far outweigh these well-handled moments and well-conceived notions, and as a whole the script comes across as completely uncharacteristic of Hellblazer, be it as a result of the actual characters, or just its extremely formulaic nature."
(Review submitted by Hollyfeld.)
Stay tuned...
That's all folks...
Oscars To Pit Matrix vs. Matrix?
When it comes to filmmaking - nothing has made the Oscar race stranger than the recent trend of filming a series of movies back-to-back. One example would be The Lord of the Rings series, but an even bigger challenge comes when you look at four films that will all likely be released in 2003. The Matrix: Reloaded, The Matrix: Revolutions, Kill Bill Vol. 1, and Kill Bill Vol. 2. What exactly should the Academy of Motion Picture Arts and Sciences do with multiple films that could conceivably be called one film, split in to two parts?
Well, according to the Academy, it doesn't matter how many films you shoot at once, when they're released, or how you market them - if the films are split into two parts, and obviously released separately, then they're separate films that will have to be submitted separately to the Academy.
Of course, if you're a company trying to make an impact at the Oscars (which have been moved earlier in the year, starting in 2004, to February 29th) - the concept might not be as easy as all that. Warner Bros., the company behind the Matrix films, obviously doesn't want to have to pit the second and third parts of the film against each other - mainly because that could mean one of the films won't even get a nomination. That's because the Matrix films stand the best chance in the technical categories, which often are heavily fought over and don't always even get the maximum nominations of five films.
So, what should Warner do about this conundrum - especially when the heavy-weight for the year is bound to be the final chapter of The Lord of the Rings, The Return of the King?
Word is that the answer lies in simply not submitting both Matrix films for Oscar consideration and only putting The Matrix: Revolutions in the running. According to the Toronto Star, Warner has gone so far as to ask the Academy if it's even possible, and the answer is a simple yes. Just because the second film isn't submitted doesn't mean that the third can't compete.
From a fan perspective, this might also be a wise move as the second film was hardly as well received as the first, and if the word on the web is any indication, it's because the second film is really just a lead-in to the big finale in The Matrix: Revolutions.
We'll just have to wait and see though as that film won't be in theatres until November 5th.
Quentin Tarantino's Kill Bill Vol. 1 is scheduled for release on October 10th, but no word has been given yet on whether or not Vol. 2 will be released in 2003 or 2004.
Expect to see The Lord of the Rings: The Return of the King in theatres on December 17th.
At the Oscars: Matrix vs. Matrix?
[Counting Down 27/08/2003 SUBMITTED BY Scooby]
August 27, 2003 — The Gate reports that WB will probably submit Revolutions instead of Reloaded for Oscar consideration. Here's why:
Of course, if you're a company trying to make an impact at the Oscars (which have been moved earlier in the year, starting in 2004, to February 29th) - the concept might not be as easy as all that. Warner Bros., the company behind the Matrix films, obviously doesn't want to have to pit the second and third parts of the film against each other - mainly because that could mean one of the films won't even get a nomination. That's because the Matrix films stand the best chance in the technical categories, which often are heavily fought over and don't always even get the maximum nominations of five films.
So, what should Warner do about this conundrum - especially when the heavy-weight for the year is bound to be the final chapter of The Lord of the Rings, The Return of the King?
Word is that the answer lies in simply not submitting both Matrix films for Oscar consideration and only putting The Matrix: Revolutions in the running. According to the Toronto Star, Warner has gone so far as to ask the Academy if it's even possible, and the answer is a simple yes. Just because the second film isn't submitted doesn't mean that the third can't compete.
Wednesday, August 27, 2003
HIS OWN PRIVATE IDAHO (OR HOME, AT LEAST)
Page 336 of the September 2003 issue of InStyle has a better picture of the back of Keanu's house and pool area with a tiny snipet.
Years of living out of hotels and traveling with only his motorcyle, hockey stick and books has ended.� Keanu Reeves, a self-described former nomad, has settled down and purchased a home in the Hollywood Hills.
VITAL STATS
The 5,000-square-foot gated estate includes three bedrooms, three and a half baths, a koi pond, a 50-foot-long pool, three fireplaces and stone floors.� Built in 1988 for an art collector, it boasts a high-tech security system.
COSTS
$5,495,000. The deal was handled by Brett Lawyer of Prudential California-John Aaroe in Beverly Hills, 310-479-8788.
A WALK IN THE CLOUDS
High ceilings and glass walls provide sweeping views from downtown Los Angeles to the Pacific, making this contemporary home a great residence for the One.
- Shnaelle Rein-Olowokere
�
(picture shows the whole backside, he's got glass walls and glass doors all the way across the back of the house, he's got white blinds all closed and rolled down to the floor so there's no seeing in.� Lots of sitting area and patio furniture and plants on the back patio, the place seems to be surrounded by trees and cement walling.)
Where Reloaded Fails
[Relevant Magazine 27/08/2003]
In his book, Signposts in a Strange Land, Walker Percy writes, “Bad books always lie. They lie most of all about the human condition, so that one never recognizes oneself, the deepest part of oneself, in a bad book.” But are books the only medium to which this premise can be applied? In the article “Good Books, Bad Books: Windows into the Human Heart,” Steve Garber builds on this premise and applies it not only to books, but to films, songs and poems as well. He writes, “Stories—good stories—have a way of finding their way into the deepest places.”
Therein lies the success of The Matrix as a film that was able to connect with its audience. The story of Neo’s struggle against the lies around him rings true somewhere in our “deepest places.” But this same connection is where Reloaded actually fails, not as an entire film or part of the soon-to-be-completed trilogy, but in one of its most important sequences: the portrayal of the city of Zion and consequently the expression of love between Trinity and Neo.
In the first film, the Matrix is said to be one thing: control. Everyone is a slave in a prison of the mind, a control program, a computer-generated dream world that simply satisfies our minds so that the machines can use us. We are told, “As long as the Matrix exists, the human race will never be free.” Then we hear of Zion, proposed as something completely set apart from the prison of the Matrix. After Neo is enlightened, we are introduced to Tank, who has no machine markings on him and proceeds to explain:
Tank: “Born free, right here, in the real world. Genuine child of Zion.”
Neo: “Zion?”
Tank: “If the war were over tomorrow, Zion is where the party would be.”
Neo: “It’s a city?”
Tank: “The last human city. The only place we have left … Live long enough, you might even see it.”
Later, we struggle to watch as Morpheus is captured and drugged in order to disclose the location of Zion to the machines. The possibility of this revelation results in Tank’s decision to “unplug”—in effect, kill—Morpheus. Trinity protests, but Tank answers, “Trinity, Zion is more important than me or you, or even Morpheus.”
The film presents the idea of a city of mythical proportions that is totally free from machine control. A city where humans can truly be human. A city of hope and of celebration in the event of victory. Zion is the antithesis of the Matrix, representing the fight for freedom versus the bond of slavery.
But how does this description compare with the city that we are presented with in The Matrix: Reloaded? The Washington Post reviewer, Stephen Hunter, described it as a city “designed by someone who spent too much time in a L.A. grunge club. In fact, everything about Zion kind of bites … most ludicrous of all, that ‘temple gathering,’ which is a kitschy scene of mass-boogaloo hearty partying through the night.”
Hunter goes on to compare it with a scene in The Ten Commandments, where the Israelites were led “astray and back to the golden calf orgy.” We see thousands upon thousands of bodies writhing in dirt, moisture and fantasy. The spectacle seems to take its cue from a rap video: Men and women “grind” on each other, and faces are removed from the camera shot as it pans through groups of bodies wearing wet, see-through shirts. The pulsating music behind the dancing gives seamlessness to the visual sequence as the directors take us from the “orgy” to sex between Neo and Trinity. If the music had not been composed to climax in unison with Neo and Trinity, this scene might be rather tame for an R-rated film, but the emotional and physical power of musical composition is graphically shown in this scene.
The problem with this picture of Zion lies in the expectation that has been built from the previous film. What view of these free people do the Wachowski brothers, the writers and directors of this trilogy, offer us? A picture of complete hedonism: Eat, drink and be merry, for tomorrow we die. The creators have cheapened the people and hope of Zion and have consequently depreciated the “evil” of the Matrix. They have shown that with freedom, humans will resort to animalistic tendencies—not of survival, but of gratification. For a people looking to topple the reign of slavery and find the freedom to choose and live out real purpose to their lives, this depiction is a prostitution of their humanity.
Through the editing of the film, the vision of Zion bounces us into the “love” depicted between Neo and Trinity. The first film presents a love that is not only foretold by the Oracle but that plays some part in bringing Neo back from the dead. With depth and innocence, this love is slowly developed between the two characters. Neo and Trinity find a love that is true, for it is found outside the illusion of the Matrix.
From the beginning of Reloaded, we know that Trinity and Neo’s relationship has continued, but it does not seem to have developed any further. We see them return to Zion looking for some rest and relaxation, but Neo needs to tend to his messianic responsibilities, such as glad-handing the masses. As they part ways to meet again later, Trinity remarks, “They need you,” to which Neo replies, “I need you.” This scene represents the extent of the romantic development apart from the soft porn that follows shortly after.
Walker Percy points out the danger of sexuality as a distraction from a story: “… what [the author] is worried about is distracting the reader from the original purpose of the novel. If I have a certain truth or artistic form to convey in a novel, and if I write a scene which is so explicitly sexual…that the reader is distracted, either by stimulation, that is by sexual titillation, or by loathing and disgust, then I have lost him or her and have failed as a novelist.”
We see an obvious disconnection between the two Matrix films in their development of both Zion and love. The Wachowski brothers fail their audiences by cheapening the freedom and value of humanity and by choosing the status quo presentation of relationship between two lovers. Characters who love each other often join in sexual encounters on screen, but when that is the entirety of the development that occurs in part two of a trilogy, it is rather sad and unimaginative. Through the graphic manner in which this erotic element is presented, we are distracted from the overall theme that was so prevalent and strong in the first film. It interrupts the resonance we once held with what we thought were deeper characters.
To present the slavery of the Matrix as evil required the opposite—the freedom and humanity of Zion—to stand in stark contrast. The Wachowskis fail their characters and their story, and as a result, their audience. Their premise has been weakened, but still, through the weight of the first movie, we stay engaged. We can only hope that the brothers choose to recover in the third movie what was lost in the second: a connection with their audience that “found its way into the deepest places.”
Irreversible
[MoviePoopShoot 27/08/2003]
I just read in the new VANITY FAIR (the drop-dead-boring royalty issue with Prince William on the cover) that one year and a few days from now, Keanu Reeves is going to be 40 years old. Wade into that. Air-guitar Ted is now an older dude, dude.
Following this announcement, naturally, the VF item-writer wrote "whoa." This may be a chickenshit thing to put in the column, but when I saw this latest "whoa" I knew in a flash that for Reeves it's never going away...ever.
Keanu is stuck with it like Jimmy Cagney got stuck with "you dirty rat," the Beatles with "yeah, yeah, yeah," Marlon Brando with "Stella!,"Gary Cooper with "yup," Humphrey Bogart with "play it again, Sam" and Cary Grant with "Judy, Judy, Judy." It's a tattoo, a carving, a cattle brand.
Every other critic and feature writer, it seemed, used "whoa" in pieces last spring about Keanu and THE MATRIX RELOADED. It was overkill and had to stop. That's why the VANITY FAIR mention (on page 52 in "Fanfair" -- actually, they spell it "whoah") means something, I think. They don't care if their "whoa" is the 256th usage over the last six months. They couldn't help themselves. They were drawn.
Reeves has either accepted this or he hasn't, but there's nothing he can do about it regardless. These labels tend to stick early in a person's career. (Grant's "Judy" came from his early 1930s Paramount period, Brando's "Stella!" from 1951's A STREETCAR NAMED DESIRE, Cooper's "yup" from THE VIRGINIAN, etc.) The upside is that he's a big enough star for people like me to be devoting four or five graphs to this subject. The downside is that it labels him as as "Ted" for the rest of his life and beyond.
Does anyone know exactly when Keanu first blurted this out? Did he say it during THE PRINCE OF PENNSYLVANIA? BILL AND TED'S EXCELLENT ADVENTURE? POINT BREAK? RIVER'S EDGE? On Conan O'Brien? If anyone has any solid gets, please share.
My favorite "whoa" of the last couple of years had nothing to do with Keanu. It happened when Michael Imperioli's Chris Moltisanti walked into Janice Soprano's kitchen in the wee hours and saw the body of Richie Aprile lying on the kitchen floor. Imperioli said it perfectly -- half stunned shock, half like a groan.
August 29 - Replies
Keanu's First 'Whoa'
"Keanu definitely said 'whoa' in BILL & TED'S EXCELLENT ADVENTURE I don't know if he did it before then, but between that film and POINT BREAK, it cemented our view of Keanu -- surfer dude for all time. The name doesn't argue with this AT ALL." -- Jason Birzer
"I think the origin of 'whoa' for Reeves has mostly to do with his standout performance as Dianne Wiest's son-in-law in Ron Howard's PARENTHOOD. In addition to playing a burn-out type in that film, there was also, of course, BILL & TED'S EXCELLENT ADVENTURE and Lawrence Kasdan's film I LOVE YOU TO DEATH, which I always thought Reeves (together with William Hurt, playing Reeves' co-burnout) stole." -- Joseph Kay
"Keanu first uttered 'whoa' in THE MATRIX when Laurence Fishburne jumps from oen building to another." -- Laurence Price
Wells to Price: I know he said 'whoa 'in THE MATRIX, but you're sure this was the first time ever?
"It wasn't RIVER'S EDGE or THE PRINCE OF PENNSYLVANIA in which Keanu uttered the infamous 'whoa!'...but the idiotic BILL & TED'S ASININE ADVENTURE. What a ridiculous association, in any case, for one of the finest young actors and nicest guys of our generation!"
"I say this having crossed paths with Keanu in some peculiar karmic way over the last 30 years or so.
"I worked for a p.r. co. in the late 1980s where we had the Hemdale account. I screened a film with no release date called RIVER'S EDGE, and I was the only person who loved it. (Everyone else thought it was vile -- so it was dumped on me, and I was glad to take it on). Eventually Hemdale dropped it and another independent company took it up.
"I thought the entire cast was excellent, but there was a scruffy young actor I'd never heard of who provided the heart of this bleak, despairing film -- Keanu Reeves.
"I next encountered him a year later when I changed jobs to DDL (Dino DeLaurentis's disastrous folly) and saw a rough cut (of his next venture, BILL & TED'S EXCELLENT ADVENTURE (for which thee special effects had not been completed, a nervous producer warned us).
"One more year passed (as did DDL) and I was offered the unit publicist job by New Line on another Reeves film, the low-budget THE PRINCE OF PENNSYLVANIA. I met and spoke with Keanu during the six weeks the film shot in Pittsburgh. He insisted we had met before, though he couldn't remember where or when. I told him he was mistaken. But I was also impressed with his fierce intelligence, sweet-natured good humor, modesty, and kindness.
"Years later my sister gave me her issue of Premiere Magazine with a cover story of Keanu, who was by now a major star. For the first time, he talked a bit about his parents, and then I realized he and his sister were the 3 and 4 year old children of a lovely girl I met when I first moved to N.Y. in 1966.
"I was a grad student, and Patrick Reeves (a British model) was divorced from her Hawaiian husband, and was raising her two kids from that disastrous marriage. I remember her son & daughter both had Hawaiian first-names, and were extremely sweet but quiet young children who rarely smiled. When Patrick moved to Toronto in the mid-70s, we kept in touch but after awhile I stopped hearing from her.
"So Keanu did indeed remember me from his childhood, but I didn't remember him because, during the intervening years, a four year-old child had grown into a handsome young man." -- Scott MacDonough
Spirit of Johnny and Sammy
[MoviePoopShoot 27/08/2003]
I've had a fairly agreeable reaction to the recently-up trailer for Nancy Meyers' SOMETHING'S GOTTA GIVE (Columbia, December 12). It's clearly going to be a slick, broadly funny, right-down-the-middle chick flick. Sexual mores, what schmucks guys can be, uncovering the heart, etc. Laura Bush will probably love it and recommend it to her friends, but it seems inviting anyway. That's because the dialogue sounds snappy and Michael Ballhaus's photography looks rich and creamy and perfectly lit. (The trailer doesn't tell us this, but I also feel good about Meyers using editor Ron Hutshing, who did the beautiful cutting on Oliver Stone's JFK and the last three Cameron Crowe films.)
Like Myers' Mel Gibson movie WHAT WOMEN WANT, this new one is about the reformation of a sexist cad, played in the new film (gloriously, it would appear) by Jack Nicholson in his Garrett Breedlove horndog mode. Sight unseen, any movie that lets Nicholson be his own incorrigible self gets my vote.
The trailer's on the Sony site and the IMDB. You can read the arc ten seconds in. Nicholson is a rich 60ish womanizer who's having an affair with Amanda Peet, and through this relationship happens to meet her mom, played by Diane Keaton. This sets the stage for Nicholson to needle and agitate Keaton (at first) but then to gradually fall for her and thereby "grow up" -- a euphemism in this instance for accepting his own age and the joys of middle-aged love and companionship, as opposed to the shallow highs of young flesh and a transporting bouquet.
Keanu Reeve plays a doctor with the randies for Keaton. As Keaton's sister (presumably -- she has the same last name), Frances McDormand seemingly plays one of those Thelma Ritter-type characters who's there for the lead character to bounce ideas and reactions against. GIVE looks and sounds so predictable it's almost like I've seen it already, but who goes to a Nancy Meyers movie for surprises?
I have just two quibbles, but they're not small.
One is Meyers' decision to use Johnny Mercer's "Something's Gotta Give," a schmaltzy 1955 tune performed by Sammis Davis, Jr., as a way of sketching out the mood and attitude. (She did the same thing in WHAT WOMEN WANT with a couple of loudly-played Frank Sinatra cuts.) Why does she feel the need to beat us up with her Pleistocene-era taste in music? Using "Something's Gotta Give" acknowledges that while the plot of the Nicholson film may be set in the here-and-now, it's rooted in sexual attitudes that pre-date the Vietnam War. (I'm thinking more Kennedy than Eisenhower, as most of us associate Davis's voice with the early '60s Rat Pack.)
Marketing-wise, this is a way of assuring the over-45's it's going to be a nice safe ride, even if the Mercer song suggests that in its heart-of-hearts, SOMETHING'S GOTTA GIVE is probably going to be a bit too padded for comfort. I got the distinct psychic feeling it doesn't want to go anywhere near the deadpan perversity of, say, MEET THE PARENTS. (It helps to keep in mind that underneath all Nancy Meyers movies is a worship of swanky homes and great-looking furnishings -- shiny copper pots, beautiful wooden chairs, awesome carpets, etc. As dopey as this sounds, great-looking furnishings have a way of inhibiting a comedy. Don't ask me how, but they do. Think of the films of Chris Columbus, another copper-pot freak.)
The second beef is about a bit in the trailer in which Nicholson's character, a house guest of Keaton's, happens to catch her walking around nude. Both freak out in typical farcical fashon, but Nicholson's reaction sends out differing signals about the film's basic theology. After covering his eyes with his forearm and saying, "I'm sorry!," he repeats in a slightly muffled voice, "Oh, God, am I sorry!" He later recounts this shocking episode to Reeves and says, "I've never seen a woman of that age naked before."
There are two jokes here -- one about Nicholson's retirement-age character only taking young women to bed, and another about the need to adjust to the sight of a nude woman of 55 or so. But the film is also telling us that a man of Nicholson's age needs to see past this and recognize Keaton's allure. (Meyers puts her cards on the table when she has Reeve ask Keaton if she's ever considered that guys of her age who don't find her attractive "might be stupid?" Keaton says yes.) This is the same kind of double-dealing the Farrellys' tried in ME, MYSELF AND IRENE -- encouraging moviegoers to laugh at visual gags about obesity but also telling us at the same time to look within.
SOMETHING'S GOTTA GIVE is Keaton's fourth outing with Meyers as a screenwriter, following BABY BOOM and the two FATHER OF THE BRIDE's. A friend tells me my complaints will not be shared bvy the public because WHAT WOMEN WANT made $170 million domestic, and so will this. Yeah, probably so. Nancy Meyers has good commercial instincts. And so what?
What does Warren Ellis think of this whole Keanu, Tilda Swinton, Rachel Weisz in CONSTANTINE thing!?!?
[AICN 27/08/2003]
Hey folks, Harry here... I've remained fairly silent on this whole CONSTANTINE thing, mainly because I haven't read the script... Plus, I learned my lesson about thinking Keanu is inappropriate for a part ever since I read the script for the MATRIX, then hearing he'd been cast in the amazing part of NEO, then thinking the Wachowski's were on crack... only to find, years later, that Keanu was perfect for the part. Which well, made me humble when it comes to talking about Keanu for parts that I don't necessarily think he's right for. Personally, I would've killed to have Hugh Jackman play this character.... But hell... Warren Ellis spent the best years of Constantine's fictional life putting the thoughts and words into his head... what does he think? Read on...
Hi Harry... Along with thousands of others I receive a daily email/blog from comic book writer/all round genius, Warren Ellis.
He was recently attending the Edinburgh Film Festival to talk on a panel with Harvey Pekar, the writer of the recently released American Splendour, a fictional / factual movie about his life as a comic book writer.
While he was there he had a chat with actress Tilda Swinton who had some insights into the upcoming movie adaptation of the Hellblazer comics...
"Anyway. And then I ended up drinking with Tilda Swinton. This was one of those weird moments; she kept saying "serendipitous," which is not a word I would attempt after mixing that much whisky and beer. She's just been offered the part of the angel Gabriel in CONSTANTINE, the film of the comics series HELLBLAZER, which I wrote for a year. So we had an hour of discussing the character, the book, the selection of Keanu Reeves (which is actually a big part of her interest. I've always said that Reeves is a better actor than anyone gives him credit for -- watch him carefully, and you'll see him deliberately creating a space for other actors to work in), and the possibilities in the role in relationship to America today. She said something I found fascinating: in an America where a president again invokes the term Evil in public statements, there's the potential to say something very interesting in a major-studio film about Biblical good and evil. To present the angel Gabriel as a figure of horror; there's space to say something that in the mainstream of American culture is certainly subversive.
She characterised Reeves as an intelligent, "spiritual" man, and thinks there might be the possibility, with Reeves there, to do something challenging. This, by the way, is the answer to the almost-daily emails asking what I think of Keanu Reeves cast as Constantine. First; the film is never going to be the same as the comic. American or English, the film will succeed if it's true to the core of the man, because that's what hooks people into the book. Nicolas Cage, I maintain, would have made a good Constantine because he can do the ravaged, shattered side of the man. I think Reeves is an interesting choice because he can get at the other part of Constantine, the part that demands social justice and exists in ethical turmoil. His partner for the story is being played by Rachel Weisz, whom people seem to have forgotten can act -- she broke out of British television in the same piece as Ewan McGregor, THE SCARLET AND THE BLACK. With Tilda Swinton as Gabriel, this is all far from a bad proposition. But, of course, I haven't read the script."
There we go ...hope this has proved interesting
call me Great Cthulhu
County Council acts to punish air polluters
[Post Gazette.com Wednesday, August 27, 2003] By Jeffrey Cohan, Post-Gazette Staff Writer
Allegheny County Council approved a "bad actor policy" last night, but it has nothing to do with Keanu Reeves.
Instead, the so-called "bad actor policy" prevents companies that have violated their air pollution permit in the previous year from obtaining another permit for a new or expanded plant.
Ex-HELLBLAZER writer talks about CONSTANTINE movie
Scribe Warren Ellis tells what he thinks of Keanu Reeves
[Dateline: Tuesday, August 26, 2003 Cinescape]
One of the former gigs for comic book writer Warren Ellis was working on Vertigo's HELLBLAZER, the comic that's the basis for Warner Bros. upcoming CONSTANTINE movie starring Keanu Reeves. Ellis publishes a e-newsletter to his fans, BAD SIGNAL, and this week he talked about a chance meeting with one of the film's stars as well as what he thinks about the choice of Reeves for the title role.
Ellis had a chance meeting with actress Tilda Swinton who is contemplating taking the role of the archangel Gabriel in the picture. The two of them began discussing the movie, the comic series and the character Swinton may be playing. "She said something I found fascinating: in an America where a president again invokes the term Evil in public statements, there's the potential to say something very interesting in a major-studio film about Biblical good and evil," comments Ellis in his newsletter. "To present the angel Gabriel as a figure of horror; there's space to say something that in the mainstream of American culture is certainly subversive. She characterised Reeves as an intelligent, 'spiritual' man, and thinks there might be the possibility, with Reeves there, to do something challenging."
"This, by the way, is the answer to the almost-daily emails asking what I think of Keanu Reeves cast as Constantine," continues the writer. "First; the film is never going to be the same as the comic. American or English, the film will succeed if it's true to the core of the man, because that's what hooks people into the book. Nicolas Cage, I maintain, would have made a good Constantine because he can do the ravaged, shattered side of the man. I think Reeves is an interesting choice because he can get at the other part of Constantine, the part that demands social justice and exists in ethical turmoil."
CONSTANTINE begins lensing next month for a September 2004 release.
Have a laugh next time you go long
[27/08/2003 By Duane M. George Pacific Daily News; dgeorge@guampdn.com]
OK, football movie fans, it's time for the second half of my favorite football flicks. We had a strong first half with the dramatic movies, but now it's time to run up the score with some of the best comedic gridiron movies ever. Let's get out there and watch one for the Gipper!
"The Replacements"
What do you do when pro football players walk out on strike? You recruit almost-was and has-been players to play out the schedule. Those who know me know full well how much I dislike Keanu Reeves movies as a rule of thumb, but because he's not required to do much here, he works in the role of Shane Falco, a former college football quarterback superstar who fell apart in a bowl game and was never heard from again. Gene Hackman plays a well-respected coach hired to turn a gaggle of nobodies into a quality team.
John Madden stars as himself, and he's excellent at pulling off the role. The supporting cast includes a strange assortment of players -- a felon on work release, a police officer, a superfast receiver with hands of stone, offensive linemen brothers from the hood, a deaf receiver and a Welsh chain-smoking placekicker, who will be recognized as Spike from "Notting Hill."
Hollywood Goes on Warpath in Fall Lineup
[Gainesvillesun.com 27/08/2003 By DAVID GERMAIN AP Movie Writer LOS ANGELES]
hey'll be fighting on land, on sea, in space, in Middle-earth. Their weapons will include cannons, flamethrowers, swords of all sorts and a guitar case full of guns.
Hollywood goes to war this fall with a bombardment of historical battle epics, contemporary action flicks and sci-fi and fantasy combat, led by the final chapters of two trilogies, "The Matrix Revolutions" and "The Lord of the Rings: The Return of the King."
Brothers Andy and Larry Wachowski shot both sequels to their 1999 hit "The Matrix" at the same time, continuing their saga of a group of freedom fighters (Keanu Reeves, Carrie-Anne Moss and Laurence Fishburne) battling computers that have enslaved humanity.
"The Matrix Revolutions" hits theaters in early November, just six months after "The Matrix Reloaded."
"The thing that's kind of neat is that it feels like an event," Moss said. "If I wasn't in it, I'd be kind of psyched about the movies myself as a fan."
Tuesday, August 26, 2003
Amazon.com: Pre-Order Keanu Reeves - Journey to Success [thanks Melkor's Mate!]
A new Keanu DVD due out on 21st October 2003
keanu reeves
[BookLA by emmanuel itier, photo: mario anzuoni]
Q: So how was it to go back to The Matrix?
Keanu: I read the script and I thought it was beautiful and so exiting and I couldn’t wait for it to start. I went into intense and extensive training and then we began, first in Oakland, Northern California. And it was about working on the script, figuring out things with the directors and getting myself into shape for the shoot.
Q: Did the first movie change you, did it open “doors” in your mind?
Keanu: Well, I’m lucky that the material, itself is so beautiful and asks some universal questions on top being fun. My role, Neo, is a very reflective role and a searching role as well. I was important to figure out my part in its deepest form.
Q: What did you learn about yourself?
Keanu: That I had a lot of questions…
Q: Did you find any answers?
Keanu: I’m still finding out…figuring out answers…
Q: How was it to shoot in Australia and to be gone for so long?
Keanu: It was a great experience even though I missed friends and family. I spent a full year in Sydney but it was such a labor of love... it was very demanding... it was a great experience.
Q: Apparently some people connected to the film died during and after the shooting, did this affect you?
Keanu: Well, sure but I focused on the work. If you work and put your mind into it you can move on and keep going.
Q: Do you identify to the aesthetic of the film?
Keanu: I love the costumes and the glasses, the production design is amazing, and the vision and effects are so unique. It was fun to be Neo… but in real life I stay away from my costume… unless it’s for Halloween! I’m so glad that people around the world enjoy the whole Matrix experience.
Q: How did you approach the role as an actor?
Keanu: There is real strong formalism with the style of the film. It’s about having strong feelings and very minimalistic, direct behavior to express them. It’s a real economy of acting, when you move it’s like a Japanese samurai, this is my intention and it’s what I do, it’s straight and not flamboyant, it’s clean acting.
Q: How was doing the sex scene with Carrie Anne Moss?
Keanu: Well, sometimes it’s very uncomfortable to film those type of scenes because you’re in the nude and you’re in public and being filmed. So we talked about it way before and we figured out a comfortable environment for Carrie Anne and I. We got used to the set, to each other and to the camera and we tried to figure out how to shoot it without being too graphic. I trust her and I was eager to do this scene. That scene is about true love, about communion of the souls. It’s Neo sharing his love with her but also expressing his fear to her, of losing her. And she is very giving and accepting and it was great to show their strong relationship.
Q: You were both totally nude?
Keanu: No…we both had things to cover our genitals…it was not like Adam and Eve before the apple…
Q: What about kissing Monica Belucci, she says you’re a great kisser?
Keanu: Well, thanks, she is quite fantastic herself! She and I worked before on “Dracula” and we did a lot of kissing also! Every time we meet we kiss! I can’t wait to work with her again!!
Q: Do you think your career really changed with Matrix?
Keanu: I feel very grateful with my career and to work with such a great film. It definitely helped me develop a good relation ship with Warner Bros. And hopefully I will be able to do more exceptional films. Besides I’m busy, I’m doing a film with Nancy Meyers with no title for the moment with Jack Nicholson and Diane Keaton… To go back to your question I feel that The Matrix is bigger than me, and people like it because it’s an ensemble of great things, I’m just a part of it…
Q: How was it doing your fight scenes?
Keanu: It was so much harder to “Matrix 1”! To learn the weapons and do the multiple fights with sometimes more than one enemy. It really was tricky and intense. A great challenge!
Q: At what point Neo has a difficult choice between trying to save his love and saving humanity?
Keanu: My character didn't choose humanity... I chose love... that's my choice, my character's choice.
Q: Do you still do martial arts?
Keanu: No I don't …What I learned was really movie Kung Fu…it’s not quite the same as the real thing…
Q: What’s your favorite power in The Matrix?
Keanu: To fly! It’s so much fun doing the shooting on wires and to fly…in the film I’m flying like Superman… it’s so much fun!
Q: What are you afraid of…the dark?
Keanu: Yes.
Something's Gotta Give
[Entertainment Weekly August 2003]
| Something's Gotta Give Starring Jack Nicholson, Diane Keaton, Keanu Reeves, Amanda Peet, Frances McDormand Written and directed by Nancy Meyers The Killer Moment Nicholson accidentally catches Keaton undressing. Says Peet: "It's the funniest goddamn thing I've ever seen!" |
Having just returned from Paris, where she spent a week putting the finishing touches on a 100-day shoo of her latest movie, Meyers is jet-lagged. "I can't sleep she says, calling at a dusky 7.a.m. "I'm happy somebody's up with me."
Who could sleep? when your last film [What Women Want] grossed $138 Million, making it the biggest live-action hit ever directed by a woman, how do you follow up? Meyers called Jack, of course.
Her romantic comedy features Nicholson [for whom she wrote the part] as an aging record exec with an eye for younger women who unexpectedly falls for the playwight motherpKeaton] of his new girlfriend [Peet]. Turning the triangle into a square is Reeves, as a doctor who also has affections for Mom. "It's one of the best romantic comedy scripts-or any script-I've read in a long time," says Reeves, whose Matrix Revolutions will still be in theaters when this opens. "It's smart and personal and relevant and funny."
Another thing that could be keeping Meyers awake? Memories of a night in July when protesting French workers took over Paris' Pont d'Arcole, where she was shooting the final scene. The result was a one-day delay and comical reports of a sunglasses-sporting Nicholson shouting through a megaphone, en francais, "The struggle continues!" "I was in Jack's trailer, " Meyers says, when her [non-striking] crew "knocked on the door and said, 'You shouldn't come out now - the bridge has been taken over,' Jack went out to talk to everybody - he's a big union guy. But I don't think he persuaded them."
Not that Nicholson's trademark charm is wearing off. True to form, the three-time Oscar winner helped make for an awfully fun shoot. "He's devilish in the best way possible," says Peet. And when Nicholson wasn't around, the distaff ensemble - which included McDormand as Keaton's sister - got along without him. "In between working we could sit around talking about liposucton," says Peet. "There was definately some girl talk going on."
WHAT'S AT STAKE
Jack's career. And Keanu's....oh, who are we kidding? We're already getting in line. [Dec 12]
Tie-In Marketers Unfazed By Lackluster Blockbusters
[Yahoo! News Thu Aug 21, 6:05 PM ET]
Most blockbuster sequels failed to meet box-office expectations this summer, but marketers such as Heineken, Cadillac and Panasonic, which had tie-ins to some films, gave their deals a thumbs-up despite the dropoff in ticket sales.
Many of the 15 summer sequels did not draw the number of moviegoers that studios and industry observers expected. "Any sequel that made $100 million should be regarded as a success, because sequels underperformed this summer," said Paul Dergarabedian, president of Exhibitor Relations in Encino, Calif. Only about one-third--including Bad Boyz II, Terminator 3, X-Men2, 2 Fast 2 Furious and The Matrix Reloaded--passed that symbolic mark.
Marketers watch movies introduce their products and demonstrate their functionality. Columbia's Charlie's Angels: Full Throttle kicked off Sony Ericsson (news - web sites)'s T616 right on schedule, said Jun Hosoki, vp of marketing at the company's home in Research Triangle Park, N.C. "We had a special request that the first use of the T616 camera phone should be in the picture itself: The director really wanted to take pictures of the bad guys, send the pictures over the Cingular network and see it on a PC," said Hosoki. "Our target user was tech-savvy, young, fashionable"--in short, Lucy Liu (news).
That's the demo clients are often after--from Terminator 3's association of Arnold Schwarzenegger (news) with the Toyota Tundra and the Indian Chief T3 Limited Edition motorcycle to Keanu Reeves (news)' breeze past a Heineken sign. But, said Pattie Falch, associate brand manager for Heineken in White Plains, N.Y., "the bigger piece is being able to put up point-of-sale or television commercials that link Heineken to The Matrix"--which the company did, through Publicis, New York.
Revolutions More Epic
[Counting Down 25/08/2003 SUBMITTED BY Scooby]
August 25, 2003 — 'snowflakeman' sends in the following, which was found on The Z Review:
"The release date for the UK has so far been confirmed as November 7th. As for the plot etc, the best comments I can give you are here: The Animatrix DVD Enter the Matrix Matrix Reloaded: 2-Disc Soundtrack Joel Silver says: "Reloaded and Revolutions could be one film. But I think they work best as two sittings. It's quite a lot to absorb.
Revolutions is all-out war between the humans and the machines and will, by all accounts, blow your ****ing minds. We have a 14 minute, $40 million battle sequence that is the most complicated sequence ever put on film. John Gaeta, stunt director: "Reloaded, no problem; even though it was incredibly difficult, there was a lot of buffer time built in. Revolutions, on the other hand is aggressive because it's quite grand. Revolutions is much more epic. More creature based and much more about machines and bio-mechanical places.
It's an awesome catagory to work in as a lot of us are big fans of Alien. It's a completely different train to anything we've done before. Dan Cracchiolo, Production executive: "You know Revolutions is the real thing, right? Revolutions is the pay off. Reloaded is just a tease...." And the man himself, Neo - Keanu Reeves: "The first is about birth. The second about life. The third about death. I don't know though. Maybe it should be called The Matrix Resurrection."
Industry Notes
[The Oregonian 25/08/2003]
Frank DiMarco Photography has provided prop photos for "Thumbsucker," a movie produced by Bullseye Entertainment and filmed in the Portland area.
The Almanac
[United Press International 26/08/2003]
Today is Tuesday, Sept. 2, the 245th day of 2003 with 120 to follow.
The moon is waxing.
The morning stars are Jupiter and Saturn. The evening stars are Mars, Pluto, Mercury, Venus, Uranus and Neptune.
Those born on this date are under the sign of Leo [think they mean Virgo]. They include poet Eugene Field in 1850; Hiram Maxim, inventor of the automobile muffler and firearm silencer, in 1869; authors Cleveland Amory in 1917 and Allen Drury in 1918; dancer Marge Champion in 1923 (80); former baseball commissioner Peter Ueberroth in 1937 (age 66); Christa McAuliffe, born on this date in 1948, was the school teacher who became an astronaut but was killed when the space shuttle Challenger exploded shortly after liftoff in 1986; also born in 1948, football player-turned-sportscaster Terry Bradshaw, (age 55); actor Mark Harmon in 1951 (age 52); tennis champion Jimmy Connors in 1952 (age 51); singer k.d. lang in 1961 (age 42); and actors Keanu Reeves in 1964 (age 39) and Selma Hayek in 1966 (age 37).
Name Dropping: ‘King’ is alive and well at Del Mar [snippet]
[Santa Cruz Sentinel 26/08/2003]
Maybe The King was lurking in the background when the Del Mar Theatre hosted its Elvis-themed birthday party.If he was, he would have been proud.
There were enough collective Elvis Presley memories to make a person feel they were in Graceland.
The event kicked off with Santa Cruz Mayor EMILY RIELLY arriving at the theater in RON McNIEL’s 1936 red Auburn to the music of the Keen Kousins, ERIC CALLERO and PHIL KLEINHEINZ.
Also on hand was Hollywood actor RALPH PEDUTO, who announced that he would soon be leaving town to shoot a promo campaign for the Carlo Rossi Winery but would be back in time to present his one-man show, "Butt-Naked in Tinseltown" in October.
"Butt-Naked" includes stories of some of Ralph’s memorable meetings with stars like KEANU REEVES, FRANCIS FORD COPPOLA, ROBIN WILLIAMS, FRAN DRESCHER and SALLY FIELD.
Reloaded leads 2003 box office
[News24.com 26/08/2003 13:12��-�(SA)]�
California - The Matrix Reloaded has grossed $730 million in worldwide box office to date, making it the highest-grossing film of 2003.
The film has earned $450 million internationally and $280 million in the US to date.
Currently the 12th-highest worldwide grossing film of all time, The Matrix Reloaded is the first film in history to surpass $100 million in a single weekend internationally.
In the US, the film had the largest single week ever ($158.2 million), reaching $150 million in a record-breaking six days.
The Matrix Reloaded is written and directed by The Wachowski Brothers, produced by Joel Silver and stars Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, Jada Pinkett Smith and Gloria Foster.
'RING' LEADER
[NY Post 26/08/2003]
But the top Oscar has never gone to a fantasy film - "Star Wars" and "E.T." were passed over, along with the two earlier "Ring" installments" - and this year's fierce competition includes "Master and Commander" starring Russell Crowe and "Cold Mountain" with Nicole Kidman, as well as the final installment in a competing trilogy, "The Matrix: Revolutions," starring Keanu Reeves.
ANGELS WITH SWINTON FACES
[CHUD 8.25.03 By Devin Faraci]
Contributing sources: Hollywood Reporter
So I have to admit that I think Tilda Swinton is kind of hot, and I don’t know if that’s in spite of or because of the fact that she sort of looks like Radiohead’s Thom Yorke. She’s a fine actress and it’s always good to see her getting work – even if it is in a hive inducing movie like the soon to be filming Constantine.
She’s in negotiations to play the role of the angel Gabriel in the film, which de-Limeyfies the character of John Constantine from Hellblazer comics and makes him Keanu Reeves. According to the Hollywood Reporter, Gabriel is a rogue angel battling Constantine. It’s info like this that makes me cringe even more at this production – is the archangel Gabriel (who is a dude, but getting Swinton to play him is pretty cool as angels are often portrayed as fairly androgynous, a la David Bowie) the bad guy in this movie or are the writers – who have reportedly scripted “an occult Dirty Harry” (fucking hell that sounds stupid) so lame and out of touch with the hierarchy of the angels that they just picked a name they heard and ran with it?
I like to reserve judgement on stuff like this, since you really don’t get a true taste of a picture from the pre-production press, but I will say that all of this sounds like endless, painful shit.
Summer's hottest entertainment
[Oklahoma Daily 26/08/2003]
Daily writers Chris Steffen and Ryan Baker give their top 10 lists of what was "entertaining" this summer...
9 Byte Me.
"The Matrix: Reloaded" was weaker than a malnourished toddler, but the 15-minute fight sequence between Neo (Keanu Reeves) and the replicated Agent Smith (Hugo Weaving) is at least noteworthy in that it alone cost $40 million.
Monday, August 25, 2003
It's turning out to be a schadenfreude kind of summer
[JewishWorldReview 25/08/2003]
http://www.NewsAndOpinion.com | It's turning out to be a schadenfreude kind of summer.
No, that doesn't mean damp beyond endurance. Schadenfreude is German for "joy at the suffering of others." And if that's not the exact emotion "Gigli" is inspiring in every American except those who own stock in Sony Pictures, I'm Martha Stewart.
Who, by the way, is another font of national schadenfreude. As is Mike ("I Went Broke on $300 Million") Tyson. And even Kobe Bryant, the erstwhile golden boy who, at the very least, committed adultery and then had the chutzpah to dub it a "mistake" - as if he'd been caught putting a Coke can in the garbage instead of recycling.
To complete the schadenfreude souffle, we have Ben Affleck and Jennifer Lopez themselves. Not only are these super-rich, super-beautiful superstars stuck with a bona fide Butterball, now they're also dealing with the fact that Ben just may have been cavorting - that's the polite word - with strippers (another polite word). When? On the exact same night that J.Lo was on TV burbling about their love. It's just too juicy!
But why? Why the secret spasms of glee we feel at such tsuris? It's not that we actively wished any of these people ill. (Except Mike, for being a rapist.) But now that ill has arrived, we're handing it a beer.
Are we that shallow? Sadistic? Envious? Are our lives so pathetic that we can enjoy them only when we remind ourselves, "Well, at least I'm not facing eight to 10 like a certain doyenne of domesticity I know"?
Take heart, my fellow schadenfreuders: Psychologists are hypothesizing that this feeling is not evil, only human. "When you find something that is universal in people, like enjoying the taste of sweet food" - or the suffering of others - "you're plugging into a part of human nature," says Prof. Frank McAndrew of Illinois' Knox College.
Evolutionary psychologists like McAndrew believe that human nature evolved by holding onto the traits that kept us alive. For instance: Our sweet tooth meant we spat out many bitter, poisonous plants.
But how on earth did schadenfreude keep us alive? By making us long to live to see another day of the O.J. Simpson trial?
No, it's more practical than that. It really boils down to learning information about your rival's weakness.
"For most of the 3 million years we were evolving, we lived in little groups of humans," explains McAndrew. "You knew everything about everyone in your group" - especially the top banana. "If I was a caveman and I wanted to climb the social ladder, I had to keep my eye on him. What did I want to know about him? Anything that I could exploit. So if I find out that he's broken his leg or just had a falling out with his wife, that's valuable."
A limping leader can be beaten up. A miffed mate may want to switch partners and mate with me! So we survived - and thrived - by getting the scoop on our rivals.
But J.Lo and Ben aren't our rivals, right? I mean, unless we happen to be Julia Roberts or Keanu Reeves?
Ah, but your mind thinks they are, says McAndrew. Thanks to constant celebrity coverage, "We know so many intimate details about them, it sort of tricks us psychologically. We react to them as if they are important people in our lives."
And when bad things happen to them, we rejoice. Our rivals have been routed. As one friend said to me: "If J.Lo dumps Ben, that means I can still get him!"
And next summer we'll be reading about you. Can't wait!
Tilda Swinton Joins Constantine Cast!
[Superhero Hype Sunday, August 24, 2003 11:33 CDT]
The Hollywood Reporter says that Tilda Swinton is playing a rogue agent battling Keanu Reeves in Constantine...
Tilda Swinton is in negotiations to join the cast of Warner Bros. Pictures' "Constantine," the studio has confirmed. The project, based on an adaptation of the DC-Vertigo comic book "Hellblazer," will be directed by Francis Lawrence. "Hellblazer" is described as "Dirty Harry" set in the occult world. Reeves will star as John Constantine, a man who dabbles in the occult and teams with a female police officer to fight evil forces. Rachel Weisz will play Angela, the cop who becomes involved with Constantine when her twin sister dies in a mysterious suicide. Swinton would play Gabriel, a rogue angel battling Constantine. Kevin Brodbin ("The Glimmer Man") wrote the original script, with a rewrite by Mark Bomback and Frank Cappello.
Swinton bedevils 'Constantine'
[Hollywood Reporter 25/08/2003]
Tilda Swinton is in negotiations to join the cast of Warner Bros. Pictures' "Constantine," the studio has confirmed. The project, based on an adaptation of the DC-Vertigo comic book "Hellblazer," will be directed by Francis Lawrence. "Hellblazer" is described as "Dirty Harry" set in the occult world. Reeves will star as John Constantine, a man who dabbles in the occult and teams with a female police officer to fight evil forces. Rachel Weisz will play Angela, the cop who becomes involved with Constantine when her twin sister dies in a mysterious suicide. Swinton would play Gabriel, a rogue angel battling Constantine. Kevin Brodbin ("The Glimmer Man") wrote the original script, with a rewrite by Mark Bomback and Frank Cappello. (Zorianna Kit)
Ruling – Hardball
[Entertainment Law Digest 25/08/2003]
7th US Circuit Court of Appeals No. 01-4314
Robert E. Muzikowski
v.
Paramount Pictures Corporation, et al.
Robert E. Muzikowski
v.
Paramount Pictures Corporation, et al.
������The man whose story gave rise to the movie “Hardball” has won a chance to prove his claims that the movie defamed him.
������Robert Muzikowski has devoted many years to coaching Little League Baseball teams in depressed areas of Chicago. Author Daniel Coyle wrote a book called “Hardball: A Season in the Projects” about the Chicago Little League teams, including those coached by Muzikowski. Paramount bought the rights to the book and made a movie it released in 2001. The film starred Keanu Reeves in the role of Conor O’Neill, a character that Muzikowski claims was based on him.
������The Paramount film had a disclaimer on it saying, “While this motion picture is in part inspired by actual events, persons and organizations, this is a fictitious story and no actual persons, events or organizations have been portrayed.” Despite this disclaimer, most of the advance publicity for the film emphasized that the movie was fact-based.
������Muzikowski claimed that the Conor O’Neill character had similar life experiences to his own. He pointed to the character’s dropping out of college when his father died, his alcoholism and being arrested for his involvement in a bar fight, which left a permanent scar on his hand. All these things happened to him. But in real life, Muzikowski turned his life around after being bailed out. He stopped drinking. He became active in Little League. The O’Neill character, by contrast, is a drunk, a gambler and a petty criminal. He becomes involved with Little League to pay off a gambling debt.
������Muzikowski filed suit to block the release of the film. The district court granted Paramount’s motion to dismiss and the film was released as scheduled.
������Muzikowski filed an appeal without an attorney. The appeals court agreed with Muzikowski that the trial court had erred in dismissing his complaint.
������The appeals court explained that a defamation action may state a claim for either defamation per se (statements so harmful to reputation that damages are presumed) or defamation per quod (statements requiring extrinsic facts to show their defamatory meaning). The trial court found that Muzikowski had not stated a claim for defamation per se because the statements Paramount made were reasonably capable of “innocent construction” or of referring to someone other than him. It dismissed the per quod claim because Muzikowski had not pleaded the special damages and money loss that are required to state a per quod claim.
������The appeals court cited the Illinois Supreme Court ruling in Bryson v. News Am. Publications, Inc., 672 N.E.2d 1207, 1219 (Ill. 1996) and dismissed the disclaimer as irrelevant to their consideration of whether the film was defamatory. The panel wrote, “Simply because the story is labeled ‘fiction’ and, therefore, does not purport to describe any real person does not mean that it may not be defamatory per se.”
������Paramount argued that in the Bryson case the plaintiff’s surname had been used; here the movie does not ever use Muzikowski’s name. The appeals court was not persuaded. It said that all that matters is whether persons other than the plaintiff must have reasonably understood that the film was about him. The court noted that although Illinois has special pleading rules for defamation cases where the plaintiff is not named, those rules do not apply in federal court. Here, the plaintiff’s complaint fulfilled the requirements of notice pleading by fully informing the defendants of the things that the plaintiff considered defamatory in the film.
������Turning to the merits of the defamation per se claim, the panel found that Muzikowski had properly alleged a prima facie case. He claimed that in the film the Conor O’Neill character lies that he is a licensed securities broker. The appellate court noted that under Illinois law, alleging or implying that a person is not a legitimate member of his profession is defamatory per se. In addition, the film shows the O’Neill character committing crimes such as theft. This is also defamatory per se.
������The appeals court said that Muzikowski is entitled to his chance to prove his case that the defamatory statements cannot reasonably be construed as pertaining to anyone other than himself. On the other hand, according to the court, “it is entirely possible that Paramount will be able to produce enough facts to support its ‘innocent construction’ argument. At this stage, however, we believe it was premature to reject Muzikowski’s case.”
������The appeals court did, however, affirm the dismissal of Muzikowski’s per quod defamation claim because he did not plead specific damages as required.
������Judges: Ripple, Wood, Evans
'Reloaded' Hits $730 Million Worldwide
[Reuters Sun August 24, 2003 07:28 PM ET]
By Gregg KildayLOS ANGELES (Hollywood Reporter) - "The Matrix Reloaded," the second installment in the mind-bending Keanu Reeves trilogy, has hit $730 million at the worldwide box office.
The tally for the Wachowski brothers' film consists of $450 million in ticket sales overseas and $280 million domestically, Warner Bros. said Friday.
The film, which rolled out in nearly all foreign territories, except for Japan and Russia, in May following a gala screening at Cannes on May 15, currently ranks 13th on the all-time worldwide box office chart, according to the Internet Movie Database. With its international rollout nearly completed, it is lodged between 1982's "E.T. The Extra-Terrestrial," in 12th place with $757 million, and 1994's "Forrest Gump," in 14th with $679 million.
The film's 1999 predecessor, "The Matrix," did $456 million worldwide. The final installment, "The Matrix: Revolutions," opens domestically on Nov. 5.
"Reloaded" was the first film in history to gross more than $100 million in a single weekend internationally. It is also the biggest-grossing R-rated movie on both the domestic and international charts.
Among 2003 releases, its nearest competitor is the Jim Carrey comedy "Bruce Almighty," whose worldwide take stands at $427 million. Among all-time champs, "Reloaded" falls far below top-ranked "Titanic," which earned $1.8 billion worldwide following its Dec. 1997 release.
Reuters/Hollywood Reporter
Julia Robert ranks among Hollywoods large breadwinners
[OTZ.de 24/08/2003]
As an only woman "Pretty Woman" Julia Robert (35) per filmrolle can more than 25 million US dollar (scarcely 23 million euro) require.
Paris (dpa) - as only female Hollywoodstar "Pretty Woman" Julia Robert (35) per filmrolle can more than 25 million US dollar (scarcely 23 million euro) require. This comes out from one in the filmmagazin "studio of magazines" published rank list. Approach nevertheless its Gage not completely to those of the bestbezahlten actor Tom Hanks ("Forrest Gump").
The Gagen doubled itself in the past ten years more than, writes the magazine. Only 72 of the 118,000 actors, who are registered in the USA, would nevertheless take more than ten million dollar per role. Altogether give it ten actors, whose participation in a film with more than 25 million US dollar is versuesst. Beside Hanks and Robert are this wants Smith, Keanu Reeves, Tom Cruise, Arnold Schwarzenegger, Mel Gibson, Jim Carrey and the two Komiker Mike Myers and Adam Sandler.
About nevertheless more than 20 million dollar could Russel Crowe, Harrison Ford, Leonardo DiCaprio and - than second woman behind Robert - Cameron Diaz be pleased.
Oregon needs more film, video business
[RON COWAN Statesman Journal August 24, 2003]
As the Oregon Legislature winds its way to a weary closure, a number of smaller and less critical budgets are expected to be freed from the logjam, as well as bills that have been put on hold.
The Oregon Film & Video Office is one of those state agencies that has been threatened with dire cuts and legislative elimination, but this is turning out to be at least a partial success story.
Through heavy lobbying by film-related businesses and film professionals, who even staged a kind of film expo at the Capitol, both the Senate and House have passed a bill that would fund the commission for the next two years at $821,000.
It may not have hurt that the issue was in flux as two small but prestigious films were being made in Oregon: “Thumbsucker,” with a dazzling cast that includes Tilda Swinton, Vincent D’Onofrio and Keanu Reeves, and “Mean Creek,” starring Rory Culkin and several other young actors with notable credits.
Altogether, they don’t add up to a lot of money. “Thumbsucker,” which stands to receive a special $100,000 tax rebate, thanks to Gov. Ted Kulongoski, is budgeted at $3 million and is spending the bulk of that in Oregon.
“Mean Creek” is budgeted at $500,000 and is spending most of that in Oregon as well.
Movies are a clean and lucrative industry that, not incidentally, provide local businesses and film professionals a way to exist in Oregon.
Much of the film/video business in Oregon is less glamorous but nonetheless lucrative, primarily commercials but also including trade films, music videos and documentaries.
The “why” of having a film commission is simple: More than 300 organizations at the state, city and national levels are angling for this business, offering special rates and tax incentives, not to mention much coddling and encouragement. American films and television shows often are not made in America.
Canada, which gives American filmmakers more incentives than Canadian filmmakers, is home to many American films and TV series with American settings, and countries such as Australia, New Zealand, Italy and England are big players in luring our films abroad.
“Gangs of New York” was not filmed in New York, nor were many of the contemporary New York films.
Even California is worried about such competition, but that state, in the midst of a budget crisis that threatens to dethrone the governor, has turned its back on the film business.
In a blow to film union efforts to halt runaway production, the California Legislature has approved a budget that provides no funding in fiscal year 2003-04 for Film California First, a
3-year-old incentive program to subsidize fees paid by producers for government services during filming on public property.
The legislature also slashed funding for the California Film Commission, the agency charged with running the program, by 90 percent to a bare minimum, leaving it with only $1.2 million to operate next fiscal year.
That will allow the film commission to issue permits and provide other basic services but nothing more. This in a state that needs the money from film production and virtually invented the idea of movies as a mass entertainment medium.
Oregon could have done better than the current approved budget; an earlier proposal would have cut its budget in half for the next two years.
Although staffing levels will be maintained, there will nonetheless be cuts, said Veronica Rinard, executive director of the office.
“What it does is whack our marketing and travel,” she said.
Action still is pending on Senate Bill 313, which has passed the Senate and has been sitting in the House Revenue Committee. It would create an Oregon Production Investment Fund. Money would be raised privately, not through the Lottery or general fund, to set up the program.
The fund would rebate productions 10 percent of their actual spending in the state — up to $250,000 per single feature film or television movie production. For television series, it would be $30,000 an episode.
“We’re still hopeful about it,” Rinard said. “The challenge remains for people to understand it’s revenue neutral or revenue generating.”
In the meantime, the film business goes on, though not often at the level of “The Hunted,” newly released on video and DVD, which left $30 million behind in Oregon.
Legend Films is looking to fill all crew positions for an upcoming low budget horror movie, which is scheduled to shoot for 15 days in late October in the Portland area.
Although that may not sound like stuff of the class of “One Flew Over the Cuckoo’s Nest,” still our favorite made-in-Oregon movie, business is business and frankly, we need some more.
Sunday, August 24, 2003
Keanu Reeves supports 'revolution' in paralysis treatment
[CelebrityHealthWatch August 2003 By John Morgan, Spotlight Health]
Keanu Reeves takes a shot at spinal cord injury awareness.
As Neo in The Matrix, Keanu Reeves realizes he is 'the one.' In real life Reeves hopes to start a revolution in the treatment and care of people suffering from spinal cord injuries.
Reeves joined fellow celebrities and NHL stars last Sunday for a celebrity hockey game to benefit the Spinal Cord Opportunities for Rehabilitation Endowment foundation.
"SCORE provides support for people who have experienced spinal cord injuries," says Reeves who tended goal during the game. "It helps them with what can be extremely expensive medicals costs. So we're hoping to raise money for a great cause. And we get to get out on the ice with the NHL guys."
"And hopefully I'll be able to stop a few pucks," Reeves adds joking.
Firing away at The Matrix: Reloaded star were such Hollywood hockey fans as Cuba Gooding Jr., Brendan Fehr from Roswell, Jay Harrington of Couples, D.B. Sweeney, Alan Thicke, and Rachel Blanchard of Clueless. Some of the NHL's top stars filled out the team rosters, among them were Luc Robitaille, Glenn Murray, Marty McSorely, and Rob Blake.
"A lot of the people that SCORE helps are all athletes - people who were injured while playing their sport," says Paulie Kosta, who plays with Reeves in a new band called becky. "So I think that makes this game more important, especially because of what happened to Sean [Gjos]."
SCORE was founded in 1999 after UCLA graduate student Sean Gjos suffered a paralyzing hockey accident.
"I was chasing a puck into the corner and the other team's player body checked me - it was a clean body check - and I went into the boards in an awkward back-first manner," Gjos recalls. "I dislocated one vertebra and fractured another. The net result was I squeezed my spinal canal to 10% of normal size."
The tragedy of Gjos' injury was apparent to him immediately.
"I was conscious throughout the entire accident so I felt the numbness sweeping up - I knew immediately something was very wrong," states Gjos, who is SCORE's honorary chairman. "When they straightened out my legs I still felt like they were bent and that's when I really knew how serious it was."
Now paraplegic, Gjos' accident illustrates the frailty of human health. His story was not far from the minds of the stars and pro players participating in the charity event.
"It's very scary that you could be doing a sport you love and one quick accident could change your life," says Blanchard, who was the lone female on the ice. "And it can happen to anybody at any time."
SCI score sheet
According to the Christopher Reeve Paralysis Foundation, approximately 250,000 Americans are now living with spinal cord injuries. Of these, 52% are paraplegic like Gjos and 47% are quadriplegic like the famous actor. Additionally, about 11,000 people suffer SCIs every year. Fifty-six percent of these are between the ages of 16 and 30 and 82% of all cases are male.
Only about 7% of spinal cord injuries occur from sports related activities, like the ones suffered by Gjos and Reeve. According to University of Alabama National Spinal Cord Injury Statistical Center (NSCISC), other causes include:
Vehicular accident - 38%
Violence - 24%
Falls - 22%
Other - 8%
"You could be playing any sport, not just hockey, and a freak accident happens and we want to make sure that they are not forgotten," urges Luc Robitaille. "They need help and financial support because their care is very expensive."
In fact, the medical costs are daunting.
Only about 52% of SCI victims are covered by insurance. And the NSCISC reports that first year medical costs for a paraplegic SCI can run as much as $209,000 or more. Lifetime costs for a 25 year-old paraplegic like Gjos can exceed $730,000.
"One of the things that is great is not only does SCORE provide research funding but it also provides funds to transform a house - by providing wheel chair access -- so they can move around in their own home," notes Reeves, who will again play Neo in The Matrix: Revolutions due out this November. "They also do mentoring and help people finish their education."
"SCORE gives financial grants because the costs are substantial to retrofit homes, cars, and get adequate rehabilitation and we'd rather people focus on rehab issues not financial ones," Gjos says.
Cuba Gooding Jr. stressed that research funding is equally critical right now.
"Christopher Reeve has regained some abilities that weren't there so that obviously tells us we don't know enough yet, and we need to get more funds for research because the cure is out there," Gooding Jr. says. "Stem cell research and other new innovative ways may be what help heal people who are paralyzed. But we have to get more money."
And knowledge.
The 'Matrix'
Research scientist and doctors have been struggling with how to regenerate nerves for many decades. But now there is budding hope that breakthroughs will be within future reach.
"Spinal cord injury is a process that primarily destroys connections between the brain and the spinal cord," says Mark H. Tuszynski, professor of neurosciences at UCSD and director of Center of Neural Repair. "The problem isn't so much that cells die but that these wires that connect the two are disconnected. The real challenge of regeneration research is to reconnect the wires."
Tuszynski says that a "great deal of progress" has been made in the last 15 years in understanding why these 'wires' don't reconnect themselves and how doctors can augment that recovery. For people who have an established injury, research is directed at nerve regeneration.
While peripheral nerves do regenerate, the spinal cord does not. Scientists now know a lot more about these previously mysterious mechanisms.
"A peripheral nerve regenerates for three reasons," Tuszynski explains. "First, the structure of the tube surrounding the nerve remains pretty intact, which helps align nerves into the correct orientation for regeneration. Second the injury site fills in with cells that help with the attachment of the injured nerves so they can move along - almost like a bridge that supports axon growth. And third, cells along the injured nerve secrete growth factors at the injury site to stimulate growth of new connections."
But in the spinal cord these things don't happen.
Tuszynski says that following a SCI there is no matrix of cells or proteins that the nerves can attach to as they grow along. Additionally, the spinal cord not only doesn't make growth factors, but it and the brain actually produce inhibitors that actively block the new growth of nerves throughout life. Another final obstacle to regeneration is no guidance mechanism exists to get the nerves growing to the right location.
"So research for regeneration centers on providing growth factors, providing a matrix to the injury site and neutralizing the inhibitors," the expert says. "In my opinion a multi-faceted approach, rather than one single approach, is most likely going to be an effective therapy for the complicated problem of spinal cord injury."
The good news for the injury community is there have been definitive successes in coaxing injured nerves to grow again and to grow into a site of spinal cord injury.
"The challenge remains to convincingly show that those growing nerves hook up to the right targets in order to allow functional recovery," Tuszynski states. "We have come a long way and we still have a long way to go but there is more hope than ever."
"I'm playing because the money and awareness raised can make a real difference in people's lives right now," says Reeves. "This is a great cause and it deserves attention."
'Point Break Live!' takes its cue from the ridiculous
[SeattlePI.com 23/08/2003 By JOE ADCOCKSEATTLE POST-INTELLIGENCER THEATER CRITIC]
The worse it gets, the better it gets. The mooning is rude. But written on the offending butt is a polite "thank you!" The surfing and sky-diving scenes are ostentatiously tacky. But -- you tell me -- where and when has either surfing or sky diving been performed before on stage?
�
THEATER REVIEW
�
POINT BREAK LIVE!
CREATORS: Conceived and adapted by Jaime Keeling, directed by Keeling and Jamie Hook, technical direction by John Deshazo
WHERE: The Little Theatre, 608 19th Ave. E.
WHEN: Through Aug. 31
TICKETS: $12; 206-329-2629
The car chase is on film, which is a cop-out. But such a chase! After crashing in and out of a cardboard Walgreens, one of the vehicles collides with a paper service station gas pump, resulting in an Iraq-worthy conflagration.
The tsunami in Australia is a composite of flapping blue cloth and impressionistic waves on a movie screen. But actors spray the audience with copious blasts from water rifles, which makes up in wetness for what the scene lacks in nature's grandeur.
"Point Break Live!" is a travesty version of a 1991 action adventure movie starring Keanu Reeves and Patrick Swayze. The show was scheduled for a two-week run at the Northwest Film Forum's Little Theatre on Capitol Hill. So great was the audience response that the production has been extended two more weeks.
Which means that eight additional Reeves stand-ins had to be recruited. Directors Jamie Hook and Jaime Keeling have based their production on A Concept: To represent Keanu Reeves, an actor must be untrained and unrehearsed. He must be pushed from place to place by production assistants. He must read his lines (not seen until the play's in progress) from cue cards. Only thus can that irresistible Reeves vacancy be emulated.
Not all volunteers can rival the qualities that made Reeves MTV's most desirable male of 1992. But Wilbert Williams, the guy I saw in the lead last Thursday night, was plucky in both adventure and combat scenes. And he spoke much more clearly than most of his more experienced fellow performers.
A standing-room-only crowd in a 60-seat playhouse doesn't indicate universal appeal. "Point Break Live!" does, however, give a novel twist to such crowd-pleasers as pointless danger, gratuitous violence and sensational death.
The story, by the way, has to do with a maverick lawman (Reeves) who hunts down a bank-robbing gang led by a surfer guru (Swayze). In the guru role, Peter Carrs displays pecs and abs, distant gaze and distressed hair that in no way suffer by comparison with the Swayze originals.
Museum welcomes another film crew
[By DAVID BATES Of the News-Register Published: August 23, 2003]
For several hours late Thursday afternoon and evening, a corner of the Evergreen Aviation Museum was quietly converted into a film set.
For the second time this year, the city's top tourism attraction became a work space for celebrities.
The cast and crew of the low-budget film "Thumbsucker," being shot mainly in the Portland suburbs of Beaverton and Tualatin, used a DC-9 for scenes requiring an airplane interior. The exteriors were shot elsewhere.
The cast includes two character actors who haven't yet achieved headliner status, but never seem to lack for work: Tilda Swinton, who starred in the artsy thriller "The Deep End" a couple of years ago, and Vincent D'Onofrio, a chameleonlike thespian who made a remarkable debut as the weakling-turned-psycho Private Pyle in Stanley Kubrick's 1987 film "Full Metal Jacket."
D'Onofrio broke Robert DeNiro's weight-gain record in putting on 70 pounds for "Jacket." DeNiro gained 60 pounds for "Raging Bull."
D'Onofrio is currently starring in the TV series "Law and Order: Criminal Intent." And he recently played a wildly twisted serial killer in "The Cell."
The area was roped off, closing access to visitors and the media.
D'Onofrio and Swinton play parents whose lives are disrupted when their oldest son tries to kick the habit of sucking his thumb. The film, directed by Mike Mills, is based on the 1999 book of the same name, authored by Walter Kirn.
Collections Director Katherine Huit said it's becoming increasingly common for the film industry to use the museum and its artifacts.
Researchers doing preproduction work for an upcoming Martin Scorsese bio on Howard Hughes, the airplane's builder and pilot, have been working closely with the museum, she said.
The film, "The Aviator," is shooting in Los Angeles and Canada. It stars Leonardo DiCaprio in the title role.
There are no plans to shoot at the museum, Huit said, because the interior of the HK-1 has been altered since its only flight.
"To portray it historically, you would have to build a set," she said. But she said, "We provided an awful lot of research about the flying boat."
In addition, footage with former CBS newsman Walter Cronkite was shot earlier this year for a major documentary about the Spruce Goose.
It's routine for films to be shot out of sequence, and for the interiors and exteriors of a scene to be shot in different places.
One of the reasons for using an airplane in a museum, as opposed to one at an airport, Huit noted, is post-9/11 security. "It's virtually shut down access to aircraft and airports, and even maintenance facilities," she said.
Scheduled to be among the extras for Thursday's "Thumbsucker" shoot was McMinnville resident Galen Flinn, who also shows up briefly in a crowd scene in "The Hunted."
Flinn is active at Gallery Theater. He is in rehearsals for "King Lear," Gallery's next scheduled production.
Top 10 Most Kissable Celebs
[Handbag.com 24/08/2003]
7. Keanu Reeves sent Trinity wild in The Matrix and he's doing it to
us, too
The Matrix Revolutions
[Entertainment Weekly Aug 2003]
Starring: Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, Jada Pinkett Smith
Written and Directed by: The Wachowski Brothers
The Killer Moment: "In all the Matrix films, there's always like eight of them", quips Reeves
"NEO and Trinity get married" Keanu Reeves is joking.
Come to think if, maybe he's not. Following Matrix publicity protocol, the star really isn't yapping much about the third and final (we think) installment of the sci-fi series.
Still, he has a few general tips. "There's a battle between Zion and the machines", he says "And the relationship between Agent Smith and Neo is resolved. And some questions of the journey of Neo as The One are answered. And lots of surprises." One of which, we're guessing, is a much-talked-about, 14-minute, low-altitude helicopter chase.
Most of our favorite characters are also back, including cyber-sexpot Monica Bellucci as Persephone and Jada Pinkett Smith, whose Niobe continue to lead the rebellion against those oppressive scraps of metal.
"I'm more involved in the story", says Pinkett Smith. "I help save the day, and you see my love story with Laurence resolved". Still, she add, "I don't think anybody gets married.".
But let's go back and talk about Reloaded for a minute. The movie will gross $280 million domestically, but critics generally weren't pleased, and as things played out, summertime audiences cared more about a talking fish than ass-kicking computer viruses. "The second movie is always the toughest one in a trilogy," says series executive producer Bruce Berman, who is confident that viewers will flock to the third installment.
They'd better. Warner Bros. And Berman's Village Roadshow took a risk when they shot both Matrix sequels simultaneously over 18 months in California and Australia - a great plan if interest builds in the series (see The Lord of the Rings), but potentially deadly if people decide they've just had enough (Back to the Future).
Also complicating things is the continue silence of the Wachowski Brothers, who don't do any press. "why would they want to give answers to something that's about searching for yourself?" says Reeves.
He's got a point, but the shroud of mystery surrounding the writer-directors got a little tattered earlier this year when older sibling Larry showed up to Reloaded's .A.A premiere dressed kinda funny with a supposed dominatrix on his arm. "Did that happen?" Reeves asks seriously. "I don't remember that, " So he's the one.
What's at stake
The Wachowskis' futures. Their reputation as Hollywood's most innovative filmmakers may depend on whether they can reload the wow factor they had with the First Matrix (Nov.5).
Movies about, you know, stuff...
The best teen films capture that uncapturable time
[National Post 22/08/2003]
RIVER'S EDGE (1986)
Keanu Reeves' blank stare is put to good use in this bleak story about a group of teenagers who just don't give a shit. When one of the guys freaks out and strangles one of the girls -- she said something about his mother -- most of the other kids aren't sure what to do. But Layne, played by the inherently creepy Crispin Glover, is excited by the fact that something momentous has actually happened in his little circle, and giddily plans to cover up the crime and sneak his friend out of state. As the teens stall, smoke and screw in the woods, the victim's naked body remains on the riverbank. M.C.
Blockbuster Wrap Up
Summer movies heavy on sequels, light on stories
[CML 21/08/2003]
The Matrix Reloaded (May)
While we’re busy crapping ourselves in anticipation of “The Matrix Revolutions,” due November 17th, let’s pause and reflect on all that’s transpired. Suffice it to say a lot of stuff happened in “The Matrix,” and a lot more stuff happens in “The Matrix Reloaded,” a blockbuster that took every successful element from the first installment and raised it to an almost absurd level. More fights? Oh, yes! CGI? Darn right! Heroes in trendy black trenchcoats and sunglasses? You know it, sister! “Reloaded” is an extraordinary film to look at, but for all the attention to digital details, writers/directors Andy and Larry Wachowski couldn’t computer-generate Keanu Reeves any acting ability. Little matter, “Reloaded” delivers enough large-scale action to keep you in your seat and enough armchair Zen to keep you scratching your noggin till the series wraps up, and probably well after. * * * -Troy Reimink
The Awful Truth
[E! Online (US) - August 21, 2003 by Ted Casablanca]
The Eyes Have It
Keanu Reeves, chilling out with a glass of white wine at Bluehour. Swanky Portland, Oregon. In town to film Thumbsucker with Vince Vaughn, K.R. was hobnobbing with a group of compadres on this musky night out. Sporting that dressy-messy look, the Matrix man was clad in tired blue jeans and a loose white tee with a three-button suit coat tossed on top. With a hemp necklace around his smooth throat and customary five o'clock shadow, K.R. was dead humpy--not to mention quite the doll when a bachelorette approached for a photo op. Was too sweet. Matthew Perry, take note.
'Thumbsucker' wraps up filming
[RON COWAN Statesman Journal August 23, 2003]
Tilda Swinton stars in the movie “Thumbsucker,” which is being filmed in Oregon cities such as Beaverton and Tigard. Film reel photos (left) from top to bottom: Lou Taylor Pucci, writer/director Mike Mills, Vincent D’Onofrio and Swinton. Keanu Reeves and Benjamin Bratt also star.
TUALATIN — A little Hollywood glamour has come to Oregon, and last weekend that glamour found itself roosting in a hot, dusty rock quarry that looked eerily like the set of a cheap science fiction movie.
But the movie that brought stars Vincent D’Onofrio, Tilda Swinton, Keanu Reeves and Benjamin Bratt to Oregon is “Thumbsucker,” a wry coming-of-age story adapted from the Walter Kirn book about a teenager with an oral fixation. The film completes seven weeks of Oregon location work this weekend.
“I love this quarry,” joked the elegant Swinton in an English accent, far from her home in Scotland and such roles as the time-traveling heroine of “Orlando” and the desperately protective mother of “The Deep End.”
D’Onofrio is himself a cult figure from films such as “Men in Black” and “The Cell.” He also stars in television’s “Law & Order: Criminal Intent.” He, Swinton and newcomer Lou Taylor Pucci, 18, seemed a lot like the family unit they play in the film, although not nearly as dysfunctional.
“It’s really gotten very weird,” Pucci joked. “I call Tilda ‘Audrey’ (her character’s name) all the time.
“She gets very annoyed by it. Yes, it feels like they’re my parents.”
The three were in the quarry for a scene involving the staging of a TV show about the adventures of a border patrol in New Mexico.
Beaverton, Tualatin, Vernonia, Mount Hood’s Trillium Lake and other settings provide the vast amount scenery of the low-budget $3 million film.
“Out of the 282 scenes in the film, one scene is in New York,” said producer Anthony Bregman of This is That Inc., the production company.
Writer-director Mike Mills even has moved the setting to Oregon from Minnesota and updated the time to the present, among several changes to the popular book.
The story remains focused on Justin Cobb (Pucci) and his parents, Mike and Audrey Cobb, played by D’Onofrio and Swinton.
Reeves, who was in town for four days, plays the kindly orthodontist who hypnotizes Pucci to stop his thumbsucking, which only sends him off on new fixations. Vince Vaughn plays his debate coach, and Bratt is a TV announcer whom Audrey fancies.
The theme of “Thumbsucker” is people who feel incomplete, said Mills, an affable man who wore a ratty straw hat and a toothy grin.
“They all have some kind of insecurity to admit and do everything to cover it up,” he said.
“You kind of have to deal with the fact that we’re not perfect, shiny, that sort of thing. They all come to terms with that fact.”
Actors such as D’Onofrio were willing to sign on for negligible salaries because of Mills and his vision.
“I read the script, and I liked it,” said D’Onofrio, dressed all in black with gray tinging his dark hair. “It was a tough story to tell. Whether he wanted me to do it or not, I wanted to do it.”
Mills, who said he is a great fan of local directors Gus Van Sant and Todd Haynes, said he is echoing some of their attitudes in a cinematic look and a personal rather than formulaic feel.
“I think ‘Thumbsucker’ has a lot of those qualities,” he said of the work of Van Sant and Haynes.
Mills was drawn to the Kirn book.
“It felt really real; you can kind of smell it happening to me,” he said.
Swinton said she bought into Mills and his vision.
“I met Mike 18 months ago,” she said. “We started a conversation, and it kept going.”
Swinton’s character, a nurse who has spent her life looking after others, is a little like herself.
“How do you ever settle down and decide?,” she said of Audrey’s dilemma. “How are you going to wrap your life around any five ingredients?”
Pucci, who celebrated his 18th birthday doing a scene in which the debate team gets drunk, said Justin is another seeker.
“He has no clue what’s going on,” said Pucci, his blond hair dyed red for the role.
“He tries Ritalin, he tries girls and other things in the book.
“At the end, he’s really ready to leave, and his parents are ready for him to leave.”
“These characters are so complex. We’re not taking the easy way out,” said a clearly pleased D’Onofrio.
“We approach each scene as uncomfortable as we can. It’s a very good feeling to have.
“It’s moment-to-moment things happening. The air is thick with chemistry and magic.”
Although Pucci is a newcomer to film, he has plenty of fans on this set.
“He’s so way ahead of any actor I’ve met for his age,” D’Onofrio said.
“From the very first day of improv, he was neck and neck with me.”
“Honestly, Lou is a total gift from God that came on the last day of casting,” said Mills, who auditioned 150 teenagers.
“There are a lot of people who are good at pretending to be this or that; Lou is this magical little chameleon.”
Soon after this film wraps over the weekend, Pucci will be doing an HBO film, “Empire Falls,” an adaptation of the Richard Russo novel, starring Paul Newman, Joanne Woodward, Ed Harris, Philip Seymour Hoffman and Helen Hunt.
Pucci also is up for a role in “Constantine,” another Reeves project.
“I love Keanu Reeves so much, I wish I could do more with him,” Pucci said.
Executive producer Cathy Schulman said expectations are high for this film, in spite of its tiny budget.
“Our hope is that although it’s a small picture, it will find a big audience because of the issues it speaks to,” she said.
“There is no chance this picture is going to disappear.”
“Thumbsucker,” which may be released next spring, came to Oregon not just because Mills liked the look of the Oregon locations or the help of the Oregon Film & Video Office, but because Gov. Ted Kulongoski authorized a production incentive, which gives the filmmakers a 10 percent rebate on their first $1 million of spending in Oregon, up to $100,000.
Another independent film, “Mean Creek,” the story of a group of young men confronting a bully, has been filming on a $500,000 budget in the Estacada area, with a cast including Rory Culkin, the young star of the M. Night Shyamalan movie “Signs.”
Ron Cowan can be reached at (503) 399-6728.
Rachel and Reeves reunited
[MegaStar 24/08/2003 by Wyndham King]
Have you seen the script, Rach?!
Beautiful big-screen brainbox Rachel Weisz has for once failed to use her loaf – by teaming up again with former flop film partner Keanu Reeves.
The London-born and Cambridge-educated babe – currently starring in sassy thriller Confidence with Dustin Hoffman and Andy Garcia - last worked with The Matrix star on 1996 turkey, Chain Reaction.
And now she’s back for more on the hopefully less-poultrified Constantine, described promisingly as an ‘occult thriller’.
The Others, anybody? We hope so – even without a bit-part for 400-year-old Eric Sykes.
The Guardian does its bit to boost the forthcoming chiller and explains: "Backed by Warner Bros and based on a comic-book, Constantine will star Reeves as a psychic who teams up with a cop (Weisz) to fight the forces of evil."
'Evil' like iffy plots and stilted scripts, presumably.
Whatever happens, Weisz is hot property in Hollywood at the moment.
The New York-based actress has been cast to star with laugh-a-minute flick titch Ben Stiller in Envy, while her dusky charms will also be on view in The Runaway Jury.
Call in the Weisz squad.
Saturday, August 23, 2003
CLUB KING TALE GOES TO SCREEN
[iWon 22/08/2003]
FORMER club king Peter Gatien and his daughter Jennifer have enlisted Oscar-winning "A Beautiful Mind" screenwriter Akiva Goldsman to bring their unique life story to the big screen. Unlike the rival flick "Party Monster," which focuses on jailed club kid murderer Michael Alig, the Gatiens' movie, "Pursuit of Pleasure," is based on a 12-page treatment Jennifer wrote about life with her decadent dad during the rise and fall of his nightlife empire. Goldsman's Weed Road pictures will produce and Jon Shear will write and direct.
"Our movie is much more about the father/daughter dynamic and growing up in clubland," Jennifer tells us. "It's from my point of view, and it's based on what really happened.
"At first, no studio wanted to look at our script because of 'Party Monster.' But that movie was received so terribly at Sundance, it'll be lucky to make it to the Quad Cinema. It's not a threat to us at all."
Creative Artists Agency is "packaging" the picture, so it's expected that someone from its stable of superstars - Keanu Reeves, Viggo Mortensen, Sean Penn and Ralph Fiennes among them - will play Peter Gatien. (Dylan McDermott channels him in "Party Monster").
Once Peter's portrayer is cast, CAA will seek a boldfaced name to play Jennifer. Also look for Gatien's lawyer, Benjamin Brafman, to be immortalized. "I think Al Pacino or Dustin Hoffman could do him extremely well," Peter Gatien mused.
Meanwhile, Jennifer's dad is developing a TV series about clubland. Papa Gatien - whose Limelight and Tunnel epitomized nightclub naughtiness in the 1990s - spent 45 days in prison after he pleaded guilty in 1999 to skimming $1.3 million in taxes.
But these days Gatien, who executive-produced the 1994 Robert De Niro drama "A Bronx Tale," is eager to get back into showbiz. "It's kind of like 'Moulin Rouge' meets 'Cheers' with a little 'Sex and the City' thrown in," he said of the TV series.
"It would be an hour or half-hour show following five or six characters - an actor, a deejay, a barmaid - from different backgrounds. A nightclub is an interesting setting and I think it'll have broad appeal."
The Tribal Mind
[smh.com.au August 23, 2003]
The stars of last year are stuffing this year's turkeys, writes David Dale.
This week's question is: who are the most repellent actors of 2003? We are not referring to physical beauty here but to that more measurable quality called bankability, or pulling power, or, as Variety magazine might say, "box-office boffo" - and its reverse.
The word "star" is supposed to describe a performer whose name alone can bring crowds to the cinema, regardless of a movie's title, content or critical esteem. We'll have to use the term "black hole", then, for the opposite - those performers who seem to drive the crowds away, even when a film has been well publicised and widely released. And the term "binary" is the best we can think up for those who flicker between the two conditions.
The stars of this year who have headlined either blockbusters that made more than $15 million or normal films that made more than $10 million have been Jim Carrey (Bruce Almighty), Keanu Reeves (Matrix Reloaded), Rowan Atkinson (Johnny English), Drew Barrymore (Charlie's Angels: Full Throttle), Hugh Jackman (X-Men 2), Ian McKellen (Lord of the Rings: The Two Towers and X-Men 2), Reese Witherspoon (Sweet Home Alabama), Arnold Schwarzenegger (Terminator 3: Rise of the Machines) and Eminem (8 Mile). Plus Michael Moore, whose Bowling For Columbine took $4.5 million and set a record for a documentary.
The binaries bouncing between heaven and hell are Eddie Murphy (who triumphed in Daddy Day Care but flopped in I Spy), Leonardo DiCaprio (up in Catch Me If You Can, down in Gangs of New York), Cameron Diaz (up in Charlie's Angels: Full Throttle, down in Gangs of New York), Patrick Stewart (up in X-Men 2, down in Star Trek: Nemesis), and Jack Nicholson (up in Anger Management, down in About Schmidt).
And now for the unambiguously off-putting, the ones who are stuffing this year's turkeys, the poor bastards whose faces failed to inflame flicks that should have done a hell of a lot better.
Sadly, two local boys have topped this category. Heath Ledger led a competent cast in the highly hyped Ned Kelly but it earned only $8.2 million. (The DVD is out this week and it seems the director, Gregor Jordan, was too embarrassed to provide the usual director's commentary.) But even Ned beat Ledger's other big-budget disaster this year, The Four Feathers, with just $500,000.
Then comes Eric Bana, whose emotional intensity was just what audiences didn't want in Hulk, which made only $9.5 million, despite a budget of $220 million and a launch in 340 cinemas. But perhaps we should point the finger at the big green animation rather than the poor Aussie boy.
There's nobody to blame but Ben Affleck for the failure of another big-budget comic strip hero, Daredevil, which ended up with $7.5 million. Affleck just looked terminally dorky in his red leather jumpsuit.
Gwyneth Paltrow must be the sacrificial lamb for View From the Top, which earned just $1.2 million despite a guest appearance by Mike Myers. Paltrow joins Julianne Moore on the losers list - despite Oscar nominations, Moore's face on the posters could earn only $1.5 million for Far From Heaven.
Robert De Niro, best known for his tough cops and crazy crooks, was building a new career in comedy three years ago with Analyze This and Meet the Parents. But this year he black-holed two movies: Analyze That ($3.1m) and City by the Sea ($300,000).
Vin Diesel's shame in earning just $1.2 million for A Man Apart was compounded when 2 Fast 2 Furious, the sequel to his The Fast and the Furious, made $14 million without Diesel's presence, suggesting the charisma had been in the cars all along.
Owen Wilson did so badly with Shanghai Knights ($4.5m) and I Spy ($4.01m) that for a guest spot in Charlies Angels: Full Throttle he had to heavily disguise himself, for fear of jinxing the flick.
And last weekend a new crop of candidates offered themselves for the shortlist of the most repellent. The opening of The Night We Called it a Day, on 177 screens, was downright humiliating at $193,000. Apparently, audiences are so familiar with Dennis Hopper as a psychopathic killer that they can't accept him as a psychopathic singer. And Ewan McGregor and Renee Zellweger should have done much better than $878,000 for the opening of the much publicised parody Down with Love. But they needn't worry about long-term damage to their reputations, considering their next movies will be Star Wars Three and Bridget Jones Two.
Sometimes black holes can regain their glow.
CLUB KING PETER GATIEN'S STORY TO BE FILMED
[Channel4.co.uk 22/08/2003]
Ex-club honcho PETER GATIEN and his daughter JENNIFER plan to hire the screenwriter of A BEAUTIFUL MIND to bring their life story to cinema screens.
PURSUIT OF PLEASURE is set to be scripted by AKIVA GOLDSMAN, and is based on a 12-page treatment written by Jennifer herself.
While rival flick PARTY MONSTER focuses on jailed club-owning child killer MICHAEL ALIG, Pursuit Of Pleasure will concentrate on Jennifer's experiences of life with her partying pop during the rise and fall of his nightclub dynasty.
Jennifer says, "Our movie is much more about the father / daughter dynamic and growing up in clubland. It's from my point of view, and it's based on what really happened."
JON SHEAR is lined up to direct the picture.
'King' of N.Y. clubs sent back to Canada
[The National Post 22/08/2003]
In past interviews, Peter Gatien has indicated he is fed up with the nightclub business and is keen to get back into movies. Throughout his colourful career, he has dabbled in magazines, owned a record label and produced a film, A Bronx Tale, which was directed by Robert De Niro.
He is set to be the centre of a new film, titled Pursuit of Pleasure, based on his life with his daughter, Jennifer, a filmmaker. It is being produced by the company owned by Akiva Goldsman, the Oscar-winning screenwriter of A Beautiful Mind. Keanu Reeves, Sean Penn and Ralph Fiennes have been tipped as potential stars to play Mr. Gatien.
Bizzare
[The Sun [UK] 22/08/2003]
RACHEL WEISZ must be making other British actresses green with envy. First she makes it big in Hollywood in The Mummy. And soon she will be getting paid to snog KEANU REEVES. She is currently in talks about playing Keanu’s love interest in Constantine, which is based on the comic book story Hellblazer.
Trust the Sun to put it so succinctly....
WEISZ CASTING
[CHUD 8.21.03 By Devin Faraci]
Contributing sources: Hollywood Reporter
It seems like the bad comic book movies just sail right towards theaters. How else to explain the continued Catwoman (see HERE for the latest) and Constantine (see HERE for the latest on that one) news?
The latest scoop from the completely ill-conceived Constantine movie is that hottie Rachel Weisz will be joining Keanu Reeves (ugh) to solve the mystery of the bizarre suicide of her twin sister. Oh, and she's a cop. So now Constantine has been robbed of its British setting (I mean, Harry Potter - a kid's movie - could stay geographically faithful, but this one just has to emigrate?) and is becoming some sort of mystical buddy movie? I mean, this movie is so ill-conceived that the Hollywood Reporter is describing it as Dirty Harry set in the occult world.
This is where I rant: If you're going to change the basic concepts of the movie so much, to go so far as to no longer call the movie Hellblazer, which is the title of the DC Comic, and if you're going to ignore all the basic concepts behind the title, why bother adapting it? Is this fairly obscure comic really worth that much more box office? If this was a movie about an occult Dirty Harry and it was reported that it was influenced by Hellblazer, maybe I would be psyched.
Friday, August 22, 2003
A Few Good People
[Razor Magazine Sept 2003]
Last month, I was selected by People Magazine as one of their 25 Most Eligible Bachelors. I'd be lying if I told you the first thought that went through my mind upon learning that I had made the short list wasn't that I was going to be the subject of brutal, relentless abuse from my friends and colleagues. To the contrary and to my surprise, people started congratulating me. Some were awe struck, jaw-slacked. I couldn't figure it out. What was so honorable about being available? In fact, coming from married people, the accolades seemed almost out of place. But the word I heard most often was "achievement". What I had achieved , the desire to be successful, the hours, the dedication was being recognized by the staff of a magazine with 39 million readers (as I would be reminded again and again). Everyone else seemed to realize that, I was having a hard time.
The days following the release of the issue were filled with radio, television and print interviews. Questions, as you can imagine, ran the gamut - What's your favorite color to how can women reach you to what do you think about the war in Iraq. Mostly, I was asked what the hell I was doing on a list that included people like Prince Andrew and Keanu Reeves. There were wide-eyed stares and whispers just behind earshot. At times I felt like a freak show let loose on Manhattan (just look at him, but don't get too close) and at others some sort of deity with the power to heal (can I touch you?). It was a wild ride.
Box office had topsy-turvy summer
[LA Daily News 21/08/2003 By Greg Hernandez Staff Writer]
It's been one wacky summer at the multiplex. An animated movie about a clown fish is box office king and Johnny Depp is a far more popular action star than Arnold's Terminator, Will Smith, Harrison Ford, the Hulk, all three of Charlie's Angels, and possibly even Keanu Reeves.
The animated smash "Nemo" is by far the summer's highest-grossing film and is on its way to becoming one of the most popular movies of all time, while the swashbuckling "Pirates" is on track to surpass Warner Bros.' "The Matrix: Reloaded" as the second-highest-grossing film of the season.
Thursday, August 21, 2003
Weisz Wears Badge for 'Constantine'
Thu, Aug 21, 2003, 02:08 PM PT
LOS ANGELES (Zap2it.com) - "About a Boy" star Rachel Weisz is negotiating to star in "Constantine," the Warner Bros. adaptation of the "Hellblazer" comic book.
She will portray a police officer who becomes involved with John Constantine when her twin sister dies in a mysterious suicide, according to The Hollywood Reporter. Constantine, played by Keanu Reeves, is an occultist whose investigations lead the pair through the world of demons and angels that exists just beneath the landscape of contemporary Los Angeles.
"Constantine" is the directing debut for Francis Lawrence.
Weisz is currently shooting "Daisy Winters" and recently starred in "Confidence" and "The Shape of Things." She next stars in "Runaway Jury" opposite John Cusack opening in October.
Weisz Mulls Constantine [more like 'mullers'...LOL]
[SciFi Wire.com 21/08/2003]
Rachel Weisz (The Mummy) is in talks to star opposite Keanu Reeves in Warner Brothers' upcoming Constantine, a movie based on the DC/Vertigo comic series Hellblazer, according to The Hollywood Reporter. The studio confirmed Weisz' interest to the trade paper. Weisz and Reeves previously shared the screen together in 1996's Chain Reaction.
Francis Lawrence is directing Constantine, described as Dirty Harry set in the occult world. Reeves will star as John Constantine, a man who dabbles in the occult and teams with a female police officer to fight evil forces, the trade paper reported. Weisz would play Angela, an officer who becomes involved with Constantine when her twin sister dies in a mysterious suicide.
Kevin Brodbin (The Glimmer Man) wrote the original script, with a rewrite by Mark Bomback and Frank Cappello, the trade paper reported. Lauren Shuler Donner is producing with former worldwide production president Lorenzo di Bonaventura and Akiva Goldsman.
Critc's corner
[Boston Globe 21/08/2003]
"Live With Regis and Kelly" at 9 a.m. on Channel 7; 10 a.m. on Channel 10. Superstars of summer. Actor Keanu Reeves; musician Michelle Branch; actress Reese Witherspoon; actor Hugh Jackman; musician Blu Cantrell. In stereo. (Closed-captioned)
TV Talk Show Schedule for Thursday, August 21, 2003
[CSN News 21/08/2003]
Live! With Regis And Kelly (Syndicated)
Keanu Reeves; Michelle Branch; Reese Witherspoon; Hugh Jackman.
Weisz Dabbles in Occult with Reeves
[Reuters Thu August 21, 2003 01:32 AM ET]
By Zorianna KitLOS ANGELES (Hollywood Reporter) - English actress Rachel Weisz is in talks to star opposite Keanu Reeves in "Constantine," a film based on the "Hellblazer" comic book
"Hellblazer" is described as "Dirty Harry" set in the occult world. Reeves will play John Constantine, a man who dabbles in the occult and teams with a female police officer to fight evil forces. Weisz would play Angela, an officer who becomes involved with Constantine when her twin sister dies in a mysterious suicide.
The Warner Bros. film marks the feature directing debut of Francis Lawrence.
Weisz next stars in Fox's "Runaway Jury" and DreamWorks' "Envy." The actress, currently shooting the indie feature "Daisy Winters," recently starred in "Confidence," "The Shape of Things" and "About
a Boy."
Reuters/Hollywood Reporter
Jackie Chan in the mood for love
[Stuff.co.nz 21/08/2003]
The two throw almost as many dewy-eyed glances at one another as punches at bad guys in the film. Chan, known for doing all his stunts by himself, resorts to some movie magic to fly and leap over shipping containers like a low-tech version of Keanu Reeves in The Matrix.
Rachel Weisz Joining Reeves in Constantine Source: FilmJerk.com
[Coming Soon Wednesday, August 20, 2003]
FilmJerk.com has broken the news that "The Mummy" series star Rachel Weisz will reunite with her Chain Reaction co-star Keanu Reeves in the Warner Bros. "Hellblazer" comic book adaptation Constantine.
FilmJerk.com has learned that Rachel Weisz has been cast in Warner Bros.' "Constantine," an adaptation of the DC Comic comic book "Hellblazer." Weisz, who was last seen in "The Shape of Things" and "Confidence" – as well as the upcoming fall films "Envy" and "the Runaway Jury" – will be playing Angela, the lead female role.
As we initially reported in June, producers were looking to cast an actress for a role described as a "beautiful, intelligent and strong detective in her mid 20's to mid 30's, imbued with more than just instinct and seems to be in the right place at the right time where her perps are concerned. She serves as the foil to John Constantine (played by Keanu Reeves), a world-traveling man with occult powers who investigates supernatural mysteries, often walking a thin line between evil and good.
More story spoilers are available at the link above. The site says that filming will start on September 22 in Los Angeles for a September 17, 2004 release date.
Dude, why am I so popular?
[MSNBC 21/08/2003]
Kutcher’s rise to fame continues to baffle
Ashton Kutcher is an idiot. Well, he plays one on TV, anyway. It’s no secret that Kutcher has found small-screen success playing dimwitted Michael Kelso on Fox’s “That ’70s Show,” and he’s angling for a big-time movie career as well. But what’s the appeal? There’s got to be a reason a Web search on the guy generates nearly 80,000 hits.
ACTING CHOPS?
Kutcher is no Sir Laurence Olivier. Heck, he’s barely Joey Lawrence. Yeah, “Dude, Where’s My Car?” made good dough, but can he put butts in seats without Seann William Scott pulling in the Stifler contingent? America will soon find out. Kutcher’s making another attempt to achieve leading-man status with the release of “My Boss’s Daughter.”
Good luck, Kutch. The road to fame is littered with good-looking, young sitcom stars who’ve never — if rarely — found big-screen success. John Stamos. Anson Williams. Mario Lopez. Jason Bateman. Kirk Cameron. The names read like a “Nick at Night” retrospective. Can Kutcher beat the odds and parlay his small-screen success into big-screen box office?
It’s harder than it looks. For every John Travolta who moves from playing Vinnie Barbarino to making $20 million a picture, there’s another who gets left by the pop culture wayside. We’re talking about you, Horshack.
Entertaining a bunch of couch potatoes looking for a mindless way to spend a half hour is one thing, but getting viewers out of their Barcaloungers and into theaters is another thing entirely. Matt LeBlanc, arguably TV’s most lovable lunkhead, hasn’t been able to find a foothold in movies. Even Travolta, after hits like “Saturday Night Fever” and “Grease,” fell into a chasm from which he couldn’t escape, until “Pulp Fiction” set him free.
So what’s Kutcher got that, say, Joey Lawrence doesn’t? And can he be both a TV star and a box-office draw? It’s possible, but he’s got to play to his strengths.
� � � �
KUTCHER’S CREDENTIALS
Most adults think he’s harmless enough, like the dachshund next door.
�We’ve seen him before. Kutcher is hardly the first guy with a toothy grin to find fame playing a dim bulb, and we find that familiarity comforting.
Check any of his non-“That ’70s Show” performances. Kutcher doesn’t stray too far from his safety zone. He’s Keanu Reeves before “Speed”: likable, amusing and light.
His character in “Dude, Where’s My Car?” was little more than a big-screen version of Kelso, and the box office gods rewarded his conforming to viewer expectations with a hefty gross and a deal for a sequel. Dude! Sweet!
He’s likable and eager to please. On his May stint hosting “Saturday Night Live,” he came off as especially real, particularly when he did the monologue prancing around in his tighty-whities. Where Travolta in his heyday seemed somewhat aloof, Kutcher is an affable practical joker. A professional practical joker, now that “Punk’d,” “Candid Camera” for the MTV set, has let Kutcher loose on unaware celebrities.
Teens dig his good looks and penchant for juvenile humor. He’s one of them, but with a hotter girlfriend and keys to the parents’ liquor cabinet. Most adults think he’s harmless enough, like the dachshund next door. Sure, he’s annoying, but he doesn’t bark very loudly and any mess he makes will come out of the rug with a little elbow grease.
He knows when he’s out of his element. But Kutcher seems to be content playing the Kelso role. He knows his boundaries, and he’s not looking to push the envelope. It’s all-Kelso, all the time. “Punk’d”? Kelso with a camera. “Just Married”? Kelso ties the knot. His latest opus, the powderpuff comedy “My Boss’s Daughter,” has Kelso going toe-to-toe with capital-A actor Terence Stamp. Kelso with General Zod.
When you’re pigeonholed like Kutcher is, even flirting with edgier fare can rile the great unwashed. Exhibit A: See what hit the fan when he started to intrude into the fanboy world of celluloid superheroes. When the Internet rumors started that Kutcher was up for not one but two iconic superhero roles, comics fans took to the chat rooms faster than Spidey crawls a wall. Ashton Kutcher as Superman? Kelso as Batman? Sacrilege. Internet pundits spewed venom at the very thought of it, and almost as quickly as the notion was raised, it retreated back to the unholy mist that spawned it.
�
America is content to keep Kutcher a good-natured goof-off in a trucker hat, and that seems fine with him. So we won’t be seeing him in edgy Sundance fare anytime soon. So he’s not about to do Hamlet in the park. Fine with us. Get yourself into another dumb predicament, Ash!
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TAKE A LESSON FROM BRUCE
In time, theatergoers could be lining up to see [Kutcher] in ‘Die Hard 8.’ ‘Yippee kai yay, dude!’
His one swing at gaining gravitas, dating Demi Moore, a woman 15 years his senior, has given us a glimmer of a weightier Kutcher. Or maybe we’re all being Punk’d. Who knows? Maybe Ashton can take some notes from another guy in Demi’s life. Remember him? The smirky guy who cut his chops on a little show called “Moonlighting” before silver-screen success came knocking? Mr. Bruce Willis bided his time, building a TV following that happily followed him to the movies.
And Kutcher could probably do the same, provided he doesn’t stray too far from Kelso-land. In time, theatergoers could be lining up to see him in “Die Hard 8.” “Yippee kai yay, dude!”
America’s not quite ready for that. Not yet.
But that’s okay, because it looks like Kutcher knows a good thing when he sees it. Unlike Travolta, who dropped out as a full-time student in Kotter’s class after big-screen fame came calling, Kutcher signed last month to stay in the ’70s through its 2004-05 season.
Maybe he’s not so stupid after all.
Oscar Splits Matrix Films
[SciFi Wire 20/08/2003]
The Academy of Motion Picture Arts and Sciences has ruled that The Matrix Reloaded and the upcoming Matrix Revolutions may not be entered into Oscar competition as one contender, the Zap2it Web site reported. Both of the Matrix sequels are distributed by Warner Brothers, and now executives are trying to decide which one of the Keanu Reeves movies they will enter in the race for the Academy Awards in February 2004, the site reported.
Warner is reportedly considering withholding The Matrix: Reloaded from consideration so that Academy voters can focus on Revolutions. Revolutions, the last installment in the saga, opens Nov. 5.
Double headache for `Matrix` at the Oscars
[Sify.com Wednesday, 20 August , 2003, 15:55]
Washington: The two parts of the "Matrix"� trilogy, "Matrix Reloaded" and "Matrix Revolutions" have been banned entry as�a single contender according to Academy Award rules�for�the upcoming Academy Awards Function in February. �
According�to TeenHollywood, Warner Brothers, the company�behind the�movie, is facing a similar problem with Quentin�Tarantino's comeback movie "Kill Bill," which also has two parts. �
Ceremony�executives are now trying to decide which one of�Keanu Reeves movies should be entered for the race.
"Two�separate�releases with two separate�marketing�campaigns, even�if they were four-walled together as one movie, would�have to�be�considered�two different�films,"�says�Ric�Robertson, executive administrator for the Oscars.
It�is�believed, however, that the third and final film� in the trilogy, "Revolutions" will be selected as the lucky entry. ANI
'Matrix' Oscar Ataxia
[Zap2it Wed, Aug 20, 2003, 08:08 AM PT]
LOS ANGELES (Zap2it.com) - According the Motion Picture Academy of Arts and Sciences the "Matrix Reloaded" and "Matrix Revolutions" may not be entered into Oscar competition as one contender.
Also in two parts is Quentin Tarantino's much-anticipated Kung Fu movie "Kill Bill."
Both "Matrix" films are distributed by Warner Bros. and now executives are trying to decide which one of the Keanu Reeves movies to enter in the upcoming race for the Academy Awards in February 2004.
According to the Hollywood Reporter Warner Bros. is considering withholding "The Matrix: Reloaded" from consideration so Academy nominators and voters can focus on "The Matrix Revolutions."
Oscar's executive administrator Ric Robertson says, "Two separate releases with two separate marketing campaigns -- even if they were four-walled together as one movie -- would have to be considered two different films."
Oscar Conundrum For Matrix And Kill Bill
[Teenhollywood.com August 19, 2003]
Film bosses have been left scratching their heads after Academy Awards rules banned the entry of Matrix Reloaded and Matrix Revolutions as one contender.
Warners, the studio behind the sci-fi franchise, face an identical dilemma with Quentin Tarantino's much-anticipated comeback movie Kill Bill - which is also in two parts.
Now executives are trying to decide which one of the Keanu Reeves movies to enter in the upcoming race for the Academy Awards in February (04).
Oscar's executive administrator Ric Robertson says, "Two separate releases with two separate marketing campaigns - even if they were four-walled together as one movie - would have to be considered two different films."
It is thought that the final film in the acclaimed trilogy - Revolutions - will be selected as the chosen entry.
Top 11 Cartoon Spinoffs
[UGO.com 20/08/2003]
Series: Bill & Ted's Excellent Adventures
#6 Bill and Ted's Excellent Adventures
Span: 1990
Based On: Bill & Ted's Excellent Adventure
Yeah, it's pretty much what you'd expect. Bill S. Preston and Ted Logan continue their adventures with the telephone booth time machine, getting into all sorts of trouble while meeting more of history's most storied characters. Rufus is back, and believe it or not, they managed to get George Carlin to supply the voice. Keanu Reeves and Alex Winter also handled the voicework for their respective characters, though only for the first season. Different artists were brought in for the second batch of shows, which were widely regarded as complete crap in comparison to the originals. I never could get into the series, unfortunately. By the time I started checking it out, they seemed to be ripping off Wayne's World way more than the flicks they were actually based on. Maybe that's why Alex Winter stopped supplying Bill's voice? I've heard he's got some serious convictions. Nah, couldn't be. If that was true, he would've protested the maggot rice scene from The Lost Boys.
Rachel Weisz Cast as “Constantine” Female Lead
[FilmJerk.com 08-20-2003 by ChrisFaile]
From a number of sources, FilmJerk.com has learned that Rachel Weisz has been cast in Warner Bros.’ “Constantine,” an adaptation of the DC Comic comic book “Hellblazer.” Weisz, who was last seen in “The Shape of Things” and “Confidence” – as well as the upcoming fall films “Envy” and “the Runaway Jury” – will be playing Angela, the lead female role. Reeves and Weisz previously co-starred together in the ill-fated 1996 film "Chain Reaction."
As we initially reported in June, producers were looking to cast an actress for a role described as a “beautiful, intelligent and strong detective in her mid 20's to mid 30's, imbued with more than just instinct and seems to be in the right place at the right time where her perps are concerned. She serves as the foil to John Constantine (played by Keanu Reeves), a world-traveling man with occult powers who investigates supernatural mysteries, often walking a thin line between evil and good.
According to our earlier casting notes, Angela meets Constantine in an effort to enlist his help in tracking down her twin sister's murderer, even though initially it seems like a suicide. She is deeply religious and becomes very concerned when it seems that supernatural forces are involved in her sister's death. Through this journey, she realizes just how strong she is without having to be so tough.
Although the original casting notice made it a point to note that they were looking for Hispanic and African-American actresses for this role, they chose London-born Weisz instead.
In related news, the casting director for the film is looking to cast a younger version of the Angela role, as well as her identical sister Isabel. According to casting notices obtained this afternoon by FilmJerk.com, producers are looking to cast 8- to 10-year-old identical twins to play the sisters, looking especially for those who bear a physical resemblance to Weisz. The casting notes indicate they are non-speaking roles, but “require good actors who can react, follow direction and are not afraid to ride on a swing.”
“Constantine” is set to start filming on September 22 in Los Angeles and is scheduled to open 360 days later on September 17th, 2004.
Tuesday, August 19, 2003
Big Matrix Battle Promised
[SciFi Wire 19/08/2003]
The Matrix Revolutions star Keanu Reeves (Neo) told the Australian Herald Sun newspaper that the upcoming third movie will feature "a battle between Zion and the machines, and the relationship between Agent Smith [Hugo Weaving] and Neo is resolved," according to a report on the Dark Horizons Web site. "[Also] some questions of the journey of Neo as the One are answered, and lots of surprises."
The Matrix Revolutions will contain a 17-minute battle conducted on the scorched earth of the nuclear-ravaged real world, littered with crumbling cathedrals and leading Neo to his true destiny, the newspaper reported.
Co-star Jada Pinkett-Smith (Niobe), meanwhile, said that she's "more involved in the story. I help save the day, and you see my love story with Laurence [Fishburne (Morpheus)] resolved. [But] I don't think anybody gets married." The Matrix Revolutions opens Nov. 7.
In Papa Swoosh's words, 'Just do it'
[Portland Tribune: 19/08/2003]
ï?½Last-minute table for 16 at Bluehour? No problem especially if a member of the party happens to be megamovie star Keanu Reeves, in town for an indie movie called "Thumbsucker," and he's just finished a hard day's filming in the Mount Tabor area. ... And, of course, when he and the rest of the cast show up, the other patrons get on their cell phones and call their friends, and they call their friends, and ... Stop it, Portland! Haven't you ever seen a movie star before?
Van Sant film set for NY festival
[Gay.com UK Tuesday 19 August, 2003]
Elephant, the new film from Gus van Sant, will feature at this year's New York Film Festival.
The film, which won the Palme D'Or in Cannes, is based on the massacre at Columbine High School and is controversial for the gay-Nazi themes that run throughout it.
This is not the first time Van Sant has courted controversy with gay issues.
1991's My Own Private Idaho featured narcoleptic rent boy River Phoenix falling in love with Keanu Reeves.
The film will open October 3 at the 17-day festival and is distributed by HBO Films/Fine Line Features.
Clear The Desks!
[XtraMSN Health 24 19/08/2003]
You have your own office, a laptop designed by Nasa, a cellphone endorsed by Keanu Reeves and a formidable job description. But your desk is beginning to disappear under drifts of paper, and there's the nagging suspicion that you're a little off your game.
What is dyslexia?
[The Guardian by Gemma PhillipsTuesday August 19, 2003]
The word dyslexia comes from Greek and means "difficulty with words". It is best described as a difference in the part of the brain that deals with language, and affects the underlying skills that are needed for learning to read, write and spell. Brain imaging techniques show that dyslexic people process information differently, often having difficulty with sequences, reading and time management. As dyslexia is neurologically based, children are born with the condition. However, it is only when they begin to learn to use words and symbols that it becomes a noticeable problem. Young children may begin to talk later than their contemporaries and have difficulty pronouncing words. Older children often rely heavily on memorising rather than understanding, while adults with dyslexia tend to work slowly and try to avoid writing.
Between 4% and 5% of the British population have dyslexia, with around two million people severely affected. The condition affects males and females almost equally.
Although it can often be mistaken for a lack of motivation or emotional difficulties, many people who are dyslexic are of above average intelligence, with a number having distinctive talents. In fact, there is a hypothesis that neurological anomalies also give some dyslexic people visual, spatial and lateral thinking abilities that enable them to be great problem solvers or creative talents.
Many great thinkers had dyslexia, including Albert Einstein, Thomas Edison and Leonardo da Vinci, as did others ranging from Charles Rennie Mackintosh to Winston Churchill. Today, Richard Branson, Eddie Izzard, Keanu Reeves, Guy Ritchie and Jodie Kidd are among the celebrities who have spoken about their dyslexia. Oscar winner Whoopi Goldberg admitted that she was considered "retarded" for years, while Tom Cruise confessed, "I felt really embarrassed" when it came to dealing with his dyslexia. He now teaches his own children to read.
"It's great that figures in the public eye are coming forward and talking positively about their experiences with dyslexia," says David Anderson of the British Dyslexia Association. "It shows everyone, and especially those with dyslexia, that they too can be successful in whatever they put their minds to."
TV Watch: 'Queer Eye' just TV entertainment
[2theadvocate.com 19/08/2003]
Carson Kressley, the team's fashion consultant, is the show's obvious star, with a wit like Bette Davis and a walk like a runway model in stiletto heels. Also in the group are grooming expert Kyan Douglas -- he's a smarter-looking version of Keanu Reeves
Monday, August 18, 2003
Revolutions to herald the death of The Matrix
[ANI MONDAY, AUGUST 18, 2003 05:00:33 PM ]
SYDNEY: The third in the series of the Matrix movie trilogy, The Matrix Revolutions brings an end to the Matrix movie series, the tagline saying, "everything that has a beginning has an end."
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According to The Daily Telegraph, while the second in the series of the trilogy, Reloaded was about life; this series called Revolutions will be about death. The movie shows the hero Neo (Keanu Reeves) getting in touch again with his nemesis Agent Smith (Hugo Weaving).
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The climax of Revolutions is a 17-minute battle on scorched land of a nuclear-ravaged real world, littered with crumbling cathedrals, leading Neo to his true destiny, says editor Jenny Dillon.
�
Ardent fans of the original creations felt that the revolutionary creation of Andy and Larry Wachowski would be a tough act to follow.
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However, Reloaded, which was released in May this year, won 1100 million dollars globally, making it 13 in the list of the top grossing movies of all times in worldwide box office figures.
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Producer Joel Silver says that the reason for the release of both the movies within six months of each other was to show that the sequels were not two movies released back-to-back, but one movie cut in half and shown in two parts.
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He goes on to say that unlike the Star Wars stories and the never-ending tales of Harry Potter, there will be no fourth movie in the series of Matrix.
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"The story the Wachowskis wanted to tell ends at the end of Revolutions," he says.
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The movie will be released worldwide in November this year.
Matrix III is in the can
[From Sydney Confidential 18/08/2003]
The Matrix Revolutions, the third and final part of the movie trilogy, hero Neo (Keanu Reeves) gets in contact again with his nemesis Agent Smith (Hugo Weaving).
Due for worldwide release on November 5, The Matrix Revolutions comes with the tagline "everything that has a beginning has an end". And, says the hype, while the second of the trilogy, Reloaded, was about life, "Revolutions will be about death".
A climax of Revolutions will be a 17-minute battle conducted on the scorched earth of the nuclear-ravaged real world, littered with crumbling cathedrals and leading Neo to his true destiny, says 7 days editor Jenny Dillon.
This segment cost about two-thirds of the budget of the first film alone. The Matrix cost $100 million, and took $690 million around the world.
The second and third parts, like the first made in Sydney over 18 months from March 2001, had a budget of more than $460 million.
The original's most ardent fans always thought the revolutionary creation of Andy and Larry Wachowski would be a tough act to follow.
But already Reloaded, released in May this year, has returned $1100 million globally, putting it at number 13 in the list of the top grossing moves of all times in worldwide box office figures.
Producer Joel Silver said that the reason for the release of both movies within six months of each other was that the sequels are not two movies released back-to-back, but one movie cut in half and shown in two parts.
Unlike the Star Wars stories and the never-ending tales of Harry Potter, there will be no fourth Matrix film. "The story the Wachowskis wanted to tell ends at the end of Revolutions," said Joel Silver.
Sunday, August 17, 2003
The AMC Project: Hollywood Hunt Club��(2003)
[AMC 17/08/2003]
Documentary
AMC Original Production, Color, 60 min.
The AMC Project: Hollywood Hunt Club
Mon., Aug. 25 at 10:00 PM / EST
The AMC Project: Hollywood Hunt Club
Tue., Aug. 26 at 1:00 AM / EST
Their snapshots are beamed around the world, but the paparazzi have toiled in relative anonymity until now. Accustomed to scrutinizing the goings-on of celebrities, the paparazzi have the lens turned on them in this unique spin on the people and phenomena they cover. From a Winona shopping spree to a Britney club crawl, this special documentary tells the stories behind the candid photos that fill the tabloids. These aren't sordid tales about the stars, but the incredible lengths to which Hollywood's 24-hour corps of roving paparazzi will go in their efforts to outfox celebrities and shoot valuable exclusive pictures.
The Culture Industry Has You
How the Frankfurt School might be the key�to unlock the postmodern mysteries of The Matrix
[PopPolitics.com 08/05/2003 by Thomas Dodson]
The Slovenian philosopher Slavoj Zizek, whose latest book, Welcome to the Desert of the Real (Verso, 2002), references The Matrix in its title, compares the first installment of the Wachowski brothers’ three-part sci-fi spectacle to one of those spooky paintings of God that always seems to be staring back at you, no matter where you stand in the room. In a similar play of perspective, The Matrix and its sequel, The Matrix: Reloaded, also seem capable of reflecting almost any critical gaze back at the viewer. Just ask any philosophically minded group of people who haven’t been living in Plato’s cave for the last four years what they see in the films, and they will offer you readings that reference everything from postmodern simulation to Christian Gnosticism, Zen Buddhism, and French psychoanalysis.
The films’ directors aren’t about to give anything away, and even the movie’s stars seem in the dark about what the duo had in mind when they first cooked up their post-apocalyptic epic. Discussing the films with Entertainment Weekly in May, Hugo Weaving, who plays the rogue program, Agent Smith, relates that the cast was never able to get the brothers to answer the question, “Which German philosophers do we need to read in order to comprehend this?” Although often overlooked in discussions of the film’s references, the Marxist-inspired social critique of the Frankfurt School wouldn’t be a bad place to start.
An association of mostly Jewish intellectuals who devoted their efforts to diagnosing the contradictions of modern capitalism, the founders of the Frankfurt School for Social Research fled Germany with the rise of the Nazi party in the 1930s. They spent most of this and the next decade in New York and Los Angeles, where they reflected not only on the horrors of Nazi Germany, but also on the horrors of capitalist America. Seen through the lens of these German exiles set adrift in American culture, the Wachowski brothers’ nightmarish vision of pod-bound human batteries dominated by technologies of mass deception begins to look like a cautionary tale about the power of the culture industry, the misuse of reason, and the excesses of capitalism.�
The Frankfurt School is best known for its characterization of the diverse forms of popular culture (from Hollywood cinema to jazz) as a single “culture industry” that ensures the continued obedience of “the masses” to market interests. In The Dialectic of Enlightenment (originally published in 1947� under the title Philosophiche Fragmente), Theodore Adorno and Max Horkheimer describe the culture industry as an “iron system” that occupies consumers’ leisure time with amusements designed to enable them to bear the exhaustion and boredom of their increasingly “rationalized” and mechanized work. The consumer is never left alone long enough to consider resisting the economic and social system. The standardized, repetitious forms of entertainment prescribed by the culture industry take up any free time she might have to consider the reality of her exploitation. The authors suggest that amusement, in this form at least, serves to protect the existing social order: “To be pleased means to say Yes.”
Today, Adorno and Horkheimer might sound like just another pair of culture snobs, cranky curmudgeons, or conspiracy theorists. Their project, however, is much deeper (and stranger) than that characterization allows. In a world in which human beings are progressively subjected to the rationalized control of their work and leisure, the Frankfurt School sought to reclaim for reason the capacity to liberate human beings from domination.
During the era of the Enlightenment, reason held the potential to enlighten and empower human beings; it enabled them to question mythico-religious dogma and to critique political legitimacy-- to free their minds and to resist the authority of popes and potentates. Yet, in modern industrialized societies, the drive to make everything rational and calculable severs reason from the project of human emancipation and reduces it to the status of a tool. Detached from critique, reasoning becomes little more than adjusting formulas and plugging variables into the equations. The result is that thinking becomes so mechanical that it is best done by managers and machines; reason devolves into a technology of control wielded by the wealthy and powerful.
The culture industry claims to serve the consumers' needs for entertainment, but conceals the way that it standardizes these needs, manipulating them to conform to what it produces
In the spectacular stupidity of the latest Star Wars movies or the boobilicious banality of the Anna Nicole Smith Show, Adorno and Horkheimer might ask us to see the final failure of the Enlightenment project (or, rather, its totalitarian success). The technological management of popular culture centralizes power in the hands of those few corporations that control its production and distribution. The culture industry claims to serve the consumers' needs for entertainment, but conceals the way that it standardizes these needs, manipulating them to conform to what it produces -- the summer blockbuster, the situation comedy, "reality" TV. Variations in consumer income and taste are rationally organized and modifications to the standard form are carefully calculated to ensure that each consumer "choose the category of mass product turned out for his type." Although it provides pleasures for consumers, the culture industry ultimately serves to distract people from the excesses and inequalities of the market. For the Frankfurt School, the culture industry is just as much a system of mass deception and control as the virtual world of the matrix.
Intentionally or not, The Matrix realizes the Frankfurt School’s pessimistic view of market capitalism and the culture industry. The matrix itself is the apogee of rationality as a system of repression and social control; in order to deny the reality that their bodily energy is being siphoned away while they float helplessly in amniotic sacs, human beings agree to accept the pleasures offered by a manufactured fantasy world. This acceptance is not simply the result of fascist coercion, however. As a program called The Architect (who looks equal parts Freud and Santa Claus) explains at the conclusion of Reloaded, the vast majority of humanity agrees to “accept the program” when given a choice. Adorno and Horkheimer would, no doubt, see a parallel between the fetal human jacked into the matrix and the Starbucks barristo who immerses himself in a film (perhaps The Matrix: Reloaded) in order to anaesthetize himself against the routinization of his work by central managers and the hyper-administration of his time by the company’s Star Labor software.
The improbability of the film’s comic book science also draws conspicuous attention to the themes of exploitation and labor. On a scorched earth, the mechanical overlords decide to pass on geothermal energy and, despite their mastery of nuclear fusion, somehow find it necessary to construct an elaborate dream world in order to harvest human bio-power. Although this theme is played down in The Matrix: Reloaded, it returns with a vengeance in a series of spots for one of the film’s product tie-ins. In a commercial for PowerAde, (the sports-goo, dyed matrix green for the occasion) a virtual G-man ruminates on the nature of his human audience: “It’s like you’re all a bunch of walking, talking, living, breathing, disease-ridden batteries.” To the machines and their agents in the matrix, human beings are nothing more than so many kilowatt-hours.
From the point of view of the Frankfurt School, modern capitalism does not differ significantly from this machine logic. The reduction of reasoning to mechanical calculation that Adorno and Horkheimer identified is no clearer than in the inhuman logic of capitalist exchange. Through the logic of the market, the particular products of human labor become exchangeable commodities, made universally equivalent through money. Even the unique human capacity to produce is sold as a commodity, as an hour of work becomes equivalent to a double-shot grande latte. In the cold calculus of cost and loss, humans only figure in as abstract energy, measured in units of time and money.
As the process accelerates, the hour of work itself becomes subjected to rational control. At its end, work becomes so managed and administered, and workers so de-skilled, that laborers only mechanically repeat a sequence of operations. The culture industry serves the necessary function of recharging workers’ mental and spiritual batteries so that they don’t jam their shoes into the machinery or otherwise try to overthrow the system that dehumanizes and controls them.
There is no denying that the Frankfurt School theorists were a gloomy bunch, so much so that the blind spots in their approach are almost impossible to ignore. Most of us recognize that there are meaningful pleasures to be had through participation in popular culture and that, sometimes at least, it can have a critical edge. We also know that consumers aren’t always hapless dupes; they have some capacity to resist manipulation and to fashion new and unexpected meanings from standardized cultural products.
Still, we can hardly fault the school for its pessimism. Fleeing the rationalized mass slaughter and political control of fascism for the Taylorist production and mass consumption of modern capitalism, Adorno and others despaired at the absence of anything like a global, revolutionary resistance to what they saw as the insomniac rationality of capitalist exploitation. Jacking out of the culture industry, members of the school recognized that the prospect of human emancipation through Enlightenment rationality might have been a mirage after all. Like Neo at the close of the latest episode in the matrix saga, they faced the possibility that “the prophecy was a lie. It was just another system of control.”
New Fall Movie Preview Images!! Source: Entertainment Weekly
[Coming Soon Saturday, August 16, 2003]
The Fall movie season is upon us and, as they do every season, Entertainment Weekly has a great preview of all the films in the latest issue. Although there's too many films to cover here (see the magazine and our Release Dates section), we thought we'd give you a look at some of the cool new pictures. Are you ready?
Included was a new shot from The Matrix Revolutions and Jack Nicholson and Diane Keaton are having fun on the beach in Something's Gotta Give
Silver, Reeves & Pinkett Smith Talk Matrix Revolutions! Source: The Herald Sun, Entertainment Weekly
[Coming Soon Sunday, August 17, 2003]
The Herald Sun talked to producer Joel Silver about the highly-anticipated The Matrix Revolutions who says it's "an all-out war between the humans and the machines, and will blow minds".
One of the key scenes, Silver says, is "a 14-minute, $40 million battle scene that is the most complicated sequence ever put on film." The latest Entertainment Weekly has more on this sequence. The magazine says it's a 14-minute, low-altitude helicopter chase. Whether or not that is accurate, we do not know for sure yet.
What we do know is that "there's a battle between Zion and the machines," Keanu Reeves tells the mag. "And the relationship between Agent Smith and Neo is resolved." Also, "some questions of the journey of Neo as The One are answered. And lost of surprises."
Jada Pinkett Smith returns as Niobe in the third film. "I'm more involved in the story," she says, "I help save the day, and you see my love story with Laurence resolved." She adds, "I don't think anybody gets married."
There's a new picture from the film at the source link above as well. If you missed the new picture which was included in the EW article, that is still available here. Thanks to 'Keanuette' for contributing to this article.
It takes a villain
[Boston.com 18/08/2003]
From mom and pop to Merovingian and pirate, these screen miscreants are dangerous -- with a difference
THE MEROVINGIAN, "The Matrix Reloaded"
After all the hype, it was impossible for the Wachowski brothers to make "The Matrix" feel fully reloaded. Terrific as Hugo Weaving is as the lethally contemptuous Agent Smith, replicating him a hundred times over in the sequel was ultimately a case of more being less. And those twin albino ecto-enforcers? Looked cooler on the poster. So praise the Architect that we have the Merovingian, a French dandy played by Lambert Wilson, to cry "Viva villainy!" Or that's what we imagine this humanoid computer program might bust out with if he weren't so exquisitely bored -- by the Matrix, by Keanu Reeves's Neo . . . sheesh, this baddie even treats voluptuous moll Monica Bellucci like chopped-liver pate. The Merovingian, we're told, is holding someone called the Keymaker hostage, a real bummer in Neo's quest to unplug the Matrix. The rogue program's unstated but hardly secondary function: preserving this franchise's sense of the revelatory.
TOM RUSSO
Matrix splashes out on final take
[Herald Sun 18/08/2003]
THERE are two months to wait, but here's a small taste for Matrix fans.
As this exclusive image from the third and final Matrix movie, Matrix Revolutions, shows, the action is as fast and furious as ever, with Neo (Keanu Reeves), again fighting an army of evil Agent Smiths (Hugo Weaving). The film, which was made in Sydney with the second in the trilogy, Matrix Reloaded, opens on November 7.
The first two in the trilogy, written and directed by the mysterious Wachowski brothers, Larry and Andy, broke Australian box office records.
The first, made $23.1 million and the second $33.4 million at the Australian box office.
According to producer Joel Silver, Matrix Revolutions is "an all-out war between the humans and the machines, and will blow minds".
"We have a 14-minute, $40 million battle scene that is the most complicated sequence ever put on film," he said.
SONAMBULO, CONSTANTINE, AMERICAN SPLENDOR, MARVEL V SONY, HULK: COMICS2FILM WRAP FOR AUGUST 5, 2003
[CBR.cc 05/08/2003]
CONSTANTINE
A Variety article detailing a recent deal concerning filmmaker Frank Cappello sheds some light on the development of the "Constantine" movie.
The article states that Warner Bros. Pictures' "Constantine" is due to begin production in September. However, at this point Keanu Reeves, who will play John Constantine, is the only cast member attached to that film.
The focus of the article is that Cappello is now on tap to write and direct an original film based on his "Voices" pitch for New Regency Productions.
Casey Affleck: A director runs through us
[Independent 15/08/2003]
The relationship between a director and actor is a mysterious one, but rarely so enigmatic as on Gus van Sant's new movie about friendship, Gerry. The film's star, Casey Affleck, explains why, for him, Van Sant is like a river
The actors kind of float down the river. You can swim around as long as you stay within the boundaries of the river bank - but even then, as I said, he is often willing to redirect the whole river. It's not a brilliant metaphor, I admit, but Gus is a tough nut to crack. If you look at his movies, they almost always have one of the best performances, if not the best, ever given by the actors concerned: Matt Dillon (Drugstore Cowboy), Keanu Reeves and River Phoenix (My Own Private Idaho),
People: Chitchat about the stars
[Denver Post 16/08/2003]
Keanu Reeves has gone from "The Matrix" to the mosh pit with his cameo in Anthrax's video for its new single "Safe Home." Apparently Reeves, who plays bass in his vanity rock band Dogstar, is a longtime fan of the thrash metal band with the unfortunate name, the New York Post reports. On its new album "We've Come for You All," Anthrax also enlisted The Who's Roger Daltrey, as well as fellow metalheads like Pantera's "Dimebag" Darrell.
Saturday, August 16, 2003
'Matrix Reloaded' eye-popping but feels like deja vu
[Bob Curtright The Wichita Eagle Published: Wednesday, May 14, 2003 ]
After a four-year break to catch our breath, "The Matrix Reloaded" plunges us back into the Wachowski Brothers' dark and dangerous future world with eye-popping, heart-pounding razzle-dazzle that will likely attract Oscar attention.
But for all the spectacular -- and visionary -- special effects, which mostly involve playing havoc with our sense of time by mixing slow and fast motion in a mind-bending blur, this sequel to the 1999 blockbuster offers very little new to surprise us.
It's also the middle of a trilogy (the third installment comes out Nov. 7) so it ends abruptly after 2 hours and 18 minutes with a terse "To Be Concluded."
That's probably OK for the target audience of teen guys and martial arts fans. This movie is critic-proof for them.
But for those who want this sequel to push beyond the intriguing original, to go to the next level, "Reloaded" delivers more smoke and noise than a real payload.
To be sure, everything visual and action-oriented is bigger, longer and more elaborate.
Instead of our hero Neo (Keanu Reeves) squaring off against his nemesis, Agent Smith (Hugo Weaving), he tackles 100 clones of that bad guy.
More, in this case, becomes both confusing and amusing as the fighters bounce off walls and defy gravity in mid-air since all the clones are identical. Will Neo be able to find and stop the original bad guy?
There's also a 14-minute freeway chase involving an 18-wheeler, a car with its top sheared off and a motorcycle running against traffic that keeps the adrenaline pumping. But we've essentially seen it all before.
While some of the early dialogue is hokey and stilted a la the worst of "Star Trek," the Wachowskis try to deepen the story by stressing the religious parallels of good versus evil.
The tale centers around a computer hacker named Neo who comes to realize that he's The One to lead his fellow humans in rebellion against evil machines that would take over the world.
The humans are kept docile, like cattle, in an elaborate fantasy -- a Matrix -- created by the machines, who feed off human energy. People seem secure with all their mundane needs met, but they are not free.
Neo unplugs and seeks to destroy the Machine Army to free his fellow humans.
In the sequel, the Wachowskis deepen the spiritual imagery as Neo, the reluctant messiah, finally begins to embrace his Oneness powers. He also wears a long black cassock that makes him look like a warrior priest.
A new villain called The Merovingian (Lambert Wilson), a Matrix power broker who indulges in every human excess and vice except emotion, is so obviously a Satan figure.
He's wickedly charming, taunting and seductive -- hilariously with a snotty French accent (now even funnier post-Iraq).
In case we don't get the religious underpinnings, the Wachowskis also introduce a new character dressed all in white with a white beard. Called The Architect (Helmut Bakatis), he "invented" the Matrix.
The most provocative idea is that Neo (read: Jesus) isn't the first would-be savior. Moreover, he may not be the last.
Back for a second go-round is Laurence Fishburne as a deadpan Morpheus, who awakened Neo to his calling in the original. Fishburne never cracks a smile but he does manage to slip in a few sly smirks at the expense of authority figures.
Also back is Carrie-Anne Moss as Trinity, a fierce warrior who stands shoulder-to-shoulder -- and heart-to-heart -- with Neo against the machines. Trinity has some of the most breath-taking stunts as she rides her motorcycle through a plate-glass skyscraper window and freefalls while continuing to battle her pursuers.
New but underused is Jada Pinkett-Smith as another female freedom fighter, this time a pilot.
Also new but used just right is Monica Belluci as The Merovingian's beautiful, double-crossing wife, Persephone, who is determined to seduce Neo in front of his lover, Trinity.
The sparks in that triangle are hot, heavy and occasionally funny. Jealousy is such an ugly emotion.
"The Matrix Reloaded" will probably knock your socks off viscerally. But it will leave you disappointed that it feels so deja vu.
DAY ONE: IMAX SEMINAR
[BoxOffice.com 16/08/2003 By Francesca Dinglasan ]
Imax Corp. Tells Cinema Expo Delegates That Bigger Is Better
Filed From the RAI Convention Centre, Amsterdam, The Netherlands: Monday, June 23, 2003
T outing the benefits of Digitally Mastered Release (DMR) technology, which allows films to be converted from standard 35mm to the giant-screen's 15/70mm format, Imax Corp. senior VP of theatre development and film distribution Larry O'Reilly expressed enthusiasm that the marriage of the multiplex and the large-format screen marked "a new day at IMAX."
With the large-format success of films incorporating DMR technology, including "Apollo 13," "Star Wars--Episode II: Attack of the Clones" and the recent "The Matrix Reloaded," O'Reilly has reason to be excited. Multiplex operators, long resistant to building IMAX's trademark theatres on their sites due to the lack of available product, have slowly begun to change their minds and sign up for the specialty theatre because, as noted by O'Reilly, the launch of DMR "dramatically changes the number of films available."
On hand at the afternoon seminar dubbed "Hollywood Event Films at the IMAX Theatre" were a few European theatre operators willing to share their personal experiences related to operating an IMAX theatre at their respective sites.
Mooky Gridinger, president and CEO of Israel-based I.T. International Theatres reiterated the view that the "question of product" had been the original issue for his 350-screen circuit, whose state-of-the-art cineplex in Prague incorporated an IMAX auditorium last year. "Event movies are the best news for IMAX operators," said Gridinger. Though he notes that programming at his Prague site has become somewhat more complicated, Gridinger still feels that the format is simply the "best ways to show these event movies."
M illard Ochs, president of international theatrical chain Warner Bros. Cinemas, conveyed that he had not been an IMAX customer for years, but was won over when he watched "The Matrix Reloaded" on the giant screen.
"There were things [in the large-format version of the movie] that you did not see in 35mm," he said.
Explaining that his wife was more than willing to pay $4.50 more to see the Keanu Reeves starrer in a large-format rather than conventional theatre, Ochs believes that multi- and megaplex operators will be able to make their less profitable, existing auditoriums relevant again by converting the space into an IMAX theatre.
"We as exhibitors have had problems with excessive theatres," he said. "We have to find a way to sell it again and reattract an audience.
"With IMAX Theatres, coupled with content," continued Ochs, "we can all be winners in the future."
Thumbsucker star in Beaverton
[Fox12.com 15/08/2003]
The star was out Friday in the suburbs. Some lucky fans got autographs.
Friday, August 15, 2003
Matrix Revolutions Theatrical Trailer Coming When?
[Coming Soon 15/08/2003]
[Source: Coming Attractions at Cinescape Friday, August 15, 2003]
Coming Attractions at Cinescape is hearing that Warner Bros. is releasing the new trailer for The Matrix Revolutions in theaters on September 12, most likely with Ridley Scott's Matchstick Men. The trailer isn't expected to be all new though, but more of a re-editing of previous seen material with a couple of new shots as well.
If you haven't downloaded our exclusive look at the UK teaser trailer, then be sure to head here!
Keanu Gives It Up!
[ET Online August 15, 2003]
Taking a break from his 'Matrix' duties, KEANU REEVES is teaming up with screen legends JACK NICHOLSON and DIANE KEATON for the romantic comedy 'Something's Gotta Give,' coming to theaters this
December. Tonight on ET, we have your exclusive first look at the hilarious new trailer!
In the new comedy, Nicholson plays Harry Sanborn, an aging playboy with a libido much younger than his years. During a romantic weekend with his latest conquest, Marin (AMANDA PEET of 'The Whole Nine Yards'), at her mother's Hamptons beach house, Harry has chest pains. Marin's divorced mother, Erica (Keaton), reluctantly cares for Harry, and in the process he develops romantic feelings for the more age-appropriate woman.
But while Harry struggles to change his old habits, his charming, 30-something doctor (Reeves) steps in and begins to pursue Erica! Now Harry, who has always had the world on a string, finds his life unraveling.
Also starring FRANCES McDORMAND and JON FAVREAU and directed by NANCY MEYERS ('What Women Want'), 'Something's Gotta Give' gives in to audiences everywhere December 12.
From screening to singing [snippet]
[Kansas.com 15/08/2003]
Unlike such movie star musicians as Kevin Bacon, Bruce Willis and Keanu Reeves, Thornton has a solid musical resume. The Hot Springs, Ark., native was singing and drumming for a garage band called The McCoveys by age 9, and played throughout his youth in small-town clubs and as an opening act for such bands as Humble Pie and Black Oak Arkansas.
Grunt work
[Sun Times.com August 15, 2003]
BY MIRIAM DI NUNZIO WEEKENDPLUS EDITOR
It's fair to say that 30 Odd Foot of Grunts has endured perhaps more critical scrutiny than most other celebrity-driven garage bands that have tested the waters of rock 'n' roll--Keanu Reeves fronts Dogstar, Dennis Quaid heads up the Sharks, Kevin Bacon and his brother Michael traverse the club circuit as the Bacon Brothers, Jason Schwartzman drums for Phantom Planet. Music critics don't often think kindly of these rock dabblers, and Russell Crowe has fared even worse in their eyes. He couldn't care less.
Thursday, August 14, 2003
Better Living Through Celluloid
[Hotdog Magazine [UK] September 2003]
Life in a mess? Stressed out? Want to get ahead? Then forget self-help books and gurus - all the advice you need can be found in the movies.
LIFE
"Be Excellent to each other"
"All we are is dust in the wind Dude..."
Attack of the Clones
[Hotdog Magazine [UK] September 2003]
[Chris] Klein's obviously cribbed this move [the blank look] from Himbo icon and bass guitarist if ever there was one, Keanu Reeves. If the cast of The Matrix were a band, Keanu would still be the bass player - though, oddly enough, so would Carrie-Anne Moss. Laurence Fishburne would be the drummer, obviously.
Starstruck: Joe Somebody
[PenningtonPost.com 14/08/2003]
This column is part of the series "Starstruck," a compilation of memoirs from the author's vacation in Los Angeles, CA.
For the most part I've always tried to stay well-grounded when it comes to Hollywood movie stars and celebrities. Now I can't say that I never had a poster of Mark Paul Gosselaar (Zack Morris from "Saved by the Bell") in my locker in middle school, but in all honestly, any photo of a good looking blonde guy would have suited me just fine.
Hollywood stars are just people -we all know this. It just so happens that some of the most beautiful people in the world enter this business, so some of us can't help but be in awe of them. Would I be thrilled to meet Brad Pitt? Yes. But would I still go gaga if I ran into Robert DeNiro? Well . . .
The thing is, Hollywood stars are public people. We all see them in movies, television interviews, and magazine articles. After reading a certain number of profile stories on their lives and seeing a certain number of movies that they've been type-cast in, somehow we start to believe we actually know them.
I think it's a safe bet to say that if any one of us saw Mel Gibson and actually had the chance to have a conversation with him, we wouldn't be able to help quoting lines from "Braveheart" and saying the most absurd things like, "Do you remember when you ran over that hill with your army and that crazy blue paint on your face? Man, that was incredible."
All of this would probably be followed by a look from the actor that says, "Are you nutts?" and a nervous laugh would come from our own mouth as we pushed a piece of paper and pen towards his hand for an autograph.
Many people can't understand why celebrities want to be left alone when they're not working. Personally, I completely understand. I mean, I know how I would feel if I was eating dinner at T.J.'s Trattoria and someone on the borough council came up to me and said, "Candace! I need to speak to you immediately about an issue that came up last night! It must run in the paper tomorrow!"
Now I can't honestly say I'd mind if they were coming up to me to ask for my autograph, but then again that's not something that happens to me too often (not until I publish my book, at least). However if I was mobbed with people asking for my John Hancock every time I left my house, yeah, I'd get annoyed with the public too.
The funny thing is, some of the people that should be acknowledged most are the people that are treated like Ordinary Joe. Sure, Zora Andrich gets a key to Lambertville just because she was on a reality TV show, but what do local firefighters get when they put out a fire and save someone's life? Maybe a pat on the back or if they're lucky, a plaque or metal at an awards ceremony, but I can guarantee that they still won't be mobbed for autographs walking down even the busiest street in New York City.
I think a lot of the fuss over celebrities is the general recognition that accompanies the fame. If you see your friend Suzie at the mall, you could go up to everyone you know and say, "Guess what? I saw Suzie!" but if they didn't know her, they wouldn't care.
But I think it can be presumed that if you ran into Keanu Reeves smoking a cigarette outside a studio where he was filming his new movie, "Constantine," you could almost guarantee that everyone you called up or ran into and told, "I saw Keanu!" would know who you meant . . . which is precisely why I did that exact thing when I got back from California. :)
Irvine Welsh: You Ask The Questions
[Independent.co.uk 14/08/2003]
In your time in Hollywood, what is the most surreal experience you've had?
Robin Quinn, Milton Keynes
Last time I was out there, I inadvertently stole Keanu Reeves's chair and drink in the Château Marmont Hotel when he was in the lavvy. He was very decent about it, though - a true gentleman-like dude.
Wednesday, August 13, 2003
BOP Daily News
[BoxOfficeProphets August 11, 2003]
Like a starving pit-bull given a T-bone, once Hollywood gets hold of an idea, it clamps on for dear life. Tinsel town’s latest chew-toy is comic book-to-screen adaptations, and the next one up for treatment is a supernatural series called Wake the Dead, which is a retelling of the familiar tale of Dr. Frankenstein and his creation in the style of Darkman. This will be the second property by the comic's creator, Steve Niles, to be optioned as a film, the other being the Sam Raimi-produced 30 Days of Night. As always, Nic Cage, Keeanu Reeves and Freddie Prinze Jr. have expressed interest in playing the lead role.
Personality Parade
[Parade Magazine (US) - August 10, 2003]
Q I have a crush on Matrix Reloaded star Keanu Reeves. Is he seriously involved with anyone? - Tanya Dragan, Chicago, Ill.
A Reeves, 38, has dated many women, but the most important lady in his life is his sister Kim, 37. The two grew close during a turbulent childhood when their Hawaiian-Chinese father (later jailed for drug possession) left their mother. Kim, who has battling leukemia for 10 years, lives on the Italian isle of Capri in a home provided by her adoring brother.
Teen Scream
[New! Magazine [UK]: 18/08/2003 - snippet]
Cheer up Keanu, you've won!
This is the award ceremony that does exactly what it says on the tin - it honours top actors, actresss and sports stars as chosen by the teens of the world. After months of online voting, the winners were named in a lavish bash at the Universal Amphitheatre in LA.
Choice Movie Actor award-winner Keanu Reeves looked like he'd seen a razor in the last few days (although he still didn't manage to smile...).
Does Keanu ever smile?
[Now Magazine [UK] 20/08/2003]
Every time the actor goes to an awards ceremony or premiere he has a face like a slapped backside. If he ever wants to be happy, all he has to do is remember his pay packet - which reportedly ran into tens of millions for The Matrix Reloaded.
A Mad look at Reloaded
[Matrixfans 13/08/2003]
This is a pretty funny look at The Matrix Reloaded from an issue of Mad Magazine. It was pointed out to us by "Trinity" (formerly Anonymouse in the forums). I hope that you all enjoy it.
A true story from a moron co-worker
[August 10, 2003]
Sighting: Mt. Tabor, SE Portland, OR 8/10/03 filiming interview. I sent this to my coworker titled: "A true story from a moron co-worker"
I was biking up Mt. Tabor on Sunday and happened upon a small group of people (about 15 or so) who were watching this tall, long haired dude getting interviewed. Curiosity being what it is, I turned my head and lo' and behold it looked like... Keanu Reeves of Bill and Ted's Excellent Adventure and The Matrix fame. While rolling to a stop I asked a bystander who that was and she confirmed it indeed was the World Famous Celebrity, Mr. Keanu Reeves. Here's where the fun part starts...
I forgot that I was clipped in to my bike. For those familiar, you can guess what happens next. For those who are not familiar, many bikes these days have these clip-in pedals (and accompanying "clip" shoes") that enable a bicyclist to pedal faster and some say in more control. However, being that I was taking my new pedals out for a test run, I forgot that I was clipped in to both pedals when I was slowing down. Hence, if you don't clip out, you become one with the bike and in my case, I stopped, went "oh $hi+" and dumped myself and the bike in a loud crash 15 feet from where the interview was taking place....
All heads turned. The interview stopped. Mr. Reeves, said with a concerned face, "Hey man, you all right?" and I gotta "Hey buddy, everything ok?" from the interviewer. I also got a, "We have first aid kit in the minivan" from a Mom who was corralling a group of giggling teenagers... nice.
Well, I dusted my self off (very red faced, I might add) and waved off all help (no blood and bike ok). Made sure I was clipped out and then rolled it out to the periphery of the crowd - the proverbial walk of shame. Cue the circus music it's Slapstick the Bicycling Clown here for your amusement...ugh.
Anyway, instead of taking off (like a sane person would do), I put aside the bruised ego and actually waited in line talk to the dude - I don't exactly carry pen and paper around hoping for autographs while I'm out pedaling around. I shook his hand, we shared a laugh over the incident and I came away thinking he was pretty cool guy. Turns out he is in town acting in a small, independent movie called "Thumbsucker" that his friend was directing. Apparently, he is helping the guy out because it's his first directing gig and KR wanted to give his career a boost if he could. Pretty cool if you asked me...
Well, waddya think of my personal brush with fame?
A classic on so many levels of my own idiocy but nonetheless a fine drinking story!
--Chris W. [Source Keanuweb]
"The Gospel Reloaded" Provokes Thought, Promotes Dialogue
[Crosswalk.com 13/08/2003 Rachel Williams Contributing Writer]
For some, the year 1999 redefined what we expected from a $7.00 ticket to the movies with the release of "The Matrix."� Featuring starring roles held by well-known actors Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Joe Pantoliano, and Hugo Weaving, the film’s groundbreaking special effects and elaborate, thought-provoking storyline made the movie a massive best-seller.� Everyone from sci-fi buffs to college students, and even average, everyday yuppies discussed and debated as they tried to determine what the film’s real message was.
This year, "The Matrix" story has continued with two additional installments, "The Matrix Reloaded," released last month, and a final episode, "Revolutions," to hit theaters in November.� Much of the buzz surrounding the films has centered on their spiritual, theological and philosophical undertones, which are layered to an intricate depth and run the gamut of modern and post-modern influences.� Among the Christian community, fans and foes of the movie have argued long and hard over whether the spiritual elements in the "Matrix" plotline merit applause or disdain.��
Corralling the passionate responses that "The Matrix" movies almost always spark, and with an obvious appreciation for the process behind making a trilogy like the "Matrix" are authors Chris Seay ("The Gospel According to Tony Soprano") and Greg Garrett ("Free Bird").� In "The Gospel Reloaded," Seay and Garrett examine the many factors that created this multi-faceted and supposed jewel of a movie series, and provide a deeper look at what really is unarguably spiritual about the films.� With eyes wide open to the questions and problems the films raise, the authors invite readers to draw inspiration from the truths that lie in a pop culture icon.
“When we wrote the book, we were recognizing a couple of things,” says Garrett, a Pulitzer Prize-nominated writer and English professor at Baylor University.� “One was that many of the stories in the 'Matrix' have a very strong biblical core.� We tried to make that clear whenever we could in the book.� But we also wanted to write a book that would appeal to the mainstream viewers who were interested or intrigued by the spiritual ideas and wanted to explore them further.”
What Is Spiritual
With their sights set on sparking dialogue that can lead to deeper spiritual understanding, Garrett and Seay cover a great deal of ground from both "The Matrix" and "The Matrix Reloaded."� Though they provide insight into a wide range of the influences found in the "Matrix, the authors focus primarily on the spiritual and theological concepts in the films in both its characters and plotline.�
“The story of Neo seeking to rescue a world in bondage represents the Wachowskis’ attempt to bring healing to a confused world by re-injecting a common narrative.� The biblical narrative and its fall from prominence have left a vacuum in the culture — a space not easily filled,” the authors argue in chapter eight(“Reinventing the Myth for Gen X and Y”).
“Before the modern era, which is to say, mostly before the Renaissance ? before people started to try and answer questions with science and logic exclusively ? we recognized that there were two ways to know things, one of which was empirical, and one of which was mythic,” explains Garrett.� “So we’ve always relied on stories to tell us perhaps the most important things about where we come from and what we’re doing here.� Stories, whether they’re in movies or whether they’re in Scripture, give us a model for how we’re supposed to live, and they show someone else’s experience.� So a good story can inspire us, and it can teach us, and it can give us a sense of our higher purpose.”
Examining the various stories in the "Matrix" can provide a smorgasbord of food for thought.� Among the more obvious spiritual parallels are the main character, Neo’s, similarity to a Savior-figure.� His love interest and sidekick, Trinity, provides him with life and inspiration as she rounds out the trio of divine leading characters with Morpheus, a father and leader to the human race as it exists at the time of the movie.� Calling to mind the first "Matrix" film’s focus on Neo’s lessons in overcoming his erroneous view of reality and finding the strength to believe in a new worldview, as demonstrated physically by his learning to jump fearlessly through the Matrix program, Seay and Garrett present "The Matrix” as a film about finding faith.
“'The Matrix' is a film about overcoming the fear of falling and taking a leap of faith, ascending instead of dropping….� We follow — and learn about — the ascent of a spirit through belief and the conquering of disbelief,” asserts chapter seven.� And in chapter eleven, “Our own introduction to a life of faith, like that of Neo, revolves around seeing ourselves in a new way:� redeemed, transformed. Once we grasp our new identity, we become ready to walk the path of faith.”� The spiritual journey continues, the authors say, with the second film.� “Reloaded' brings another message of faith, a message not of understanding, but of doing:� Follow the path.”
“I think the most positive theme actually comes out of the second film,” Garrett shares.� “[As for] the theme from the first film – to have faith, ‘to make a decision,’ we would say in Christian terms – we understand from our own daily lives that accepting Christ is part of the Christian life, but it’s not the culmination of it.� 'The Matrix Reloaded' was a powerful reminder to me that in a sense, we’re called to get up and walk the path every day, even when the promise is unclear to us, even when we’re met with setbacks along the way.� For me, I think the strongest message that I carried away, thinking of it as a Christian, was that you have to get up and reaffirm your walk every morning, and that was a pretty wonderful thing to take out of a $7.00 experience at the movies!”
What Is Troubling
Yet the authors’ examination of the movies was not without obstacles.� “I’m pretty confident Jesus would not walk into a building with a machine gun!” Garrett exclaims. “The thing that was most troubling for me, and that we had to wrestle with in the writing of the book, is what to do with the violence that Keanu Reeves [as Neo] employs.� We know that that’s not the primary message of Jesus, but at the same time, we do have those sort of perplexing things in the New Testament where He withers the fig tree or in the same chapter, where He whips the people out of the Temple.� That’s something that I’m [still] trying to resolve for myself, and I think that’s something that’s been very troubling for people in terms of thinking of Keanu Reeve’s character as Jesus.”
In addition, Seay and Garrett present the rather controversial idea of the female face of God as represented by Carrie-Anne Moss as Trinity in the "Matrix" films.� Chapter twelve, which is devoted to her character, says, “In symbolic terms, perhaps we could think of [Trinity and Neo’s] physical love as a spiritual or mystical bond, or as a combination of male and female aspects of God that together represent the totality of experience.� But frankly, we can also think of it strictly in generic terms:� this is a Hollywood movie, after all, which means we need a love story.”
It is this ability to step back from the rich allegories which can be found, or at least derived, from the "Matrix” films and acknowledge their basic function as artifacts of popular culture apart from philosophical speculation that keeps the pace in "The Gospel Reloaded."� “And really, if Keanu Reeves can aspire to spiritual greatness, why can’t anyone?” they quip candidly in the chapter on Neo’s similarity to Christ.
Ultimately, whether the book inspires greater spiritual understanding, fans the flames of moviegoers’ appreciation, or offends those who are turned off by its “R” rating, Seay and Garrett hope that "The Gospel Reloaded" will help people of faith and those still seeking to ask questions that will draw them closer to the Truth.� They caution that seeking to interpret the film as a Gospel allegory will be a disappointing effort.
“Allegory is too strong [a word], and anybody who tries to think of this movie, and really most artifacts of popular culture, as ‘Christian’ is probably pushing a little too hard,” Garrett says.� “The thing you can do is say, yes, this has elements of the Messianic story in it, so we can look at it and we can find symbols that help us understand Jesus better and understand our faith better.� But I think if people think of 'The Matrix,' or as I said, just about any artifact of popular culture, as something that has a close correspondence with Christianity, they’re probably going to be disappointed and maybe even offended.�
“What Chris and I try to do is point out what we can learn from the Christ-like elements that we see in the character of Neo, and at the same time recognize that Neo can be Christ, but he also stands for other things, and he ultimately also stands for the lead character in a popular action movie!
What Makes the Connection
“In a sense, we didn’t write the book for the Christian community, and while I think that it’s entirely possible that pastors and other vocational people will find some real inspiration and some real understanding that will help them connect to people, I think our primary hope was that we would be writing the book for the fans of the movie, Christian or non-Christian,” he continues. “Two entire generations of Americans are connecting with faith and spirituality more through popular culture than they are through just traditional religion – Gen X and Gen Y – so when we find a story like this in popular culture, and the makers of the story admit that religion and theology are one of the things that are informing the questions they’re asking, it seemed to us that this was a great way to create a sense of dialogue with people who may not be getting called to God in traditional ways.”
In chapter 14, "The Gospel Reloaded" reveals the inspiration we can all take away from "The Matrix" and "The Matrix Reloaded," as it draws an allegory from the film and gives practical application for each of us on the path to faith and freedom.
“The Christian Scriptures paint a world in which we all are slaves. The question is simple: Who or what will you serve? Or put another way, who or what owns your soul? Morpheus says that many people are not ready, and Cypher proves that some are not willing, to trade their form of slavery for truth … [Yet] we still have this much control over things, even in a world enslaved:� we can decide how we will live and die, and we can choose to live rightly.”
Actors with their L-plates on
[The Australian 13/08/2003]
Before They Were Stars
6.30pm, Ten (Syd only)
IT'S hard to know why seeing what celebrities looked like before fame is so appealing. Perhaps seeing how dorky stars look with bad 1980s haircuts and even worse '80s clothes doesn't make us feel so bad about how bad we looked then. Or maybe it reassures us that it's only by the sleight of hand that is make-up, hairstyling and possibly even plastic surgery, that these people look so good.
Or perhaps it's comforting to realise that they might be at the top now, but they had to start somewhere. It's easier to live with the fact you aren't where you want to be in life when armed with the knowledge that Brad Pitt was once in a Pringles ad. Actually, on reflection, it's probably just because we like laughing at their bad haircuts and cheesy commercials.
Before They Were Stars comes from the cheap end of television production – it's just a collection of these pre-fame moments sorted into categories, such as beauty pageants or sitcom appearances, iced with a goofy American announcer.
Obviously, then, we're not talking about the most in-depth viewing – even given the trivial topic. For instance, in showing a young Dylan (then known as Mark) McDermott auditioning for the 1988 movie The Night Before, it would have been worth mentioning that the role went to an also young Keanu Reeves.
And it's not as if the footage is necessarily the oldest available of a given star – yes Jennifer Connelly was young when she made Creepers in 1985, but she was even younger when she appeared in Sergio Leone's Once Upon a Time in America or Duran Duran's Union of the Snake video.
But the main problem is the length of the clips. Once you've realised it's Jeri Ryan (Boston Public, Star Trek Voyager) singing badly in a beauty pageant, you shouldn't have to endure another 30 seconds of it.
However, if you have the patience, there are a few gems. It seems Halle Berry's emotional Oscar acceptance speech was not a one-off – she was equally demonstrative when crowned Miss Teen All-American in 1984. The early works of Mel Gibson (1977's Summer City), Nicole Kidman (what else – 1983's BMX Bandits) and Russell Crowe (the '70s soap The Young Doctors) get a look in. But by far the most interesting is an early Robert De Niro appearance.
The idea of De Niro doing commercials would be fodder for a million sketch comedies and here he is in an ad for the AMC Ambassador car. Watch it without saying "Are you talking to me" – if you can.
- Kerrie Murphy
A Little Bit of Everything
[NBA.com By Rob Peterson]
NEW YORK, Aug. 12 -- After experiencing a whole lot of nothing last year at the World Championships, Team USA big man Jermaine O’Neal believes the squad that will try to qualify for the 2004 Athens Olympics has that special something. "I think this team, outside of the Dream Team with Jordan in 1992 -- and maybe 1996 -- might be the second-best put-together team," O’Neal said.
Forgive us for channeling our inner-Keanu, but "Whoa!"
Keanu in Anthrax video
[Ananova.com 13/08/2003]
Keanu Reeves has made a cameo appearance in Anthrax's video for their latest single Safe Home.
The 38-year-old Matrix star is a long-time fan of the New York band and starred in the video for free, reports German MTV. The single appears on the band's latest album entitled We've Come For You All.
Reeves, who plays bass in his band Dogstar, has so far failed to achieve fame as a rock star himself. But friends said recently that he has had enough of films and eagerly practices his bass guitar in breaks between filming.
New rising technologies, stars of Hollywood
[By John Borland, CNET News.com 13/08/2003] translated from French via Babelfish
The numerical one makes its way in the studios of Hollywood, allured by the new ways which it opens as regards creation. A technology which generates enormous needs, and increasing, to store the téraoctets data obtained.
BURBANK, California. In the beautiful medium of the studios Warner Bros., between the vast warehouses and the rooms of recording, passed and present côtoient in the enfilades of apparatuses of storage to strong consumption of data, lodged in a processing center high technology.
It is here that the studios recently transformed the Technicolor version of origin of "Sing under the rain" in a numerical file of a great purity; the advanced technology used produced a much better version than that which it would have been possible to obtain still a few years ago. At the end of 2002, Chris Cookson, technological director of the studios, projected the result with the majority of the actors of origin.
� "According to the made comments, that corresponded exactly so that it was at the time", explains it while laughing. "Debbie Reynolds, which was to be 19 years old at the time of turning, said that the image was so clear that one could even distinguish the wrinkles from his face".
The numerical one fills the rooms
The restoration of this traditional of 1952 reflects the radical change which takes place within the Hollywood studios, of the networks of diffusion and other companies multimedia. All as well digitize new films as of the decades of files in order to exploit the new channels of distribution: Internet, television, DVD high definition, and rooms of spectacle of next generation.
Numerical technology also redefines art even realization, an evolution which shows through with the screen in the current productions such as "the World of Nemo" and "Matrix Reloaded". With a specific numerical handling, Keanu Reeves manages � to fight tens of enemies generated by computer, Pixar Animation Studios manages to give to life to a new désopilante family characters animated in 3d, and virtual armies can attack the walls of the citadel in "the Lord of the Rings"... without calling upon least appearing.
During this time in slides, the tools being used for creating and supporting this numerical fairyhood represent several billion dollar appropriatenesses for the companies such as IBM, Silicon Graphics Inc ( SGI ), APPLE Computer and Thomson . The most spectacular barometer of this evolution is certainly the technology of the storage of data.
Explosion of the needs and expenditure related to the data storage
The Hollywood studios will spend approximately 500 million dollars in data storage in 2003. Moreover, this expenditure will increase of almost 70% per annum, if one believes Tom Coughlin of it, independent analyst who studies the use of storage by the industry of the entertainment. According to him, from here 2006, the annual needs as regards storage for the studios for cinema, the companies of audio-visual and televisual production and for the distributive firms will reach 740 pétaoctets, that is to say 740 million gigaoctets.
"This tendency involves a vertiginous increase in the expenditure on the data-processing level", explains Rick Dougherty, analyst for the survey firm The Envisioneering Group . "It is the side glamour data processing. APPLE, IBM and Sun are pavanent when they obtain a juicy contract with Hollywood."
Practically all the films of action, the tales for children and, of course, épopées of science fiction employ effects or characters generated by computer which it would have been impossible to realize only with the film. A numerical imagery of this type requires colossal resources in terms of waiter, storage and treatment.
For example, in the spectacular "Monsters & Co" of Pixar, the hairy monster Jacques Sullivan, alias "Sulli", presented more than 2,3 million distinct hairs which were to be treated separately by groups of powerful computers. For a work also complicated, it is necessary to count not less than 80 minutes to treat only one image. The scenes of kung fu in "Matrix Reloaded" were quite as complex: utilizing tens of agents Smith, they required to thoroughly recreate the face and clothing of each character, like applying innovating effects of lighting.
Making a Scene
[Phoenix New Times 8/23-4/2004]
Acting workshops spread the drama bug
Not all actors are blessed with natural ability -- some talents need to be nurtured. With a little encouragement and instruction, your budding Keanu and Madonna could blossom into Bogey and Bacall. Enter Valley Youth Theatre's Fall Workshops, which offer a "comprehensive education in the performing arts" while building self-esteem and social skills. Participants ages 3 to 18 explore stage pursuits ranging from clowning and improvisation to musical theater and Shakespeare. First up: "Acting Magic." From Saturday, August 23, through September 6, thespians 5 to 7 turn their favorite stories into short scenes and develop characters through movement and voice. Ranging from two to six weeks, sessions continue through April at VYT's Education and Outreach Space, 1121 North First Street. Fees start at $75. Call 602-253-8188, extension 302, or see www.vyt.com for a workshop schedule. - Jill Koch
Monday, August 11, 2003
JOURNALISM SCANDAL AT E! NETWORK
Gossip columnist busted for plagiarizing and fabricating everything
[Dateline Hollywood 07/27/2003] [N.B. This is a spoof...]
HOLLYWOOD - In the wake of the Jayson Blair debacle and subsequent resignation of the top editors at the New York Times, yet another one of America’s leading news organizations has been rocked by scandal. The E! Entertainment Network offices have erupted in anger and finger-pointing after gossip columnist Ted Casablanca was caught fabricating or plagiarizing every single sentence he has ever written. Following the revelations, Casablanca resigned and the executive producers for E! News Daily, Robert Kinsley and Nancy Anderson, were fired today, capping a tumultuous week.
Like Blair, Casablanca’s wrongdoing also comes with intimations that he was promoted beyond his ability because of an affirmative action program. Casablanca was identified by E! diversity promoters as one of the most promising straight men at the network and was consistently promoted until he became the only heterosexual in the news division.
The E! Network has found 182,345 instances where Casablanca was fabricating or plagiarizing a sentence. For example, in his March 12 online column, “The Awful Truth,” Casablanca writes about Keanu Reeves and his band “Becky” opening the show at West Hollywood’s Troubador where Sandra Bullock was a guest. “Afterward, Sand-doll hit the VIP lounge with Keanu, where the two purty partyers were looking very chummy-wummy,” wrote Casablanca.
According to insiders, Casablanca never made it to the Troubador. In fact, Casablanca hasn’t stepped foot outside his apartment in the last five years because of an inflamed case of psoriasis. His TV segments were taped inside his bedroom. Instead, Casablanca sent unpaid interns to cover events for him, exchanging their services for his VIP pass. But a cursory examination revealed their work to often be shoddy.
“It’s true that Sandy and Keanu spent a little time together, but it was a stricly pro discussion,” said a journalist from Entertainment Tonight who attended the Troubador event. “I could maybe buy that it was ‘chummy,’ but no serious reporter would possibly call them ‘chummy-wummy.’”
In another column last year, Casablanca wrote, “Window-shopping along a trendy LA street, piping hot Ashton Kutcher and sexy squeeze Brittany Murphy started chatting with a good-looking young couple ... who invited them back to their place for hot tub fun!”
It reads like an original piece of gossip. However, the previous day on the National Enquirer website, this article appeared: “Window-shopping along a trendy LA street, Ashton Kutcher and sexy squeeze Brittany Murphy started chatting with a good-looking young couple ... who invited them back to their place for hot tub fun.” The only differences are that Casablanca added the words “piping hot” before Ashton’s name and used an exclamation point instead of a period at the end of the sentence.
Gossip columnists around the nation are shocked and ashamed. The New York Post's Liz Smith released this statement, “I don’t know what’s in Teddy Boy’s drinking water. But my spies tell me he’s been plagiarizing since elementary school. Those in the know say the network is now looking at an essay he wrote in second grade titled, 'Jacob was looking up girls' skirts on the jungle gym.'"
Fellow Post gossip columnist Cindy Adams also released a statement, saying: “Poor baby. I don’t what to tell you except that I was at a glitzy charity affair at Chelsea Piers. The honorary chair was Steven Spielberg. The main dish served was a delightful half a chicken.”
Insiders tell Dateline Hollywood that the resignation of Casablanca and departure of the executive producers has actually made the office less chaotic. Kinsley and Anderson were described by many as romantic comedy crusaders who never let serious dramas get equal coverage.
“Remember the two weeks when we constantly led with articles questioning why romantic comedies were never allowed into the Oscars?” said one top E! reporter who asked to remain anonymous. “I think we were moving from responsible journalism into outright advocacy. Meanwhile, an excellent piece I did about how Adrien Brody didn't bathe for a month to perfect his look for ‘The Pianist’ got pushed to the last five minutes of the show.”
Still, while insiders may feel relieved at the turn of events, the chaos at E! has cast new doubt on the veracity of all entertainment news and gossip columns, according to Fred Rubin, a professor of entertainment journalism ethics at UCLA Extension.
“Reliable information about the dating habits of Ashton Kutcher and box office performance of 'T3' are key to keeping our democracy functioning,” he commented. “Only through consistent information they can trust about the lives and finances of prettier and more successful people can most Americans bear to get through another day. Without it, the sharp rise in depression and suicides would likely put our great nation into freefall.”
21 Sex Symbols for the 21st Century
[AsianMail]
#4 Keanu Reeves
Our next ASTYLE Sex Symbol needs no introduction. His films have grossed over 100 million dollars. His face has graced the covers of hundreds of magazines. And he is lusted after by thousands of girls around the world. Who is he? He is Keanu Reeves. And he is fine.
So the "FBI agent who goes undercover as a surfer to bust a group of caramel-colored-Coppertoned-flavored-sandy-toed bank-robbers" plot in the movie "Point Break" was no masterful cinematic tour de force. But man, seeing Keanu emerge from the frothy surf in a wet suit like some neoprene-sheathed Adonis elevated this B-flick to an all-time renter's classic.
This 35-year-old Virgo and star of 26 movies is coming off of one of the biggest career rushes with the booming success of "Matrix," the Wachowski brothers' film that has already earned $171,383,000 (with more in video on sale). Scripts for the "Matrix" sequels are currently under construction - thank God! Co-stars and former love interests Keanu and Carrie-Anne Moss (Trinity) will share the screen again. Keanu has already had three movies that have grossed over 100 million dollars.
Aside from having tremendous box office cachet, this man has a passion for motorcycles, hockey, chess, Shakespeare, and music. Keanu's band Dogstar released its latest CD titled "Our Little Visionary" earlier this year. The CD has been described as simple, raw, and romantic.
Currently, Keanu is filming a football comedy with veteran screen actor Gene Hackman called "The Replacements" under the Warner Bros. label. The film was originally slated for release in August 2000, but has been delayed for an autumn debut of October 2000. In his next "low budget" $10 million project the "Gift," Keanu will play a wife beater opposite actors Cate Blanchett, Katie Holmes, Giovanni Ribisi, and Ron Eldard (ER).
Keanu has long been worshipped by many and the thousands of fan sites are testament to the devotion of his fans. For example, a 26-year-old college student from Rochester screams "I want to see Keanu because he's a great actor. I could watch his movies over and over again. He's a hunk and I want to, um, see his other talents!"
We have seen the many different faces of Keanu: the clean-cut boyish teenager, a scruffy motorcycle driving rock star, all powdered and wigged in period costume, and a ripped and tan hunk. One thing is for certain. Keanu is smoking. Aside from his talents, his exotic breeding stock contributes to his megastar draw. Keanu's father is Chinese-Hawaiian and his mother is English. Listen to Keanu himself say what he is
I Was An Extra...
[Keanuweb 11/08/2003]
I was an extra, for about a week, on the untitled Nancy Meyers project (scenes) filmed in Paris in July 2003.
I wasn't really a big Keanu fan, most of us actors had agreed to do extra work, as it was such an important film (Jack Nicholson, Diane Keaton, etc.). Most people just wanted to see Jack!
Keanu was absolutely charming always stopping to say hello, with a smile, to the bored waiting, extras... and in French... (quote) "Bonsoir tout le monde." ... plus heavy USA accent.
He's so polite and humble. He made eye contact, chatted easily with anyone standing near, it was interesting to watch him warming up for his entrances etc. anyway, I'm a big fan now.
'Matrix Revolutions' FX Guru On Final Ending
[Killer Movies Wed March 12, 2003 09:17PM]
While speaking with David Eimer, FX Guru John Gaeta spoke on how the ending of the Matrix Revolutions will look like.
“We almost enter animated movie mode at the end of Revolutions. A lot of material in those sequences is 100% computer-generated images (CGI), rather than integrated or virtual stuff,” confirms Gaeta. Nor is he trying to make those scenes look like they were shot conventionally. “We like to do effects that don’t look real. That’s one of the reasons we look at Japanese anime so often, because it’s so stylised and they do stuff purely for visual impact.”
So far ahead are Gaeta and his team that the rest of Hollywood is still trying to learn how to re-create the effects from the original Matrix. “It will take other people years to catch up because it’s so difficult to do and it costs so much money,” boasts Gaeta. He should know, as he’s been working on the sequels for over two years both in Australia and the States. “It’s exhausting and you have to pace yourself in an entirely different way. It’s like a mental marathon.”
For the cast, which includes the survivors of the first film: Keanu Reeves, Laurence Fishburne and Carrie-Anne Moss, as well as newcomers like Italian actress Monica Bellucci and Marvin Gaye’s daughter Nona, it’s been more like running a marathon. Much of the Wachowskis’ inspiration for The Matrix comes from martial arts movies and all the actors have been trained by Woo-ping Yuen, who choreographed the fights in Crouching Tiger, Hidden Dragon and directed Jackie Chan’s early films.
Check out the link above for more! Thanks to 'Cody' for the heads up!
Nona 'Zee' Gaye On 'The Matrix Revolutions'
[Killer Movies Thu July 17, 2003 08:28PM]
Nona Gaye spoke with SciFi-Wire about reprising her role of Zee in The Matrix Revolutions. She told them that all the questions raised in The Matrix Reloaded will be answered in the sequel. "People will be relieved when they see Revolutions. I know a lot of people are like, 'What's going on?'"
She adds that understanding the answers though may take some thinking. "I think it depends on your perception," she said. "When I read the script, it made sense to me."
Her character Zee only had a small part in Reloaded, but Gaye promises that we will see much more of her in the next one. "Number three is where I get down. I'm doing a lot of diving and running and jumping and stuff."
Matrix Reloaded' sets box office world record at Roppongi�Hills
[Japan Today Monday, August 11, 2003 at 11:00 JST]
TOKYO — Virgin Cinemas Roppongi Hills, Tokyo's recently opened destination movie complex, became the world's highest grossing theater for "The Matrix Reloaded," accoridng to company officials.
This is the first time a Tokyo theater has been the top venue for a major Hollywood release, testifying to the appeal of one of the most sophisticated movie theaters ever built.
The lavish, high-tech Virgin Cinemas Roppongi Hills was a major part of the draw for the 82,522 Japanese, who flocked to watch the sci-fi sequel in the futuristic atmosphere of the new Roppongi Hills urban center during its first 39 days to mid-July.
Sales at the theater during this period totaled more than $1.1 million.
"This is an especially impressive achievement given that the movie has been running only eight weeks at Roppongi Hills, while it has been showing for 11 weeks in the United States and 10 weeks in Great Britain," noted Mark Yamamoto, president of the Virgin Cinemas Roppongi Hills. "We were confident that the theater would be a major success, but even with virtually round-the-clock screenings, demand was beyond our capacity. The popularity of the theater proves that despite an increasing amount of competition for entertainment dollars people want to watch quality movies in elegant surroundings and feel like they have had a extraordinary time out."
Keanu Reeves headlined the list of "Matrix Reloaded" actors who piqued Tokyo's interest in May at a red carpet premiere and celebrity press conference held at Roppongi Hills that created a media frenzy in Japan.
Warner Brothers sent a full crew of costars to Tokyo including Laurence Fishburne, Hugo Weaving, Jada Pinkett Smith and producer Joel Silver.
The effort resulted in the Virgin Cinemas Roppongi Hills surpassing such traditional premier theaters as the New York Cinema in Manhattan, Warner West End Theater in London and Mann's Chinese Theater in Hollywood.
Sunday, August 10, 2003
Untitled Nancy Meyers Project Finally Gets a Title: ''Something's Gotta Give''
[FilmJerk.com Written 08-10-2003 by ChrisFaile]
Had he not died in 1976, renowned lyricist Johnny Mercer would be proud of the title that has been revealed for the film heretofore known as only "The Untitled Nancy Meyers Project." According to FilmJerk.com sources, the Jack Nicholson film has been given the title of "Something's Gotta Give."
It looks likely that the title for the Sony pic is a reference to the 1954 Mercer song of the same name, which was popularized by both Fred Astaire and Sammy Davis, Jr. the following year. The song offered the lyrics, "When an irresistable force / such as you / meets an old immovable object like me / you can bet as sure as you live."
Certainly fits what we know about the film, which focuses on a New York City music executive (played by Nicholson) with a proclivity of dating younger women. But he is dealt a harsh blow when he suffers a heart attack while visiting the Hamptons beach home of his latest trophy girlfriend's mother. When his girlfriend flees back to the city, Harry is left in the care of the mother and his doctor. Realizing that he and the doctor are both falling in love with the divorced playwright, they soon find themselves competing with each other for her hand. FilmJerk.com was the first to report that a sequence in the film will feature a troupe of Nicholson look-alikes partaking in a "Jack Nicholson chorus line scene.”
As of this writing, the film is scheduled to open wide on more than 2,000 screens December 12th. Also starring in the film are Diane Keaton, Frances McDormand, Keanu Reeves, Jon Favreau and Amanda Peet.
Britain goes loan crazy
[The Times [UK] August 3, 2003]
Money is cheap and the living is easy. As consumers rack up record amounts of debt, our correspondent reports on our increasing willingness to chase dreams with credit - and the risks it poses.
When it comes to her obsession with Keanu Reeves, Jennifer John, an assistant bank manager from Walthamstow, will stop at nothing. The trousers and T-shirt that Reeves wore in the film Speed have pride of place in her GBP 140,000 (US$ 210,000) east London terraced house, which overflows with memorabilia of the Hollywood star.
"Obviously he's handsome but I find him an intriguing person, too," explained John, 32, who claims that her husband, a computer engineer, is happy to tolerate her love of all things Reeves. "Keanu rarely speaks about himself or his innermost feelings, which adds to the mystery."
Flying around the world to see the enigmatic actor - she gave him a kiss at the Cannes film festival - is expensive, but affordable thanks to easily available credit.
To finance her passion, John has taken out GBP 20,000 (US$ 30,000) of loans from her employer, the Halifax, at 6.9% interest. "The fact that money is cheap to borrow has been a big factor," she said, "It has all been worth it - Keanu actually recognises me and gave me a wave when I was in Los Angeles."
John is part of Britain's boom in borrowing to fund not essentials but lifestyles, hobbies and eccentric fascinations. It is a phenomenon fuelled by the lowest interest rates for 48 years.
The rest of the article can be read here.
Matrix schmatrix: This summer, a fish is at the top of the food chain
[Seattle Times 10/08/2003]
 Keanu Reeves, center, in one of the many fight scenes in "The Matrix Reloaded." Word of mouth was mixed on the "Matrix" sequel, and the film appears unlikely to reach the $300 million level. |
Remember a few months ago, when the ever-unsmiling cast of "The Matrix Reloaded" seemingly graced every magazine cover imaginable? Opening May 15, "Reloaded" would lead the summer box-office sweepstakes to glory, we were told, leaving all other contenders ("X2," "Terminator 3," "The Hulk," "Lara Croft Tomb Raider: The Cradle of Life") in its wake. Welcome to the mysterious world of the box office, where "The Matrix's" $277 million is considered a disappointment, and where a family-friendly fish movie swam away with the summer's biggest money.
"Finding Nemo," from the creative team at Pixar (the geniuses responsible for the "Toy Story" movies, "A Bug's Life" and "Monsters, Inc."), in late July officially became the highest-grossing animated film in North American history, with its box-office total of $320 million passing the $312.9 million take of 1994's "The Lion King." And it easily led this summer's releases in popularity — and staying power.
It's not that "Nemo" was entirely under the radar; we're not talking "My Big Fat Greek Wedding" here. Pixar's movies have always done very well at the box office, and there was no indication that "Nemo" would do otherwise. But its arrival seemed low-key by comparison to the sonic boom of "Reloaded," and those little fish seemed an unfair match against all that "Matrix" weaponry. Premiere magazine's editorial staff, in predicting the summer's big hits, estimated $350 million for "Reloaded" and just $180 million for "Nemo," and it wasn't alone in those expectations.
Word of mouth counts
The two films followed a similar trajectory at first: Both opened big ("Reloaded" had a record $42 million take on its opening day); both were usurped in their second week by newcomers ("Reloaded" by "Bruce Almighty"; "Nemo" by "2 Fast 2 Furious"). But the real difference came in their third week and beyond. "Reloaded" continued to fall, dropping out of the top five by its fifth week and out of the top 10 by its seventh.
Word of mouth was mixed on the "Matrix" sequel, and Warner Bros., which had hoped to challenge the $400 million-plus take of "Spider-Man" last year, appears unlikely to reach the $300 million level (it's currently at $277 million, and is now out of the top 20). This is a big success by most standards, but the cost of the effects-heavy "Matrix" movies (said to be more than $300 million for "Reloaded" and the upcoming "The Matrix Revolutions" together) and the tens of millions spent for publicity add up to a profitable yet somewhat disappointing bottom line.
Other highly touted blockbuster-wannabes fell victim to bad word of mouth (measured in how the film fares after its opening week, when advertising tends to drop off and moviegoers are likely to be influenced by the recommendations of friends). In what was to become a common summer pattern, "The Hulk" had a huge opening weekend, then dropped nearly 70 percent in its second week.
Likewise "Charlie's Angels: Full Throttle," "Terminator 3: Rise of the Machines" and "Bad Boys 2" saw huge drops in their second week; while other big-budget offerings like "Lara Croft Tomb Raider: The Cradle of Life," "Hollywood Homicide" and "The League of Extraordinary Gentlemen" never got off their feet at all.
"Nemo," by contrast, had terrific word of mouth: It returned to the No. 1 slot in its third week, and, two and a half months after its initial release, still remains in the top 10. And, with a budget of an estimated $94 million, "Nemo's" profit is undoubtedly making the suits at Disney very happy.
Originality, sophistication
While Pixar films have always been hugely popular, none has achieved quite the blockbuster status of "Nemo," and a number of factors contribute to this.
In a summer absurdly stuffed with sequels, "Nemo" was an original. It received the season's most rapturous reviews from critics and audiences tired of stale summer fare (most of the previous Pixar releases came out in the fall, competing with high-quality Oscar bait). And it was a kid-friendly movie that also appealed to adults.
A recent visit to a "Nemo" screening revealed the expected parents with children, but also adults attending without them. Tiffany Rodriguez of Ravenna was seeing the film for a second time, bringing her husband, Joseph. The Rodriguezes had loved the previous Pixar movies, describing them as "movies focused more toward adults." They appreciated "Nemo's" sophisticated animation and humor.
Bryley Hull, of Capitol Hill, attended solo and praised "Nemo" as "fun and clever enough for adults." Upon hearing that it was the summer's biggest hit, she said, "I'm pretty pleased to hear that. I think it's well-deserved."
Audiences are speaking. Are studios listening? Most likely they are; money talks, and $300 million speaks very loudly. Hollywood may have learned a few lessons from this season's sequel glut; the disappointing performance of "Charlie's Angels: Full Throttle" and "Lara Croft Tomb Raider: The Cradle of Life," among others, may cause studios to be more cautious about automatically greenlighting a sequel.
Even the "Nemo" filmmakers at Pixar, for whom a sequel would seem sure-fire (remember "Toy Story 2"), sound cautious. "We're not going to let the hype influence us into making rash decisions," writer/director Andrew Stanton told USA Today. "If there is a sequel, it will happen when there's a story that's equal or better than the first."
And the studios may be looking even closer at family audiences. Kid-friendly movies haven't been automatic hits this summer. "Sinbad: Legend of the Seven Seas," "Rugrats Go Wild" and "The Lizzie McGuire Movie," all aimed at young audiences, faltered at the box office. Could "Nemo" mean that other studios will try to emulate Pixar's winning mixture of sweetness and sophistication? We can only hope. It certainly proved that audiences will flock to a G-rated movie, once considered the kiss of death in Hollywood.
Overall, movie grosses are down this summer compared to the sizzling pace of 2002 (a record $9.3 billion for the year). But theater owners and audiences can take heart: Pixar has more on the way. "The Incredibles," an animated comedy about a group of undercover superheroes, is coming November 2004. Perhaps they'll be in time to save next year's box office.
Saturday, August 09, 2003
Cyber-Evolution: Creating the Matrix
[ExtremeTech 16/05/2003 By�Robyn Peterson]
At the heart of the Matrix lies the idea that machines can effectively mimic life as we know it. In fact, the mimicry is so successful that 99% of the Earth's population is unaware that the world they live in is a fabricated reality. It exists only in a computer program that is pumped into their minds by the so-called Matrix. Hence, artificial reality has become their only reality, and computers rule the world. Fascinating idea, right? I think so. So that's why I went to see the sequel last night--and I gotta tell you, I loved it. I won't give away any secrets of the movie, but I will let you in on an idea that popped into my head while watching it.
Let me first admit that I am a fan of The Matrix and The Matrix: Reloaded. I enjoyed both films, but I don't proclaim to be an expert on either.
While sitting through the numerous, expressionless stares lapsed into by Keanu Reeves in the sequel, my mind wandered off to the obvious question, could this ever happen to us? Could we unwittingly develop our own Matrix? It's possible. The avenue is being paved, as I write this column, with a process called Genetic Programming. It's the theory that complex programs can be developed without human intervention via a process of "evolution" in its most Darwinian sense.
If our mere presence in the development cycle is the flaw that keeps technology from reaching its destined perfection, then our removal from that process (i.e. Genetic Programming) will actively push machines to approach their true potential. Whether or not they'll "choose" to develop a Matrix-like world for us low-level, illogical beings to inhabit remains to be seen. However, the potential may be there.
The idea behind Genetic Programming amazes me as much as it frightens me. Assuming you've already taken a high school biology class, you'll be quite familiar with its underpinnings. It's basic Darwinian evolution, but substitute programs for living beings. Let's step through it in stages. (Keep in mind, the following is a very simplified example of an extremely complex process. For more in depth information, see the Genetic Programming Conference organization.)
The rest of the article can be found here.
The Matrix Reloaded - William Gibson's Original Vision
[MTV.com 09/08/2003 by Kurt Loder]
I had long assumed that William Gibson was pulling in fat and frequent checks from the Wachowski brothers. After all, their "Matrix" movies — the marvelous original; the oddly not-great "Reloaded"; and the eagerly-awaited-anyway "Revolutions," due out November 5 — may draw upon Japanese anime and Hong Kong kung-fu features for their action style, but some of the films' key concepts (and at least one character) seem clearly borrowed from Gibson's celebrated "Sprawl" novels: "Neuromancer" (1984), "Count Zero" (1986) and "Mona Lisa Overdrive" (1988).
Gibson began publishing in small science-fiction magazines in 1977. Some of his early stories, like "Burning Chrome" and "Johnny Mnemonic" (made into a 1995 movie starring ... Keanu Reeves), were already set in the Sprawl, a grim, post-apocalyptic urban wasteland stretching from Boston to Atlanta (a place similar in tone to the exotically squalid future-world created by film director Ridley Scott in his 1982 SF classic, "Blade Runner").
The Sprawl was richly elaborated in "Neuromancer," Gibson's first novel. Here was an intricately imagined world populated by "computer cowboys" who were able to project their "disembodied consciousness" into "cyberspace" (a term coined by Gibson), where they soared through the "matrix," described variously as "a consensual hallucination," "a 3-D chessboard" and "an abstract representation of the relationships between data systems." In the matrix, endless fields of highly prized digital data — corporate, governmental, military — glimmered behind walls of protective programs called "ice." It was the cowboys' job to breach these defenses, with ever-evolving "icebreaker" programs of their own, and to steal the choicest data for retailing on various illicit markets. Wonderfully awful events ensued.
The complex plot-weave of "Neuromancer" features a Rasta space colony called Zion and a black-leather-clad warrior girl named Molly (introduced in "Johnny Mnemonic" as Molly Millions). Molly is a "street samurai" whose formidable bionic enhancements include retractable razors installed beneath her fingernails and big, surgically inset mirror lenses that cover her eyes. A burned-out computer cowboy named Case is the book's nominal protagonist, the embodiment of Gibson's hard-boiled, cyber-noir sensibility; but the unforgettable Molly is a more vivid character — one of the most complexly realized female heroes in the generally male-envisioned field of science fiction. It's difficult not to see her as the source of the black-clad warrior girl Trinity in the "Matrix" movies.
"Neuromancer" begins with a famously great opening line: "The sky above the port was the color of television, tuned to a dead channel." "Count Zero," the second Sprawl novel, whose world-weary cowboy character is called Turner, also kicks off in memorable style, but with an electrifying rush:
"They set a slamhound on Turner's trail in New Delhi, slotted it to his pheromones and the color of his hair. It caught up with him on a street called Chandni Chauk and came scrambling for his rented BMW through a forest of bare brown legs and pedicab tires. Its core was a kilogram of recrystallized hexogene and flaked TNT.
"He didn't see it coming ..."
"Count Zero" introduces a young computer punk named Bobby Newmark — "Count Zero" is his cyber-handle — who gets drawn deeper and deeper into the matrix and ultimately, in "Mona Lisa Overdrive," evolves into a transformational character not entirely unlike, uh, Neo, in "The Matrix."
There are other interesting points of convergence between Gibson's Sprawl books and the "Matrix" movies. In "Count Zero," Turner, in need of instructions for flying a plane, downloads them directly into his head, something that Trinity also does in the first film. And "Neuromancer" introduces two profoundly powerful artificial intelligences, or AIs, that long to break free of the cyber-shackles in which they're bound by their human creators (an SF concept that also figures in the Wachowskis' anime collection, "The Animatrix").
True, in the Sprawl books, the matrix is a beckoning virtual territory that humans seek to enter; in the "Matrix" movies, it's a sinister, machine-generated construct that those few humans aware of its real nature seek to flee. Still, it's surprising to learn that William Gibson does not, in fact, make even a courtesy buck from the "Matrix" franchise, which — counting ticket sales, DVD profits, video games and other ancillary artifacts — will ultimately generate more than a billion dollars in revenue. Quite likely way more.
Injustice is nothing new to most writers, of course — just ask them. Even Philip K. Dick, the legendary, amphetamine-fueled author whose deeply twisted SF stories actually have been made into movies ("Blade Runner," "Total Recall," "Minority Report"), never got to fully savor his big cash-in: "Blade Runner," the first of those films, was released the year he died.
So Gibson has remained philosophical, and, of course, quite successful. Following the Sprawl trilogy, he wrote three more linked books — "Virtual Light," "Idoru" and "All Tomorrow's Parties." Earlier this year, he made The New York Times best-seller list with his eighth novel, "Pattern Recognition," a book that, for the first time, he set in the present day. He wrote the screenplay for "Johnny Mnemonic" (although not for the 1998 film "New Rose Hotel," based on another of his early Sprawl stories). He co-wrote two episodes of the "X-Files" TV series, and turned out one early version of a script for the abominable 1992 horror flick "Alien 3." (A movie that eight other screenwriters had to be called upon to really screw up.) If you scour the Web, you can also find what's purported to be an actual Gibson script for "Neuromancer."
In addition, it's worth noting that Gibson co-wrote a song called "Dog Star Girl" for a 1993 Deborah Harry album, Debravation. Coincidentally, perhaps, Dog Star is also the name of a sometime band whose bass player happens to be ... Keanu Reeves.
But why was "Neuromancer" never made into a movie? It's a natural, right? Actually, at one point, it looked as if Gibson had found the perfect director for the job: video auteur Chris Cunningham, widely admired for his innovative work with Aphex Twin (the scary-weird "Come to Daddy" video, 1997) and Madonna (the hallucinatory "Frozen," 1998). But the project never came together. Which isn't to say it never will, although the "Matrix" movies have clearly co-opted the market for stylish dystopias somewhat.
How does Gibson feel about all this? Let's find out. A Virginia native who relocated to Canada during the Vietnam War protest years of the 1960s, he's now 55 years old and lives in Vancouver. We contacted him by e-mail to ask about the "Matrix" situation, among other things. He had (what else?) some interesting thoughts.
Kurt Loder: Why was a "Neuromancer" movie never made?
William Gibson: "Neuromancer" 's history is so long and so complex, not to mention tedious, that I could scarcely tell you myself. It does have a sort of weird half-life, though. Ask me next year! "Count Zero" and "Mona Lisa Overdrive" both worked through options and sold outright, but I've heard nothing about either for years.
Loder: Was the "Neuromancer" script that's posted all over the Internet actually written by you?
Gibson: No, I didn't write that. I don't remember who did. I believe there have been at least two screenplays for "Neuromancer." The only script of mine available on the Net is "Alien 3" (usually in a truncated version, for some reason).
Because there is a market of sorts for scripts supposedly by me, script-pirates often staple faked title-pages to scripts based on my work. There are a number of these around, all commissioned at various times, from various screenwriters, in abortive attempts to make feature films. I only know about these misattributed versions because people bring them to be signed, and then I have to refuse.
Loder: Were the three Sprawl books originally conceived as a trilogy?
Gibson: No, quite the opposite, actually. I loathed the tendency, in genre SF, to think in terms of sequels, series, braid mega-novels. Then, somehow, I sort of backed into it anyway. And then I did it again, with three more books.
Loder: Would you ever consider returning to that world and those characters?
Gibson: Going back and asset-stripping a 20-year-old successful first novel would be a deeply distasteful proposition, for me. So if you ever see me doing it, I guess you'll know I must need the money really badly.
Loder: What writers have most influenced you?
Gibson: I believe the most important aspect of having artistic influences is getting over them. That's what they're there for, really.
Loder: I know there's a general assumption that "Blade Runner" was an inspiration for "Neuromancer" ...
Gibson: "Blade Runner" was released when I was about a third of the way through "Neuromancer," and it worried me that it looked so much like the pictures in my head. And then it worried me that it didn't do particularly well. Years later I met Ridley Scott and discovered we'd had inspiration in common: French SF comics, mainly.
Loder: How do you feel about the "Matrix" movies appropriating so many of your concepts?
Gibson: All pop, and perhaps particularly the greatest pop, is inherently recombinant. Genre itself is a recombinant mechanism. "Neuromancer" was a very consciously, very eclectically recombinant work. I didn't invent computers, AI or the black vinyl cat suit. I thought "The Matrix," which I quite liked, was more like a Phil Dick piece in some sort of cyber-noir drag than like my own work. My friend Roger dragged me to see it, because he liked it and I'd been reluctant to see it. I still haven't seen "Reloaded," because word of mouth leads me to assume it's got a case of the middles. That trilogy thing, again.
Loder: I wonder how you feel about the fact that the entire texts of your three Sprawl novels, and several stories, are available online; and how you feel about the intellectual-property issue in general ...
Gibson: In terms of lost revenue, I doubt it has much effect on me. To whatever extent it does, I regard it as a tax on fame. It's probably closer to being free advertising. But that's because there isn't a really good digital platform for book-reading. Yet.
Loder: What about peer-to-peer downloading of music? Do you think we may be witnessing the end of the record industry as we've known it?
Gibson: I suspect we're at the end of an 80-year technological window during which it was possible for quite a lot of people to make quite a lot of money selling recorded music.
Loder: You've said that you weren't really a computer adept when you started writing "Neuromancer." Have you since become expert?
Gibson: Hardly anyone was a computer adept in 1982. Today I use e-mail, Google constantly, have a Web site (www.williamgibsonbooks.com) and love eBay. I'm too lazy to download music, though; I still buy CDs.
Loder: Any speculations about where the mushrooming wealth of digital technology is taking us?
Gibson: Where's it taking us? Well ... somewhere else, that's for sure.
Friday, August 08, 2003
THEY STUFF THEIR FACES
[US Weekly August 2003]
Keanu Reeves chows down at a favourite hangout in L.A., where he recently purchased a home next to Tobey Maguire.
Courtesy of Club Keanu
Matrix Web Comics to Get Printed
[August 7, 2003]
Diamond Select, an addendum to Previews Magazine, has reported that the first 12 comics from the Matrix web site will be published in trade paperback form. Matrix Web Comics, Volume 1 (working title) will feature 160 pages in a softcover format, and will ship the week of October 29th. Suggested retail price will be at or around $19.99.
Reality Reloaded
[ABC.com News 10 July 2003]
 Keanu Reeves in The Matrix Reloaded. Matthew Lovett, a New Jersey teen accused of plotting a massacre, was said to be obsessed with the Matrix movies. (Warner Bros. Pictures/AP Photo) |
Experts: Violent Movies Can Influence Already Troubled Teens
By Eric Choy and Susie L. Morris
Are violent movies to blame for troubled teens' acts of violence? Experts say the answer is not so simple.
Three New Jersey teens were arrested this week for allegedly plotting to kill three of their peers, then embark on a random shooting spree. When the teens were apprehended in a Philadelphia suburb following a failed carjacking attempt, they were in possession of guns, swords, and 2,000 rounds of ammunition, police said. The oldest of the group, 18-year-old Matthew Lovett, is said to be a troubled teen with an obsession with the science-fiction movie The Matrix. Classmates said he often dressed up as a character from the movie and even referred to himself by the character's name.
Given Lovett's interest in The Matrix, some are wondering how much violent movies influence young people involved in violent acts. "I think that movies or other media may be able to provide the spark for anxiety and consequent violent acting out by teens, although I'm quite skeptical about movies doing this in the absence of other triggers," says Jay Reeve, a senior psychologist at Bradley Hospital in Providence, R.I.
Can Movies Trigger Violent Acts?
Experts emphasize that violent movies coupled with a troubled past have an especially significant effect on youths and their actions. "I believe that vulnerable youth [with emotional, behavioral, learning or impulse control problems] may be more easily influenced by these types of movies and videos. The problem is aggravated if they role-play through fantasy, or if they lose reality testing and believe they are amid the violence," says Dr. Beth Ann Brooks, professor in psychiatry and behavioral neurosciences at Wayne State University in Detroit.
Lovett's mother died 10 years ago. He was very protective of his younger brother, who was often ridiculed for his speech impediment, their father says. Fellow students saw Lovett was seen as an introvert who harbored a great deal of anger and desire for revenge.
Experts say incidents such as this are reminiscent of the April 20, 1999, massacre at Columbine High School in Littleton, Colo., where two students went on a shooting rampage, slaughtering 12 fellow students and a teacher before killing themselves.
"Recall that the Columbine shooters were isolated, troubled boys who were apparently rejected by their peers and ignored by their parents," says Dr. Thomas Van Hoose, clinical associate professor of psychiatry at the University of Texas' Southwestern Medical Center in Dallas.
He says excessive exposure to violence in the media often desensitizes viewers to the effects of real violence. "Couple [it] with the immaturity of teenagers, their self-centeredness, and their often unrealistic views of death and you can get a deadly combination of motives and actions that can lead to tragedy."
Early Warning Signs?
While millions of people around the world have seen movies like The Matrix, hardly anybody would respond with an act of violence, says Dr. David Fassler, clinical associate professor of psychiatry at the University of Vermont in Burlington.
"Kids who are already vulnerable may certainly pick up ideas and copy behavior that they see in a movie. However, there are almost always other warning signs and other contributing factors," he says.
George Scarlett, assistant professor of child development at Tufts University in Medford, Mass., agrees. "There are always far more compelling reasons in any given case — the quality of family relations, the degree to which a school environment is caring of all, the degree to which a culture provides a spiritual tradition that can guide — these and other considerations come first," he says.
While teenagers are infamous for being moody and difficult, an adolescent who talks about killing is sending a warning sign. "There's been a misperception over the years that some teens go through 'phases.' It's true that they go through phases, but if they are repeatedly talking about killing or revenge fantasy, it's worthwhile to get professional help," says Reeves.
Summer's end promises loads of off-kilter fun
[The Seattle Times 08/08/2003]
So you've had a pretty great summer so far — no complaints about the weather, seen some blockbuster films, oohed and aahed at the fireworks and gulped down a few margaritas on the deck at Ray's. You think you've drunk deeply from Seattle's well of summer offerings. But we beg to differ. In fact, we bet you've only taken the tiniest sip. There's a lot of unusual stuff going on in and around Seattle during the last gasp of summer. Some of it is weird and some a little scary.
For manly pursuits of a different bent, check out "Point Break Live," a re-enactment of the 1991 testosterone-fueled flick starring Keanu Reeves and Patrick Swayze. The action-packed play features a different, unrehearsed actor in the Keanu role each night, which should just about approximate the real star's performance. (8 p.m. through Aug. 10, The Little Theater, 608 19th Ave. E., Seattle; $10-$12, 206-329-2629.)
Thursday, August 07, 2003
Power from blood could lead to 'human batteries'
[smh.com.au August 4 2003]
A device that produces electricity from blood could be used to turn people into "human batteries".
Researchers in Japan are developing a method of drawing power from blood glucose, mimicking the way the body generates energy from food.
Theoretically, it could allow a person to pump out 100 watts - enough to illuminate a light bulb.
But that would entail converting all the food eaten by the individual into electricity. In practice, less power would be generated since food is needed by the body.
However the scientists say the "bio-nano" generator could be used to run devices embedded in the body, or sugar-fed robots.
The team at electronics giant Panasonic's Nanotechnology Research Laboratory near Kyoto has so far only managed to produce very low power levels.
But the scientists ultimately expect to gain much greater performance from the device.
The battery is based on an enzyme capable of stripping glucose of its electrons, The Engineer magazine reported.
Dr Kazuo Eda, heading the research, said: "It is like the metabolism of food. Human bodies can process glucose and obtain energy. When glucose is oxidised, electrons can be obtained."
He believed bio-nano fuel cells were the next step for researchers after generators powered by hydrogen, natural gas and methanol now being developed for the car and energy industries.
Imitation of life
[GovExec.com 09/07/2003]
By Stan Collender
I looked through a number of newspapers over the Independence Day weekend for anything that even came close to news about the federal budget. There was nothing.
After several days of vainly searching for something, anything, about the deficit, federal spending or budget politics, I realized I had been looking in the wrong parts of the paper. I wasn't going to find anything in "News" or "Business"—all of the action was being reported in the "Arts" section, where the federal budget seemed to be (or could have been) the basis for most of the movies that were in the theaters.
For example, there was the third version of "Terminator," a movie that could be about the one person on Capitol Hill who still thinks the deficit can be controlled if the small part of the budget made up by appropriated programs is cut.
"Hulk" clearly could be about the largest part of the budget—entitlements and other uncontrollable spending. The fact that this new computer version of Hulk is so much larger than the one we saw in the television series from the late 1970s only lends credence to this theory. After all, entitlements seem to have grown by just about as much as the Hulk character over the past 25 years.
The "Charlie's Angels" sequel could be about the members of the Blue Dogs in the House of Representatives who have been working with one of its longtime leaders—Rep. Charles Stenholm, D-Texas—in his continuing quest for budget sanity.
And the "Matrix Reloaded" could obviously be about the soon-to-be-released midsession review by the Office of Management and Budget. Just as the OMB says it can project the bottom line and model the budget world with a sophisticated computer, the plot of "Matrix" is a computer that models the whole world.
At this point I started to wonder what genre would be most appropriate for a movie about the federal budget. Drama is the first thing that came to mind. But melodrama—which would include heavy use of suspense, sensationalism and extreme overacting—seemed much more appropriate. I quickly came to the conclusion that it would not work, however, when my wife—a professional actress—reminded me that melodramas almost always have happy endings.
Film noir—typically black-and-white movies with low lighting, lots of fog, and corrupt and cynical characters—also seemed like it would work well. You can imagine the story: A down-and-out budget gumshoe works in the dark green and gray hallways of federal buildings lit with institutional lighting to get to the bottom of "The Mystery of the Missing Surplus."
A comedy is the obvious but perhaps far too easy choice. Slapstick ("Abbot and Costello Meet the Budget" or "The Keystone Kops Do the Budget") certainly seems right at first glance. But a comedy of manners, in which the characters make fun of the underlying craziness of civilized society, is also very tempting. Try to imagine Noel Coward having his characters banter about whether the deficit is really a problem after all, and you'll get the picture.
But when you come right down to it, the genre that seems to make the most sense for a movie about the budget is a disaster film. Think about the possibilities: "Towering Debt," "The Deficit that Devoured the Economy" and perhaps even a remake of "The Perfect Storm." It's no contest.
All of which leaves one final question: Who should play the Keanu Reeves character Neo in the OMB version of "Budget Matrix?"
Channel Surfing
[LA Weekly 08/08/2003]
The five best surf movies ever, really
4. Point Break: Say what you will, but Matt Archibald (Patrick Swayze’s surf double) riding backside with his shoulder blades dragging across the curl may be one of the single prettiest surf shots around. Gary Busey plays an FBI agent — a sure sign the filmmakers know their history — and Keanu Reeves delivers the greatest lines to end a film since Casablanca: “You’re going down, Bodhi. It’s gotta be that way.” The surfing in Point Break isn’t forced in a blatant demographic grab; it’s integral to the story, making it the first film for the X-Games generation and a lesson the makers of XXX and other such pandering trash should have taken.
Wednesday, August 06, 2003
'Matrix' star targets young crowd with his music
[By The Associated Press 30/07/2003]
(7/30/03 - BURBANK, CA) — Keanu Reeves is now targeting a much younger audience -- pre-schoolers -- on a show on the Disney Channel.
He's not on camera. But, one of his bands is doing the theme song for a new cartoon show called "JoJo's Circus." The band isn't Dogstar. It's his other band --"becky" with a lower-case "b."
Rebecca Lord from the Seattle version of "The Real World" is the lead singer of Becky. And, Reaves plays bass. "JoJo's Circus" debuts September 30.
Monday, August 04, 2003
I was a teen Keanu capitalist
[Toronto Sun 03/08/2003]
Young Chicagoan cashed in on crush
A lucrative lesson in eBay economics
SCOTT SIMMIE [FEATURE WRITER]
Keanu Reeves actual signed 8X10 Photo. Buy it now — $39.99
Given that more than 800 Keanu Reeves-related items are selling on eBay at any given time, it's unlikely the actor would remember what she had done.
Who could blame him for forgetting? There were so many girls, early in 1995, hanging around the stage entrance to the Manitoba Theatre Centre. Some, shivering in skirts and light jackets, had come all the way from Japan.
It was in winter, alas, that the film actor was playing the lead role in the stage production of Hamlet. And it was to Winnipeg that a lass, Julie Piotrowski, was determined to travel to see him.
So she journeyed from Chicago, an innocent figure skater just 16 years old.
The wide-eyed teen was just one of hundreds of young fans (women, mostly,) who had come looking for a handshake, an autograph, a memory, a moment.
But Julie Piotrowski would leave with much more. In fact, what transpired would bring her many thousands of dollars.
"I'd say at least $8,000 (U.S.) over eight years," says Piotrowski, who's now 25 and a healthcare journalist based in New York City. She's currently completing a fellowship in public-health journalism in Atlanta.
Today, for the first time publicly, she reveals her dark secret.
What Piotrowski admits was a "teenage obsession" began years earlier. She and a group of other young girls were absolutely smitten with the Lebanese-born, Toronto-raised actor.
They haunted Chicago video stores for used copies of Bill and Ted's Excellent Adventure or My Own Private Idaho. They held secret get-togethers where they'd flip through magazines and coo and gurgle about what a hunk their hero was. They plastered their bedrooms with posters of the young Mr. Reeves.
"I did. I'm ashamed to say I did," she confesses.
In July, 1994, an article in Vogue briefly mentioned that Keanu's next gig, following the imminent release of the movie Speed, would be as Hamlet in Winnipeg. It did not say where in Winnipeg or when.
The resourceful Piotrowski went online, on that fledgling thing called the Internet, to see if she could hook up with other Keanu fans.
"It turned out there was this whole community of hundreds of women who saw the same Vogue article who knew far more about Keanu's quality-of-life habits than I ever could have assumed a person might know — from the kind of cereal he ate, through to the shoes he wore, to the make of his motorcycle."
Piotrowski started stashing babysitting money to pay for her trip. She even convinced her father, a doctor, to take time away from the hospital. He did. They went. It was freezing.
"We'd line up outside of the theatre door in the hope of catching him. It was bitterly cold, and at some point you'd have to either go inside or be prepared to go to the hospital," she laughs.
There were fans — but especially female fans, it seemed — from everywhere: Japan, Korea, Germany, Australia, the U.K. They showered Reeves with gifts, ranging from flowers and stuffed animals to live ones (someone sent two goldfish in a bowl). A couple of eager fans even trailed him to a greasy spoon in search of a souvenir.
"Some of the kids who were following him, they snapped up his fork," laughs Joan Stephens, director of marketing at the Manitoba Theatre Centre. "I guess it's better than tattooing his name on your ass."
Piotrowski did neither (unless there's another secret she's yet to reveal). But when the curtain fell on The Tragedy of Hamlet, Prince of Denmark, then Julie, Teen of Chicago, saw a golden opportunity. Scattered on a few seats in the theatre, on the floor, in the lobby, were programs. Programs bearing Keanu's name and a small photo.
She scooped as many as she could — about 50. She also bought at least a dozen T-shirts and posters and took everything back to Chicago. It was a side of Julie her dad had never seen.
"At times, I felt that we did not go as father and teenage daughter," he says. "I was her agent and she was the buyer, and we were on some kind of safari."
At first, Julie dutifully mailed some programs off to her heart-broken online pals who'd been unable to travel to see their sweetheart perform. But then an upstart called eBay came along. And the young Ms. Piotrowski was no fool. "I realized those are pretty valuable."
She put the first program online. Then she waited. And waited. For days, it sat at five bucks.
"All of a sudden, in the final five minutes, it would go up to $250 or $300! I was also selling the posters and T-shirts I bought for about $250 or $300 apiece."
Knowing the market for programs would collapse if she dumped everything, she has been wise, selling them sparingly over the years. She has also kept her eye out for other Keanu collectibles, and has, on one other occasion, shown remarkable resourcefulness.
At a concert by Keanu's band Dogstar, Julie noticed some young women tossing their bras onstage. That didn't interest her. What did was when Keanu finished a beer during a set.
"I took his beer bottle off the stage — and sold it on eBay for $260." (It was a Heineken, by the way.)
In all, she calculates that she has made at least $8,000 — nearly everything the result of that one night she spent with Keanu in Winnipeg. As for her father, he jokes that he has yet to receive any compensation for his efforts.
Keanu, Julie often says, "Paid for my U-Haul to New York City ... and has sort of carried my bank account when it was at the bottom of things."
Despite the fact Piotrowski eventually left Keanu behind (to go to college, where she "got a life"), she's still in possession of a few choice nuggets waiting for the right moment to sell, including — wait for it — a 1989 box of Bill and Ted's Excellent Cereal. The unopened, and likely inedible, collectible will go, some day, to the highest bidder.
Sunday, August 03, 2003
Fun News Update:
Paulie a.k.a Durnan Sawchuk and Keanu are playing in a charity ice hockey game to support "SCORE".
NHL vs. Hollywood
SCORE's 3rd Annual Celebrity Hockey Game
Sunday, August 17, 2003 4:30 - 7:30 pm
Health South Arena, El Segundo.
SCHEDULED TO PLAY
| NHL STARS Luc Robitaille [LA Kings] Rob Blake [Colorado Avalanche] Darren McCarty [Detroit Red Wings] Kip Brennan [LA Kings] Nelson Emerson [LA Kings] Daryl Evans [Former LA Kings] Glen Murray [Boston Bruins] Brad Norton [LA Kings] Robyn Regehr [calgary Flames] | HOLLYWOOD PLAYERS Keanu Reeves Michael Vartan David Boreanz D.B. Sweeney Alan Thicke Steven Carell Rachel Blanchard Enrico Colantoni Dave Coulier Brendan Fehr Paul Guilgoyle Jay Harrington Alexi Lalas Ken Olandt Michael Rosenbaum |
| General Admission: $20 1 SCORE NHL v. Hollywood ticket 1 ticket to a LA Kings regular season game with a coupon to get a second Kings ticket at a discounted price 1 ticket to a LA Kings exhibition game 1 LA Kings poster | VIP Admission: $95 1 SCORE NHL v. Hollywood ticket 2 tickets to a LA Kings regular seasongame 2 tickets to a LA Kings exhibition game 1 LA Kings poster 1 ticket to VIP reception and autograph session after game |
Limited Quantities Available! Buy your tickets now.
Tickets by Mail: Send check to SCORE, P.O. Box 251255, Los Angeles, CA 90025
Join us for a great game supporting an even greater cause!
About SCORE:
SCORE (Spinal Cord Opportunities for Rehabilitation Endowment) has its roots in hockey. The organization was founded in March 1999, when Sean Gjos was injured while playing for the UCLA club ice hockey team. In response to his injury, Sean's friends created SCORE to assist Sean and others like him who suffered spinal cord injuries.
SCORE fills a unique space in the spinal cord injury community by focusing its grants and activities on young athletes who incur a spinal cord injury while participating in sports and by funding emerging researchers involved with innovative studies in the search for a cure for paralysis.
Learn more about SCORE at www.scorefund.org
All proceeds benefit SCORE, dedicated to supporting the rehabilitation of young individuals with spinal cord injuries and to funding innovative paralysis research.
Incentives attract filmmakers to Oregon
[Statesman Journal June 29, 2003]
Movies that come to Oregon ideally are big-budget affairs such as “The Hunted,” which lived large when it was in Oregon in 2001 and 2002 and left behind a record $30 million.
But there still are a lot of movies that don’t spend that much money, movies that are in the $1 million to $10 million range.
“The Hunted” doesn’t come along that often, which is why the state of Oregon also is interested in the little bread-and-butter movies — movies that don’t boast caviar budgets. but keep the film-support industry and local crews working through thick and thin.
That’s why it was good news that Gov. Ted Kulongoski agreed to tap the state’s Strategic Reserve Fund to enable a film called “Thumbsucker” to come to Oregon.
“Thumbsucker,” which starts seven weeks of filming July 9, is a modest tale about an insecure teenager who is concerned about breaking his thumb-sucking addiction.
What’s notable about the $3 million film, which will be filmed in Beaverton, Vernonia and at Trillium Lake near Mount Hood, is in part, the cast. The lineup includes Keanu Reeves, Matthew McConaughey, Vincent D’Onofrio and Tilda Swinton.
Lou Taylor Pucci plays the young hero, with Reeves as the orthodontist who hypnotizes Pucci to help him.
Also notable is the fact that the governor’s willingness to offer a financial incentive sealed the filmmaker decision to come to Oregon.
“It was another case where the creators wanted to be in Oregon, and the financiers said ‘Why not go to Canada?’,” said Veronica Rinard, executive director of the Oregon Film & Video Office.
The governor helped craft a package that offers the filmmakers a rebate of 10 percent of the money they spend in the state, up to $100,000.
The fund last was tapped for this purpose in 2002, when a small family film, “The Dust Factory,” filmed in Portland, Hillsboro and other locations. The filmmakers also received a $100,000, after spending $1.9 million in Oregon.
If Oregon could offer this incentive more often, filmmakers would be coming more often, whether the budget is big or small, Rinard said.
“I think we’d have a lot of people knocking on our doors,” she said.
The reason is that moviemakers are cost-conscious and like being wooed. There are some 300 organizations like the Oregon Film & Video Office around the world trying to lure Hollywood, and they often have a lot more to offer financially than we do.
Additionally, production costs are cheaper in places such as Canada, which has a favorable exchange rate and established government incentives.
You can see why they want the business. Even with its relatively small budget, “Thumbsucker” will employ some 300 Oregonians and leave most of its money here.
The glamour doesn’t hurt either, not with someone like Reeves, who currently is making lots of money with the “Matrix” movies.
The film office, which is struggling to survive the state’s current budget crisis, has initiatives that would bring more such movies to Oregon — big and small.
Senate Bill 313, which has passed the Senate and is in the House Revenue Committee, pending some movement on the state’s budget plans, would create an Oregon Production Investment Fund.
The fund would rebate productions
10 percent of their actual spending in the state — up to $250,000 per single feature film or television movie production.
For television series, it would be $30,000 an episode.
The fund will not be financed through the lottery, as originally proposed, but would receive monies from many sources. One provision offers a tax credit to Oregon taxpayers who contribute to the fund, with up to $1 million a year certified for tax credits.
Even that isn’t enough, and Rinard is looking for other sources which would provide additional incentives for filmmakers.
Another film will be made in Oregon at the same time as “Thumbsucker.” It’s a small project called “Mean Creek,” a film starring Rory Culkin with a storyline about a group of kids who kill the school bully. The story takes place on a single summer day along an Oregon river.
Jacob Estes is the writer and director of the Whitewater Films project.
This one didn’t require an investment credit to come to Oregon, but if we wait for such films to happen into our midst, we may find they don’t happen very often.
Ron Cowan can be reached at (503) 399-6728.
Denerstein: What spins sequel cycle?
[Rocky Mountain News May 17, 2003]
One of the big questions to hang over The Matrix: Is Keanu Reeves' Neo "The One," the man chosen to save humanity from the illusory world in which machines have imprisoned it?
The one? Not if Hollywood can help it. When it comes to big-grossing movies, one is never enough.
With X2: X-Men United and The Matrix: Reloaded now at theaters near you (and everyone else in the Western Hemisphere), Hollywood's summer of sequels is seriously under way.
As of this writing, it wasn't known how much Reloaded, the eagerly awaited sequel to the 1999 original, would gross, but one expects phrases such as box-office bonanza to get a workout in Monday's news stories.
Reloaded, which cynics might say is repetitive enough to have been called Reiterated, is only one of more than a dozen sequels scheduled to arrive on the nation's screens this summer.
Among June's big titles: 2 Fast 2 Furious and Charlie's Angels: Full Throttle. In July we'll see T3: Rise of the Machines, Legally Blonde 2, Lara Croft Tomb Raider: The Cradle of Life and Bad Boys II.
These days, not only does Hollywood want to give us what we pay for, but it's intent on giving us what we already paid for. And we evidently can't wait to crack open our wallets.
Many factors account for this epidemic of sequels.
� Money.
What? You thought it wasn't about the money?
I've read that The Matrix: Reloaded and its next installment, The Matrix: Revolutions, cost a combined $300 million. Fourteen-minute car chases (with amazing effects) don't come cheap, and that's only one of Reloaded's better bits.
If you're spending that kind of money, you tend to want guarantees that you'll have a shot at getting it back - and then some. Originality isn't your favorite word. You want a movie with a box-office pedigree.
Money also breeds scale, giving some of this summer's movies near-imperial ambitions. According to a recent issue of Variety, Reloaded opened at 3,603 theaters with a record 8,516 prints. That's not only reloaded, it's preloaded.
Five minutes into the movie, you'll know you're watching an entertainment that has been supersized, its images blown up and screaming with action.
Summer tends to bring MMD (movies of mass destruction), and we're not the least bit shy about hyping our weapons. Such aggressive thinking breeds expectations that require at least as much marketing savvy as artistic skill, and it can be fun watching studios thrust and parry.
Why was Down With Love, a retro romantic comedy starring Renee Zellweger and Ewan McGregor, released in the same week as Reloaded? One answer: to appeal to women who don't want to spend a couple of hours watching Reeves fight Agent Smith - or, more precisely, hundreds of Agent Smiths.
� Lack of imagination.
In many ways, Reloaded is an extremely imaginative movie. Its effects are so witty and smart you could easily make an argument that the movie's directors (brothers Andy and Larry Wachowski) are among the most creative minds working in movies.
But that doesn't mean Reloaded contains any significant originality of thought. The story inches forward in Matrix: Reloaded (the third installment is due in November), but the first movie had more to say, and it also had more mind-warping power.
The Wachowskis evidently conceived of the project as a trilogy. But visions often die hard in an industry that loves the bottom line and has made box-office results as familiar to laymen as box scores.
"You fail. We bail." That might be the motto of the money men.
No matter what the Wachowskis had in mind when they began their Matrix journey, they'd never have gotten a chance to complete it had the first movie not turned into a smash, barreling out of nowhere to gross more than $450 million worldwide.
� The audience.
We can't shirk our responsibility in all this. As a culture, we seem more eager to repeat past pleasures than to search out new ones. We want lightning to strike the same place twice, maybe even three times. For us, been there, done that are not dirty words.
� Television, the all-purpose demon.
We've become so attuned to the episodic mentality of television that we're in danger of losing our taste for fictional works with distinct beginnings, middles and ends. In its ubiquitous, open-all-night environment, American entertainment has expanded way beyond the notion of discreet works meant to be considered individually.
In the entertainment continuum, it's possible to return Arnold Schwarz-enegger to his Terminator roots long after the buzz has died. If this doesn't work, Arnold - who hasn't set many turnstiles spinning lately - really might have to try his hand at politics.
None of this necessarily precludes artistic achievement, although it usually works against it. Even the best television series (The Sopranos and Six Feet Under, for example) have a tendency to lose steam with each succeeding season. I'm addicted to both shows but don't believe either has much left to say.
Now, don't think sequels represent the easy way out for filmmakers. In Reloaded, the Wachowskis work hard to bring value to their audience, and the movie's action sequences are vivid, sometimes to a degree that borders on astonishing.
Moreover, the Wachowskis are geniuses at absorbing pop-cultural currents and allowing them to stream into their own big river. You can almost feel them breathing expanded vision into every frame.
X2 is better than the original. Other summer sequels might outdo their predecessors. Still, I'd love to see a season with a little less familiarity.
I'm not holding my breath, though. Might as well wait for the day Disneyland is converted into a series of specialty bookstores.
Semiotics, anyone?
The Comic Book Fairy
[Sequeltial Tart 01/08/2003]
Everyone dallies with the idea of being someone else for a day, just to see what it would be like. But this month in Tart To Heart we put a slightly different spin on that daydream ....
"After a long, mind-numbing day, the Comic Book Fairy appears and offers you a vacation: twenty-four hours living the life of any comic character of your choice. If you could, who would you be for a day?"
Kim: Since it's only 24 hours, I think I'd want to try being all kinds of wild characters who do really risky or questionable stuff — so I can see what it's like, but not really risk too much!
I'd like to be John Constantine when he is caught in some really tight spot, but then gets out of it in some really ballsy and clever way. I would love to have that kind of nerve, just briefly.
Catch a Wave and You've Got a Documentary
[New York Times 03/08/2003]
HE'S not coming back," hisses the F.B.I. agent Johnny Utah (Keanu Reeves, possibly the only actor who could get away with playing a character whose name sounds like a pro baller's online pseudonym) at the end of "Point Break" (1991). Then he watches his quarry (Patrick Swayze) surf away on a monster wave that must have been rolled by Neptune himself. Utah's line may just typify how real surfers feel after seeing wave-rider movies. Surfing seems almost impossible to ruin on the big screen — it's so photogenic that it's hard to believe that color film wasn't invented just to capture it.
Nowhere is this quality more evident than in the beautifully made documentary "Step Into Liquid" (opening Friday), which is such a gorgeous recording of the spume-slathered sport that cinemas screening the picture would do well to sell boards at the concession stands.
"Point Break" (1991), directed by Kathryn Bigelow, is one of the many films that try to bring the thrill-addict speed of surfing to a fictional plot. "Blue Crush," one of last summer's theatrical releases and one of this summer's cable-TV mainstays, tried to do the same. It sent a group of righteous babes to tame both the waves and the men in their lives: "Where the Boards Are." But for a sense of what surfing does — the rush of noise that seeps into your ear almost a beat after the wave has shoved you off the board — fiction films aren't the way to go. The finest and most evocative sports movies tend to be documentaries, and that rule applies to surfing, too.
Surfing documentaries shouldn't be classed with other movies about water sports, however; they're films about devotion. Though the documentary "The Endless Summer" wasn't released until 1966, its director, Bruce Brown, had begun shooting his tribute to wave obsession in 1962. He completed his round-the-world stalking in 1964, and two years later the picture began sneaking into theaters and drive-ins, despite a lack of interest from distributors, who thought the movie's fan base would not extend even as far as the beach bums manqués who sat nodding their heads to Dick Dale or the Beach Boys on their car radios. (Legend has it that Mr. Brown himself rented the Manhattan theater for the New York run of "The Endless Summer," and its subsequent box office success still left exhibitors muttering "fluke" under their breaths.)
Mr. Brown had already made a career of filming surf's-up narratives, with earlier projects like the quaint "Slippery When Wet" (1958) and "Surf Crazy" (1959), pictures that traverse the beaches of California and Hawaii in search of the ultimate tube. What Mr. Brown did with "The Endless Summer" was to cast off the tanning-booth stereotype that was associated with the sport after the 1960's beach movies: they had featured posing male starlets who didn't seem to know the difference between surfboard wax and floor wax. Waxen is actually the best word for the casts of movies like "Ride the Wild Surf" (1964), which stars Fabian and Tab Hunter. (The movie that probably started it all, the 1959 "Gidget," used real-life surf heroes from Malibu as the models for some of its board-hanging crew.)
"The Endless Summer" was redolent of a dharma-bum cool that fit neatly with the awakening youth interest in Eastern philosophy and the search for a force bigger than oneself. Mr. Brown follows the dedicated boarders Robert August and Mike Hynson, whose unaffected go-with-it spirit and go-after-it attitudes are the stuff movie adventurers have to act to evoke. Mr. Brown's own fresh-air naïveté gives the film a sweetness as distinctly summery as soft-serve ice cream.
THE film tracks its breaker chasers, as Mr. Brown's cameras gaze reverently at his two wholly irreverent heroes. This is one of the rare documentaries that allows for the gasps and sighs of the audience. The fluid vistas slamming into the cameras as the surfers slice through them were guarantors of inspiration, and Mr. Brown's mastery of his craft had grown — his previous films were more affectionate than adept. His jazzy narration is also appreciably better in "The Endless Summer." (Surf-documentary collectors can now own his entire series of surfing films, available in a video six-pack. His other adrenal-gland parties include the motocross film "On Any Sunday.")
Documentaries on surfing often have a compelling, unadorned quality. But when dramatic film directors use every reality-bending trick at their disposal to make audiences believe that actors are actually threading the pipeline, the movies just look cynical.
Dana Brown, the director of "Step Into Liquid," came by his love of moviemaking and water naturally: he worked as a writer on "The Endless Summer" and on its sequel, the blissful "Endless Summer 2." (The director happened to be his father.) The cinematography of "Step Into Liquid" captures the pearly luminosity of water — molten, bubbling mercury that surfers dance over, a living medium transforming itself from one state to another as the sun moves across the sky.
Dana Brown's movie is a much more active and stripped-down film than his father's surfing documentaries. He assumes, correctly, that the world no longer has to be educated about surfing. The Browns are a filmmaking dynasty who deserve far more attention than they've earned so far. They not only made the world ready for tube-sailing highlights in theaters — they also left the crowd ravenous for the real thing.�
The information sewer
[The Star.com 03/08/2003]
EYEING THE MATRIX: In keeping with the popularity theme, fans of The Matrix Reloaded should check out the ocular site for Blinde Eyewear (http://www.blinde.com), the high-style eyeglass firm that designed the movie's cool shades.
The specs for the specs are all here, along with the pricey prices, and favourites once again hold sway — the sunglasses worn by the film's heroes Neo (Keanu Reeves), Morpheus (Laurence Fishburne) and Trinity (Carrie-Anne Moss) are currently sold out (they're taking orders for future shipments).
The models worn by villains Agent Smith (Hugo Weaving) and the ghastly Twins (Neil and Adrian Rayment) are still in stock. Good triumphs over evil, if only at the eyeglass shop.
The site is also worth studying as a model of commercial Web design. It has been cited for its effective use of Flash animation.
The Teens Choice
From Yahoo! News
Actor Keanu Reeves poses with his surf board award, for best drama film for his role in 'The Matrix Reloaded', at the 2003 Teen Choice Awards in Los Angeles, August 2, 2003. The awards show will be telecast on the Fox television network August 6.
Actor Keanu Reeves holds his surfboard after the film 'The Matrix Reloaded' won 'Choice Movie Drama' at the Teen Choice Awards in Universal City, California August 2, 2003. Reeves starred in the film.
Saturday, August 02, 2003
Boys & Girls Club Auction Aug. 16
[Greene XTN 03/08/2003]
The annual Boys & Girls Club Celebrity Auction has an assortment of items available this year that should appeal to a wide variety of the public. With some of the items are, from left: Susan Vance, with a picture of Peyton & Archie Manning signed by both; Rick Taylor and Logan Taylor, holding an 800th win basketball signed by UT Lady Vol Coach Pat Summitt; Scott Bullington, holding a helmet from the local Tusculum College Pioneers; Dr. Michael Menz, holding a framed picture of the cast from The Andy Griffith Show printed with autographs by all the original cast; State Rep. Eddie Yokley, with a football signed by UT Vols football coach Phil Fulmer; Nata Jackson, holding a miniature Landair collector truck and a flag that flew over the state capital with a letter from Governor Phil Bredsen. The auction is set for Saturday, August 16, at Trinity United methodist Church with dinner and item preview from 6-6:45 pm, and the auction starting at 6:45. Tickets are available by calling Scott Bullington at 787-9322.
What do Pat Summitt, Denzel Washington, Mohammad Ali, Tom Cruise, Vin Diesel, Julia Roberts, Henry Winkler, Senator Bill Frist, Terry Bradshaw, Randy Travis and Sharon Stone have in common?
They have all donated items for the 4th annual Boys & Girls Club of Greeneville & Greene County Celebrity Auction to be held Saturday, August 16th, at Trinity United Methodist Church.
A buffet dinner is available from 6:00-6:45 pm and pre-auction item preview will be going on at that time. At 6:45 pm the auction of starts. Tickets are on sale for $20 each and can be purchased at the Boys & Girls Club of Greeneville & Greene County located at 740 West Church Street.
Call Scott Bullington at 787-9322 for more details. The Boys & Girls Club is open Monday-Friday from 7:45 am until 5:30 pm for the summer program that runs until Wendesday, August 13th. The club hours will then be 9 a.m. until 6:30 pm weekdays.
The auction will be set up with some items going live and others as a silent auction, due to the large volume of items that will be on sale.
Items range from signed scripts and photos, footballs, movie posters, basketballs, helmets, books, wall posters, shirts, golf hats and many other autographed items of interest. Local food certificates, golf passes, and other items will also be on sale at the auction.
Title sponsors for this year’s event include: EcoQuest International, EcoQuest Printing, Forward Air, Landair Transport and Warehouse Logistics. Summers Taylor will be sponsoring the dinner and Vulcan Materials will be sponsoring the bid table.
Table sponsorships to date have come from Andrew Johnson Bank, C & C Millwright, First Tennessee Bank, Greene County Bank, Greeneville Parks & Recreation, Laughlin Hospital, Lawson Chevrolet – Mountain Mazda Mitsubishi, Orthopaedic Center of Greeneville, Takoma Hospital, TI Automotive, and Town of Greeneville. There are still some table sponsorships available and the club is still accepting items for the auction.
Scott Bullington, executive director of the local club, stated that the club mails out about 3,000 letters each year to celebrities, studios, agents, sports clubs and other notable people requesting items to benefit the club and it’s many activities.
“We have received almost 300 items this year and we are still getting a few things each day,” stated Bullington. “It’s really nice that we have some people that have sent us an item each year of the auction. Peyton Manning, John Travolta, Bobby Bowden and a few others have sent us items each year. We have items that have come from all over the world. Just last week, the club got some items from Jackie Chan and the post mark was from Hong Kong.”
The club has items from sports, politics, TV, publishing, movies and o
ther celebrities. “It is really great for our club’s kids to see that these people from around the world care enough to take the time to send something for our auction to benefit the kids of our community. It really makes me appreciate them more,” said Jim Carter, board president.
Events such as the auction help to fund the local Boys & Girls Club programs. School year membership at the Boys & Girls Club is just $5 per child per year and $45 for the regular summer program. The club also gives out many scholarships to those that cannot afford a membership for club programs.
The club is open to all school age youth that reside in Greeneville and Greene County. It has various programs for youth development including: character and leadership development, the arts, sports, fitness and recreation, education and career development, and health and life Skills.
The club has received several state and local awards for their community involvement and youth development programs for the youth of our community. The Boys & Girls Club has over 400 members and serves many more youth each year through their school outreach projects and junior sports events.
Nata Jackson, board member and event chairman, stated, “We really have a lot of great items this year, especially from local businesses that will help make for a great selection at this year’s auction.”
Here are just a few of the people, listed by category, that have donated items: Baseball: Joe Torre, Robin Roberts, Bob Uecker, Jim Lonborg, Robin Yount, and Bowie Kuhn. Basketball: Buzz Peterson , Mike Davis, Rick Pitino, Dean Smith, Robert Parish, Pat Summitt, Gene Keady, Chuck Daly, Steve Alford, Cliff Ellis, Lou Carnesecca and Oliver Purnell. Football: Bobby Bowden, Barry Alavarez, Chuck Bednarik, Peyton Manning, Archie Manning, Joe Paterno, Coach Nick Saban, Mike Singletary, Allen Page, Mercury Morris, Jon Cappelletti, Dallas Cowboys Cheerleaders, Johnny Lujack, Ron Zook, Mean Joe Greene, Troy Aikman, Earl Campbell, Tommy Bowden, Terry Bradshaw, Todd Christiansen and Lance Alworth Golf and Tennis: Greg Norman, Lee Trevino, Anna Kornokova, Steffi Graf, Fuzzy Zoeller, Bob Gilder and Tom Watson NASCAR: Kurt Busch, Michael Andretti, Darrell Waltrip, Joe Bessey and the NASCAR Crew Chief Club.
Television Celebrities: Kevin Sorbo, Jay Leno, Peter Falk, Annie Potts , Melissa Joan Hart, Ed Asner, “Becker” cast picture, Ted Danson, Wheel of Fortune Fan Pack, Vanna White and Pat Sajack; Larisa Oleynk, Shemar Moore, According to Jim cast photo, Jim Belushi, Courtney Thorne Smith, Angela Lansbury, Russell Johnson, Bob Barker, Donna Douglas, Linda Evans, Vicki Lawrence, Victoria Principal, David Hyde Pierce, Ed McMahon, Erin Gray, Rita Moreno, Peta Wilson, Michael Damian, Sela Ward, Pamela Anderson Lee, Joan Rivers, Dyan Cannon, Willard Scott, Andy Griffith Show w/ entire cast, “Six Feet Under” script, Don Knotts and Betty Lynn, Rosemary Murphy, Hollywood Squares autographed T-shirt signed by fourteen including Vivica A. Fox, Reba McEntire, Martin Mull, John Ritter, Harry Winkler, and others Movie Stars: Toby McGuire, Tatum O’Neal, Dick Warlock, Robin Williams, Denzel Washington, John Travolta, James Caan, Elizabeth Taylor, Mel Brooks, Charlton Heston, Leslie Ann Warren, Marisa Tomei, Randy Quaid, Tea Leoni, Claudia Christian, Robert Duvall, Lee Lee Soboski, Jim Carey, Chris Noel, Robert Redford, Pierce Bronson, Vin Diesel, Tom Cruise, Brad Pitt, Keanu Reaves, Sharon Stone, “Girl Happy” script Elvis Presley/ Chris Noel movie, Barbara Leigh, Julia Roberts, Susan Sarandon, Caroline Munro, Wesley Snipes, Meg Ryan, Kristy Swanson, Cameron Diaz, Catherine Zeta Jones, Bunny Yeager and Jackie Chan.
Music Business Celebrities: Buck Owens, Dolly Parton, Ray Charles, Florence Henderson, Randy Travis, LeAnn Rimes, Britney Spears, Cher, Indigo Girls, Don Ho, Tracy Lawrence, Mannheim Steam Roller, The Lennon Sisters, Louise Mandrell, Phil Phillips, John Tesh, Bobby Sherman, Jessica Simpson, Tim McGraw, two tickets to the Grand Ole Opry in Nashville, Rick Dees, R.E.M. and Loretta Lynn.
Authors and Autographed Books: Dean Koontz, GB Trudeau, Elie Wiesel, Jane Goodall, Barbara Leigh, Sam Nunn and Robert F. Kennedy Jr.
Television Wrestling Stars: Stone Cold Steve Austin, Chris Benoit, Edge, Matt Hardy, Hulk Hogan Brock Lesnar, Lita, Shawn Michaels and Kurt Angle Politicians: Elizabeth Dole and Bob Dole, Prince Albert of Monaco, Senator Bill Frist, Don Sundquist, President Jimmy Carter and Rosalyn Carter, Senator Joseph Lieberman, Senator John McCain, Lt. Governor Steve Henry and his wife former Miss America Heather French Henry, Congressman Bill Jenkins, Senator Dick Lugar, Senator Orrin Hatch, Governor Phil Bredesen, Milton Freedman, Lady Byrd Johnson, State of TN and US Flag that flew over the Tennessee State Capitol.
Other Notables: Shannon Miller, Susan McDougal, Donald Trump, Phil Knight, Jason Morris, Guion S. Bluford, La Times –Raminez art, Heidi Fleiss, Robert Shapairo, Dear Abby, Dan Brandestein, Amanda Bearch, Nadia Comaneci, Jack Hanna, Muhammad Ali and Smokin’ Joe Frazier Local Items of Interest: Golf Cart & Green Fees for 4 to several local courses, Coca-Cola Clock, Car Wash and Detail from Jadie’s Car Wash, Items from the Wal-Mart Distribution Center/Transportation Division, Augustino’s Restaurant, Stan’s Bar-B-Q, Monterrey Mexican Restaurant, Pizza Inn, Captain D’s Seafood, Bel Air Grill, Applebee’s, Fatz Café, JC Penney and many other local items.
Divs lost in the Matrix
[Townsville Bulletin 03/08/2003 By Matthew Horan]
THE Matrix Reloaded has failed to save Village Roadshow from the wrath of angry institutions after the film-maker rolled over to payout demands last week.
Village offered a $300 million buyback of its preference shares to stave off costly legal action.
The company had announced it would not pay dividends on its preference shares – the ones normally first in line for profits – and would keep that $25 million in the kitty to help finish The Matrix Reloaded.
The film – starring Keanu Reeves as the confused but uber-cool Neo – got a critical kung-fu-ing but still managed to pour about $460 million into Village.
A second sequel, Matrix Revolutions, is expected to contribute a similar amount in December as filmgoers troop back into cinemas in the hope of making sense of Reloaded's plot.
These profits weren't enough for the institutions that own most of the preference shares – especially when they realised the Matrix profits would be churned back into the $1.4 billion revolving credit facility Village has to finance its next 40 joint-venture films with Warner Bros.
"We, along with BT and Hunter Hall, threatened legal action, and we were going to carry out that threat," Investors' Mutual investment director Anton Tagliaferro says.
"We wanted the dividends."
Village last week made an offer to buy out preference shareholders for $1.25 a share, up from 73c. The payout will be 25c up front, with a $1 unsecured note paying 10 per cent interest, which will be repaid over three years. It will cost the company about $300 million to buy the shares back. "We'd issued the preference shares about 10 years ago when we were primarily an exhibition company with a fairly predictable, steady cash flow," Village managing director Graham Burke says. "We've now sold out of a lot of that, and the company has shifted to become much more a production company. "You get many more swings in cash flow than an exhibition company, and we found ourselves at odds with the wishes of the preference shareholders.
"We've tried to arrive at an elegant solution." Tagliaferro says the solution is "a sort of compromise". "We get $1.25 over three years, plus a 10 per cent yield, which is better than a preference share of 80c not paying any dividend. "The downside is that we lose all our equity exposure to Village, so if its shares go up, we won't get the capital growth. "But it all depends on how you feel about Village's new direction of producing blockbusters. "We don't agree with it, so we'll be happy to exit."
Burke says there is less risk in producing blockbusters, but Village will have to "pull its horns in" on growth forecasts because of the cost of the buyback.
Fat Prophets analyst Angus Geddes says Village is probably under-valued.
"They're buying back preference shares, so they've obviously got a favourable view of the company's worth," Geddes says. "It's the Kirby family (Village's major shareholder) being opportunistic and buying shares back when they're depressed. "They (the Kirbys) certainly had a run of bad luck, but their strategy on film production has some merit. "They've decided to back blockbusters, and even though these cost more, they have a lower financial risk."
Friday, August 01, 2003
Fighting the war on error
[smh.com.au By Mike Carlton August 2 2003]
The Foreign Minister, Lord Downer of Baghdad, has denied that Australia has been listed as an al-Qaeda terrorist target in warnings issued by the US Department of Homeland Security.
"That suggestion is absurd," he said in Tokyo yesterday, where he is visiting for talks with Japanese ministers. "These assessments are made by the same intelligence people who uncovered Saddam Hussein's weapons of mass destruction. They don't make mistakes.
"And, anyway, even if we are on that list, we all have our fridge magnets," he added. "There is no cause for alarm."
Earlier, Lord Downer was forced onto the defensive after mistakenly believing he was in Stockholm rather than Tokyo, several times referring to discussions "here in Europe".
"In fact, the two cities are quite similar and can be easily confused," the Foreign Minister told a hastily convened media conference at his hotel in Tokyo's bustling Akasaka precinct. "They are both in the northern hemisphere."
Foreign Affairs officials said the minister had begun to suspect he was not in Stockholm after noticing that signs along the expressway from the airport were all in Japanese. His suspicions were confirmed by Australian intelligence officials, who agreed that the hotel staff looked more Asian than Scandinavian, being squat and dark-haired rather than tall and blond.
Clearly annoyed at the error, Lord Downer nonetheless rebuked the media for playing up what he called a minor discrepancy. "This sort of criticism is not helpful," he said. "It's time we all agreed we are in Tokyo. Any reasonable person would accept that this is the capital of Japan whereas, of course, Stockholm is the capital of Norway." HEARTENED by favourable public reaction to his decision not to build the Badgerys Creek airport in western Sydney, Simon Crean has flagged a range of similar bold new policies.
"There's a lot of other important things that a Crean Labor government won't be doing," the Opposition Leader told a woman shopper during a lunchtime walkabout at Bankstown Square yesterday. Mrs Fatima Ayoub, 43, had asked Mr Crean for an autograph, thinking he was a member of the cast of the TV show Blue Heelers, and was surprised to find herself chatting privately to the alternative prime minister for an hour and a half.
"I can't say at this stage exactly what will not happen when we're in power," he told Mrs Ayoub. "But I am calling our policy Nothing Nation because there'll be nothing doing. It it has been thoroughly costed at $637.5 billion over three years, and fully funded." Labor sources say Nothing Nation will be carefully targeted at swinging voters in key marginal seats. "There'll be nothing to offend any of them," the sources said. The policy is being driven by Labor's shadow treasurer, Mark Latham, the firebrand member for Werriwa in Sydney's south-west. Mr Latham will fund it by cancelling the plans of the former Labor leader, Kim Beazley, to purchase three nuclear-powered carrier battle groups for the navy. He has also foreshadowed a new tax on what he says are inappropriate Christian names.
"I am sick to death of those f---ing silvertails in the snob suburbs calling their kids poncy names like Nicholas and Sarah," he told caucus colleagues last Tuesday. "If they want to do that then they can f---ing well pay for it."
Mr Latham said he approved of more contemporary names like Britnee and Madison for girls, and Daymon and Keanu for boys, all popular with real people, but he believed it was also time to move on. "Some of what we take from the f---ing rich will fund research into exciting new names for children," he said. "Just the other day I met a baby girl named Taylah-Deziray. That's the sort of creativity Labor wants to encourage." FEDERAL cabinet is considering sweeping media reforms which would see the Communications Minister, Senator Richard Alston, becoming the new chairman of the ABC and also hosting a drastically revamped 7.30 Report on television.
A confidential cabinet submission obtained by the Herald reveals that Alston would have a role like the former Iraqi information minister, Mohammed Saeed al-Sahaf, as both the source of official Government news and its sole presenter. Other ABC current affairs programs on radio and television would be axed or sold to Rupert Murdoch's News Ltd media group.
A senior minister has told the Herald that only drastic measures would root out the ABC's entrenched Marxist bias.
"John Howard is furious that his hand-picked ABC chairman, Donald McDonald, has defected to the leftist elites," he said. "Alston will go in boots and all. His easy charm and boyish good looks will be a television ratings winner."
New programs would include: Road to Glory, a 13-part costume drama based on the life of broadcaster Alan Jones, starring the men's 4 x 100 metres medley relay swimming team and Anthony LaPaglia as the lovable radio pundit. Quadrant, a spin-off from the Big Brother reality TV series. Leading intellectuals such as Keith Windschuttle, Janet Albrechtsen, Piers Akerman and Professor David Flint would be locked up in the Union Club in Sydney with cameras rolling as they congratulate each other on the globally admired renaissance of Australian conservative thought.
"The lefties will learn it's not their ABC, it's ours," the minister said.
DVD collecting reaches hits-and-memories era
[smh.co.au By�Garry Maddox August 2 2003]
Stuff the toddlers, a boom in DVD players has turned us on to the golden oldies.
Quick quiz: what was the first DVD released in this country? Answer: Evita, in late 1997.
That's an interesting piece of trivia for two reasons. It's probably the only film starring Madonna that has made a mark and shows how recently the DVD player arrived in our lounge rooms. Well, some of them.
Six years ago virtually only technophiles had a DVD player. The types who were videoing with mobiles while the rest of us were graduating to text messaging. But the format has since displaced the video cassette recorder in our affections. For a fast-growing section of the population, the VCR is now a way of taping television programs and somewhere for the toddler to stuff his toast.
The latest industry figures, from GfK Marketing, show 14 per cent of Australian households had a player at the end of 2001. By the end of this year, an estimated 43 per cent will have one. That means we'll buy 1.6 million players this year - more than 30,000 a week. Our enthusiasm, largely based on improved sound and picture quality, cute bonus features and a dramatic reduction in the price of players has changed the way we're being entertained. We're becoming collectors rather than renters, for example, and one thing we're collecting is music titles.
In the booming, if slightly depressing, market for music DVDs, the big-sellers in June featured Led Zeppelin, The Eagles, Robbie Williams, The Dixie Chicks, The Bee Gees, Rod Stewart and Queen. These mostly golden oldies outsold Eminem, Norah Jones and 50 Cent. There's also a boom in buying TV series. Even the venerable Clive James is taking part, admitting on Micallef this week that instead of going to the movies he was watching the entire Sopranos and The West Wing on DVD these days.
So what quality television were we buying in June? Top of the charts was The Incredible Hulk TV Pilot from the late 1970s, followed by seasons of The Osbournes, Buffy, Dawson's Creek and Red Dwarf. Your Clive James-style programs were well down the list. The really big sellers on DVD - two-thirds of all the discs being sold - are movies. The top titles in June were mostly hits in the cinema, led by Die Another Day, 8 Mile, Monsters, Inc and Two Weeks Notice. In other words, broad entertainment that can stand a second or even third viewing.
But there were some surprises in the top 10. The Animatrix, a collection of short animated films tied to the Matrix trilogy, sold particularly strongly. Also selling well was Point Break. Yes, the tragic action film from the early '90s, starring Keanu Reeves as an FBI agent hunting a gang of bank robbers and Patrick Swayze as a mystic surfer dude. The three possible explanations for its success are (a) we can't get enough of Keanu, (b) the DVD was cheap and nicely packaged, (c) with a sequel to Dirty Dancing on the way to cinemas, there's a Patrick Swayze revival.
What great news that would be. The Sydney Film Festival could put on a retrospective: his heartwrenching work opposite Demi Moore in Ghost, followed by his bouncer in Road House and his drag act in To Wong Foo. Swayze also features in the top-selling musical films in June. Behind Grease and Footloose was Dirty Dancing. We are collecting movies differently to, say, stamps. We're going for novelties, special interests and sentimental favourites, and we are buying on impulse.
DVD buying has reached the hits-and-memories era. Patrick Swayze, Led Zeppelin and The Incredible Hulk TV series live on.
THE HIGH FIVES
TV
Most-watched programs, week to July 26
1 Nine News - Sunday (9) 2.42 million
2 The Block (9) 2.36 million viewers
3 Big Brother - Final Eviction (10)
2.27 million
4 CSI Miami (9) 1.81 million
5 Big Brother - Live Eviction (10)
1.77 million
OZTAM
CDs
Top-selling albums, week to July 27
1 (1*) Vulture Street (Powderfinger)
2 (2) Innocent Eyes (Delta Goodrem)
3 (8) Fallen (Evanescence)
4 (7) A Rush of Blood to the Head
(Coldplay)
5 (3) Come Away With Me (Norah Jones)
ARIA
DVDs
Top-selling titles in June
1 Die Another Day
2 Animatrix
3 8 Mile
4 Monsters, Inc
5 Two Weeks Notice
GFK Marketing
Films
Last weekend's box office
1 (1*) Terminator 3: Rise of the Machines, $12.33 million**
2 (2) Charlie's Angels: Full Throttle $16.89 million
3 (-) Bad Eggs, $645,000
4 (4) Bruce Almighty, $19.33 million
5 (3) Daddy Day Care, $14.03 million
* Previous week's position
** Takings since release
MPDAA
Anthrax with Lamb of God and E Town Concrete
[U-San Bernando County Sun 01/08/2003 By Michelle J. Mills Staff writer]
Five years in between albums can be an eternity in the music industry, but the hiatus hasn't scared hard-core rockers An thrax. The group has kept themselves busy, touring Eu rope three times, along with stints in Japan and working on their recent release, "We've Come For You All'' (Sanctuary Records). Now they're coming home.
"I really want to work hard in America and really make the album work here. We're re-establishing our name and re-establishing the band after five years of having no record out and it's certainly not an easy hill when you don't have a lot of radio play. We're just going to do it our way on the street,'' bassist and vocalist Frank Bello said.
The lineup of John Bush, vo cals, Rob Caggiano, lead guitar, Scott Ian, rhythm guitar/vocals, Charlie Benante, drums/guitar, and Bello graced the album with performances by the Who's Roger Daltrey, Pantera's Dimebag Darrell and E Town Concrete's Anthony Martini. The video for their single, "Safe Home,'' features a cameo ap pearance by longtime Anthrax fan Keanu Reeves and is receiv ing a lot of airplay.
This smattering of stars merely supplements the strength of Anthrax's effort. Their music and their approach to creating it has also evolved.
"I think we've come a long way because we've been together so long and we do what we want. And if something's not good, we automatically look at each oth er and we just nod our head, 'Nah, that ain't gonna work,''' Bello said.
"So we get in a room, lock it, start arguing and fighting, which is always fun, which I think helps build the agression of the work and then we come up with riffs and put them to gether as songs, put melodies lines together and then lyrics come after that. If one person in the group is not happy with it, then we have to change it.''
Bello joined Anthrax after their first album, "Fistful of Metal.'' He grew up in Bronx, New York and was drawn to the limelight early.
"I've always liked to perform and music was a great way to do it. I always had to do some thing with it and I feel very fortunate that I'm able to,'' Bel lo said.
He played trombone in sixth grade and picked up rhythm guitar in high school.
"I was playing all the bass parts on rhythm guitar so when I got older I just started to play bass and it worked out easier for me,'' Bello said.
His family was supportive of his interests, "My mom and my grandmother, all my family pretty much, loved that I was musical, so it worked out to do it. It wasn't like, 'Don't do that, go to school,' it was, 'Go to school and do that.'''
At age 17, Bello graduated from high school early with honors in science and went straight out on the road with Anthrax, leaving his college dreams be hind.
"It was fun, but I always think maybe one day I'll go back. Right now I want the whole music thing to keep going. I've studied acting for nine years now, so I want to do a little more theater stuff and just have fun with it,'' Bello said.
He has performed in some "off- off-off-Broadway'' productions, trying his hand in a variety of roles.
"I've been told I'm better at drama, that I have a knack for drama, so that's good, but my personality says I want to do more comedy,'' Bello laughs. "But it's always fun, there's any way you can go with it. Os car Wilde, you can go anywhere with the stuff; Checkov, you can go anywhere. It's all fun for me.''
You can see Bello's big screen break, along with band mates Bush and Ian, in the upcoming film, "Calendar Girls,'' starring Helen Miren.
In addition to acting, Bello is writing music of his own, but without an album date in mind.
"A lot of people see me sing on stage and they like my voice and they compliment and they say, 'When are you going to do a solo thing?' When it's time, when it's the right time,'' Bello said.
His home life is busy too, as Bello and his wife, Teresa, have a dog named Zoey, two cocka tiels, Homer and Rocky, Picolo, a Pacific parolet, and three iguanas.
"My wife loves animals to death. 'Pet Detective,' when you come to my house, that's what it's like. Everybody says it's like a safari,'' Bello said. "She's online all the time finding out more, learning more. She's good, my wife, she adopts these things. She adopted one of the iguanas and she adopted one of the birds.
"Zoey, that's my baby. I love all the animals, but Zoey's definite ly tighter with me. She still loves my wife more, but I call her mine,'' Bello laughs.
Anthrax gained attention for their original sound, which took the anger found in hard- core punk and blended it with the front row guitars and vocals of heavy metal. Their musical direction helped to create the subgenres of thrash and speed metal. Bello encourages musi cians and fans to also find something different.
"Little kids getting into metal, they should check out bands; they should definitely check out originality. Don't just take what's given to you. There's a lot of great bands out there that have a lot of originality and they should give them a shot. And not only Anthrax, I think there's a lot of great bands that people don't know about,'' said Bello.
Michelle J. Mills can be reached at (626) 962-8811, Ext. 2128, or by e-mail at michelle.mills@sgvn.com .
Concrete 8 p.m. Saturday House of Blues Ana heim, 1530 S. Disneyland Drive, Anaheim $20 (213) 480-3232 or www.ticketmaster.com Anthrax returns with infectious release
HAMPTONS DIARY
[New York Post 01/082003]
August 1, 2003 -- THE village of Southampton has changed dramatically over the years — but one thing that hasn't is the community's 49-year-old dress code. And if you break it, be ready to get socked with a fine of up to $250 and 15 days in the slammer.
For those not familiar with the draconian statutes, Article 2, Section 82 states that women may not wear bikini tops and men can't go topless — unless they are within 500 feet of the beach.
Furthermore, thongs aren't allowed (so keep your butt covered!), and you can't go barefoot.
While longtime villagers know them by heart, the rules are sometimes broken by day-trippers who come to shop along the village's tony shopping strip in stores such as Ralph Lauren and Saks Fifth Avenue.
Still, local cops tell Diary they like to give folks a break, and will warn them the first time before imposing a fine.
It's gonna get wild on the beach as the E! Entertainment network hits Southampton today and tomorrow for its hot babes-and-bikinis show — aptly titled "Wild on the Beach!"
The crew, featuring curvy host Cindy Taylor, will be staying at the hip Capri Motel and filming at the hotspot Cabana and numerous other watering holes around town.
For parents who don't want to get away from their kids on vacation, there's a new resort called the Hampton Baby Beach Club. "Who will have more fun — you or your child?" is the slogan for the four-day program at the Atlantic in Southampton. There's a big pool, where storytellers whip up magical tales and attendants make fresh popcorn and cotton candy on the premises.
Various comic book and TV characters make surprise appearances and there's a petting zoo. The program costs $250 a night for an adult and one child and includes the cost of lodging and meals.
Need a break from the Hampton Jitney? Then grab a ride on the Krispy Kreme Express. It's free. The famed donut makers are offering complimentary trips to the Hamptons from Aug. 7-9 on the "Hot Light Shuttle" in celebration of their new store in Riverhead. The bus leaves from the Krispy Kreme at 1497 Third Ave., at 84th Street, on Thursday at 7 p.m., Friday at 4 p.m., and Saturday at 9 a.m.
It will make a brief stop at the Riverhead store, then continue on to Quogue, East Quogue, Hampton Bays, Southampton, Bridgehampton and East Hampton. Oh yeah, there'll be plenty of donuts.
Southampton Hospital's 45th Annual Gala, most likely the toniest party on the East End, will be A-list Central this weekend.
Billionaire David Koch co-hosts this year's event, the "Sapphire Ball," with wife Julia on Saturday night. The fete should be loaded with celebs and socialites, including hospital supporters like Steven Spielberg and Kate Capshaw, Rick and Kathy Hilton, George Soros, Charlotte Ford, Lally Weymouth, Christie Brinkley, Keanu Reeves, Vera Wang, Alan Alda and Henry Kravis.
After the cocktail and buffet dinner, '70s disco queen Thelma Houston, whose hits included "Don't Leave Me This Way," will perform her high-energy fare, following the Alex Donner Orchestra.
The other star-studded event slated for the same time slot will be the invite-only screening of "The Boys of 2nd Street Park" at the Sag Harbor Cinema. Scheduled to attend are Rudy Giuliani, Paul Simon, Howard Stern, Peter Boyle, Jeff Zucker, Lorne Michaels and Cynthia Rowley. Chairman and CEO of Showtime, Matt Blank is hosting the presentation of the Showtime film, which is directed and produced by superflack Dan Klores and Ron Berger. The after party will be held at Klores' Bridgehampton home.
By Dan Kadison, Braden Keil and Bill Hoffmann
Contact Diary at hamptons@nypost.com
Benjamin Bratt Joins Thumbsucker Source: The Hollywood Reporter
[Coming Soon Friday, August 1, 2003]
Benjamin Bratt has joined the cast of Bull's Eye Entertainment's Thumbsucker. The movie is in production in Beaverton, Oregon. The movie was adapted by Mike Mills from the Walter Kirn novel. Mills is making his directorial debut on the film.
The original comedic coming-of-age story is about a confused teen named Justin Cobb, who is growing up in an extremely dysfunctional family. In trying to conquer his thumb-sucking habit, he is forced to turn to the only semi-sane people in his life -- a New Age orthodontist and a high school debate coach.
Lou Taylor Pucci plays as the thumb sucker, Tilda Swinton and Vincent D'Onofrio star as the parents, Keanu Reeves is the orthodontist and Vince Vaughn the debate coach.
Bratt plays Matt Schraam, a television star with whom Justin thinks his mother is falling in love.
Sex-fantasy survey reveals all
[Taipei Times 01/08/2003]
THE INS AND OUTS: Pop stars outshine politicians as the nation's most desirable icons, with Hollywood actors, Kylie Minogue and David Beckham not too far behind
By Roger Cheng
Friday, Aug 01, 2003,Page 2 The Japanese-Taiwanese pop star, Takeshi Kaneshiro, and actress Vivian Hsu have become the top sex-fantasy idols of women and men from Taiwan's Generation F -- those born in the 1970s -- according to a poll released yesterday by an online human resource company.
Kaneshiro, 30, whose mother is Taiwanese, along with Hsu, 28, are both pursuing their show-business careers in Japan. Matsushima Nanako, a Japanese actress, ranks second as male respondent's favorite idol, according to the survey.The British soccer star David Beckham and local actor Liu Wen-Tsung (???) are both among women's top ten idols. Notably, a few high-ranking political figures are also mentioned in the survey.
Taipei Mayor Ma Ying-jeou and President Chen Shui-bian were ranked 53rd and 56th respectively. Vice President Annette Lu was in 58th place. Others in the top 10 for male respondents include Australian actress Nicole Kidman, cable news network anchorwoman Patty Hou, Sophie Marceau, Australian heart-throb Kylie Minogue, Oscar-winning actress Catherine Zeta-Jones, Taiwanese actress Alyssa Chia, high-profile entrepreneur Diana Chen and Hong Kong artist Gigi Leung.
The survey was conducted by the Web site www.9999.com.tw and involved 13,907 respondents between the ages of 18 and 35, who are categorized as Generation F. When asked about their favorites, female respondents placed several foreign artists on their top ten chart. The most wanted guys include Brad Pitt, Tom Hanks, Keanu Reeves, two Japanese actors Takuya Kimura and Takizawa Hideaki, artist Daniel Wu from Hong Kong and local singer Wang Lee-hom.
"It's obvious that once-popular sexually desired politicians have lost their luster and a few superstars, at home and abroad, moved up the respondents' sexual appreciation stakes," said Showline Chang , expert on psychology and associate professor of the graduate school of business administration at Da Yeh University. Chang explained at a news conference that the young people of Generation F are more ignorant of politics, with the result that more artists are moving quickly to the top of popularity charts. The poll also found that over 54 percent of the respondents would like to be single for good and nearly 75 percent are reluctant to have children.
The major reasons for the unwillingness to get married or have a baby are: first of all, a firm belief that a committed romance could last even without any legal documents like marriage certificates, and secondly, increasingly shrinking salaries that prevent people from becoming DINK, or "double income, no kids" couples, said Yang Ken-chen, chief operating officer of the Web site.
Generation F represents a group of people who think highly of a decent lifestyle and improving their living standards, said Yang, who hosted the press conference.
He said the trend among Generation F will be to determine their own destinies, as self-fulfilment are more important to them than adhering to the establishment's long-standing expectations and norms, which may have become outdated.
The survey also found, with more than 50 percent of respondents agreeing on this point, that the most sought-after lovers are those who could give their partners personal space. Other most-wanted sweethearts are caring, wealthy, physically attractive, romantic or well-educated people.
Bratt Gives Thumbs Up to Bull's Eye Movie
[Reuters Thu July 31, 2003 11:42 PM ET]
By Borys KitLOS ANGELES (Hollywood Reporter) - Benjamin Bratt has joined the cast of Bull's Eye Entertainment's "Thumbsucker." The movie is in production in Beaverton, Ore., and is being financed by Bob Yari Prods.
"Thumbsucker" is an original comedic coming-of-age story about a confused teen named Justin Cobb, who is growing up in an extremely dysfunctional family. In trying to conquer his thumb-sucking habit, he is forced to turn to the only semi-sane people in his life -- a New Age orthodontist and a high school debate coach.
The cast includes Lou Taylor Pucci as the thumb sucker, Tilda Swinton and Vincent D'Onofrio as the parents, Keanu Reeves as the orthodontist and Vince Vaughn as the debate coach.
Bratt plays Matt Schraam, a television star with whom Justin thinks his mother is falling in love.
The movie was adapted by Mike Mills from the Walter Kirn novel. Mills is making his directorial debut on the film.
Reuters/Hollywood Reporter
DAY&NIGHT
[Daily Express 01/08/2003]
It seems that gentlemen do not prefer to be blond. Following our story yesterday that Irish-born actor Colin Farrell is hiding under a woolly hat after a disastrous home peroxide job, Keanu Reeves is, it seems, resisting attempts to make him a blond bombshell.
Executives on Reeves' next film "Constantine", which starts shooting in September, are pushing for the Speed actor to dye his naturally dark locks. "Keanu has tried on various blond wigs and thinks he looks absolutely stupid", says our source.
Reeves has reportedly told bigwigs on the movie that he refuses to lighten up and the matter is apparently at stalemate.
