I kept putting off seeing The Aristocrats until I had almost forgotten about it. It's a freewheeling documentary put together by Penn & Teller and friends about an old joke. Basically, you tell this joke and improvise with the filthiest stuff you can imagine, and close with a cute punchline. It featured interviews and performances from a lot of random famous people in the comedy biz.
It was pretty funny, but it was also a fascinating look at creativity to me. As an aspiring comedy writer, I'm always interested in what creates humor and how delivery counts for so much. Some people really elaborated on how to tell it and why it works, which was great to hear. I'm not going to try stand up again anytime soon (yes, I did once, and I couldn't even get a laugh at an open mic in a crappy Delaware bar), but the science of it made sense to me. It might be interesting if you want to write or try anything in entertainment.
As for famous comedians, there were some annoying ones, some funny ones, and some insightful ones. Older guys like Billy Conolly, Eric Idle, Gilbert Gottfried, Pat Cooper, Richard Lewis, and Richard Jeni were on. George Carlin was probably the best at introducing and explaining it. He's a great guy to listen to. Fresh younger faces like Jon Stewart, Sarah Silverman, Doug Stanhope, and the whole Onion editorial staff were on as well. Then you had people like Robin Williams, Paul Reiser, Whoopi Goldberg, Carrot Top, Drew Carey, Lisa Lampinelli, Chris Rock, and a few others, who were up and down. But they weren't all as bad as I expected.
The best parts for me? Hearing Gilbert go crazy on the joke a few weeks after 9/11, which is the inspirational point in the film. I liked seeing a guy do a very clever rendition of it with playing cards. I liked seeing a mime do it. Mostly, I liked hearing Kevin Pollak do it with one of the best Christopher Walken impersonations ever, which is saying a lot.
It's a good, light viewing for anyone who loves comedy and the art of it. Plus, I haven't even gone into the special features yet. They are worth checking out.
Film reviews, criticism, discussions, rants, raves, and random pictures of Philip Seymour Hoffman.
Sunday, April 23, 2006
Tuesday, April 18, 2006
Eight Mile
After I just remembered how awesome L.A. Confidential is, I decided to give in and watch 8 Mile. It wasn't bad.
Eminem’s rap skills have been apparent for some time to our nation’s youth, but his acting skills may catch us by surprise in 8 Mile, a dramatic story of a young rapper’s struggles. Loosely based on the star’s personal life, 8 Mile strives to be an inspirational story of success against the odds.
Director Curtis Hanson, who scored with previous hits Wonder Boys and L.A. Confidential, captures the gritty demise of Detroit’s slums. He ably tracks Eminem’s early days, working at an auto-stamping plant by day, rapping for all sorts of events at night. The rapper might be living with his mom, Kim Basinger, in a trailer park, but he has his sights set higher. His friend, Mekhi Phifer, wants to make deals for him, but Phifer’s idea of getting noticed means competing in insult-spewing rap battles at night. When Eminem gets stage fright on his first try, he’s branded a quitter.
The rapper tries hard to keep his family life in check and achieve his dreams, but his friends don’t always help him. His problems increase with Brittany Murphy, a young seductress who looks for a way out.
Hanson tries to keep the film as real to its street origins as possible, and it is no doubt dark. In the end, however, it remains the clichéd idea of a young person from a poor family trying to make it big, a formula that’s been used so often in films. Fortunately, Eminem stands out from typical heroes with his freestyle ability and rough candor. Rap fans will be delighted with this film, but it may not reach all audiences as well. Nonetheless, it’s a solid pick for an uplifting, rags-to-riches tale.
Eminem’s rap skills have been apparent for some time to our nation’s youth, but his acting skills may catch us by surprise in 8 Mile, a dramatic story of a young rapper’s struggles. Loosely based on the star’s personal life, 8 Mile strives to be an inspirational story of success against the odds.
Director Curtis Hanson, who scored with previous hits Wonder Boys and L.A. Confidential, captures the gritty demise of Detroit’s slums. He ably tracks Eminem’s early days, working at an auto-stamping plant by day, rapping for all sorts of events at night. The rapper might be living with his mom, Kim Basinger, in a trailer park, but he has his sights set higher. His friend, Mekhi Phifer, wants to make deals for him, but Phifer’s idea of getting noticed means competing in insult-spewing rap battles at night. When Eminem gets stage fright on his first try, he’s branded a quitter.
The rapper tries hard to keep his family life in check and achieve his dreams, but his friends don’t always help him. His problems increase with Brittany Murphy, a young seductress who looks for a way out.
Hanson tries to keep the film as real to its street origins as possible, and it is no doubt dark. In the end, however, it remains the clichéd idea of a young person from a poor family trying to make it big, a formula that’s been used so often in films. Fortunately, Eminem stands out from typical heroes with his freestyle ability and rough candor. Rap fans will be delighted with this film, but it may not reach all audiences as well. Nonetheless, it’s a solid pick for an uplifting, rags-to-riches tale.
Saturday, April 8, 2006
L.A. Confidential: Script Analysis
Recently, I had the chance to review the original script for L.A. Confidential. This is one of my favorite films, so I jumped on it. I was asked to think about just the script, and analyze it as any production office worker would - on potential. Many of you have asked me how the script process works, so maybe this will give some insight on how a script is seen before it becomes a film.
SYNOPSIS: The city is Los Angeles. The time is the early 1950’s. In a series of images, the world comes alive. The MAYOR announces future plans for the construction of new highways. CELEBRITIES put their marks on the sidewalks of Hollywood. MICKEY COHEN, a local mobster, enjoys a party with his guard, JOHNNY STOMPANATO.
The mayor wants to put a stop to crime and he starts with the removal of Cohen for tax evasion. The D.A., ELLIS LOEW, announces that crime is officially over for the city.
Stompanato turns to snitching for cops. He finds a rough duo in BUD WHITE and DICK STENSLAND. White is a young bull, ready to fight at any time. Stensland is an old veteran. Stompanato gives Bud the name of a THUG who has been abusing a GIRL. Bud goes over to the house, slaps the guy around, and tells the girl to find somewhere safe.
Meanwhile, JACK VINCENNES takes a completely different approach to crime. The smooth, handsome cop spends his time tracking down celebrities with secrets. His unofficial partner, SID HUDGEONS, writes for a Hollywood tabloid and gives Jack extra money and tips to bust actors and get stories. Hudgeons has a task for him involving young actor MATT REYNOLDS. Jack goes over, busts them, and gets a good picture.
Back at the station, young officer ED EXLEY tries to get as report in. Nerdy looking, with glasses, Exley is a no-nonsense cop who strives to achieve.
At his favorite bar, Bud meets up with LYNN BRACKEN, a beautiful but mysterious woman. He sees that she goes into a fancy car with a BRUISED WOMAN, which raises his attention. He inquires, but is told by PIERCE PATCHETT, a wealthy eccentric, that everything is fine. He argues with BUZZ, his bodyguard, who claims that he used to be a cop.
Exley meets up with DUDLEY SMITH, captain of the squad. Smith is impressed with Exley’s rise to prominence in the station, but doesn’t believe he has the mental fortitude to become a detective. They talk about Exley’s father, a former partner to Smith. Exley wants in the bureau.
At the station, these three cops come together when there is a fight. Jack, who has been looking for a underground nightclub, tells Bud to come inside. There Bud sees Stensland beating on two MEXICANS who, rumors say, roughed up a few other cops. Bud tries to stop, but when the one insults his mother, he begins to beat them as well. Exley tries to hold him back, with no luck.
The incident causes a major riff in the department. Jack and Bud are disciplined, while Exley is promoted. Stensland is let go, which upsets Bud. He is ready to quit, but Smith suggests that he work as a mauler for the detectives. Jack has to work in their department as well.
Stensland meets with Bud and cryptically talks of a deal he has. Later on that night, he and several others are gunned down in the Nite Owl Café. Exley springs to the case, using a report he heard earlier. Bud, furious with him, must accompany him to the morgue to identify Stensland. Bud notices that another victim is the bruised woman he saw earlier with Lynn.
Exley thinks that three BLACK YOUTHS are involved in the crime, off the report. Jack takes him to a BOXER who can tip them off. Bud tracks down Lynn and Pierce Patchett, who admits to him that the bruised woman was one of his call girls, like Lynn. Bud questions Lynn about the girl, and they begin to develop a close relationship.
Exley and Jack track down the three youths, who are surprised. Exley interrogates them toughly, but it takes Bud’s threat of violence to get any information. The youths deny any killing but admit that they did beat up a hooker. Bud goes to find her and kills the PIMP holding her. The youths escape. Exley and CARLISLE track them down. IN a tense shootout, Carlisle goes down but Exley gets all of them. The case appears closed, though Exley has doubts.
Hudgeons gives Jack a new piece of information: Reynolds, the actor he previously busted, is gay and has been sleeping with the D.A. Jack doesn’t like the D.A., so he agrees to a setup. Meanwhile, Bud becomes more intimate with Lynn and Exley continues to have doubts.
Jack’s plan goes awry when he arrives to find Reynolds dead. He questions Hudgeons, who claims that he sent the kid home. Jack feels guilt over setting up a death.
Bud begins to echo Exley’s doubts about the Nite Owl Case. Exley finds that the report he used was falsified. Bud goes to the MOTHER of the bruised woman. He learns a little bit about her life, including the fact that his old partner Stensland was involved with her, but finds a better clue: the decomposing body of Buzz, Patchett’s old bodyguard and a former cop.
Exley invokes Jack to work on the case with him. He tells him about his father, and the made-up name of the criminal that killed him. Jack is touched and sees this as a way to make up for all the glitter jobs he’s had. They both head to see Stompanato, and then Patchett. Neither gives much, but they see that Bud has been working hard and has made it with Lynn. Exley goes to question her, surprised that Bud could get a woman.
Exley and Lynn hit it off quickly, but it is a setup by Hudgeons and Patchett. Jack sees the dead body of Buzz, which gets him thinking. He looks up records and finds that Buzz and Stensland were once arrested for backhand deals with Patchett. They would use prostitution as a means for extortion, and Captain Smith was the officer on the case, but never made a charge.
Jack goes to Smith’s house and tells him the news. Smith nonchalantly shoots him. As he dies, Jack whispers the made-up name that Exley revealed to him.
As Smith honors Jack’s career, he makes a quick mention to Exley about the made-up name. Exley is confused and worries that Smith might be behind the murder. He begins to look up what Jack did on that night and discovers the files on Buzz.
Smith persuades Bud to help him beat a suspect into shape. It’s Hudgeons, whom they question about Jack. Hudgeons revels his photos of Lynn, which drive Bud crazy. He finds that they are not of him, but of Exey and Lynn together. This drives him mad and sets off. Hudgeons relaxes, assured that his setup has worked, but he is in trouble after all. Smith orders him dead.
Bud first goes to Lynn, furious. He hits her, which makes him sick. He then goes for Exley, who has been searching hard for files. He beats him hard, wanting to kill him, but Exley keeps telling him what he’s learned. Bud stops as he realizes that his suspicions are the same. Exley goes on to explain, and with Bud’s help, he figures out that Smith is behind this. He explains that it was a setup to get Bud to come after him. Bud relents. They agree to work together.
They go to Patchett’s house only to find that he is dead. A fake suicide note doesn’t impress them. Bud realizes that the next target is Lynn. Exley has her placed in a secret location. He remembers Jack’s attempted setup with the D.A. and heads over there. Exley pleads for help, but the D.A. dismisses them. When Bud threatens him, he tells them that Smith is behind it.
Exley meets up with Lynn, who regrets hurting Bud, and Bud heads back to the station. He gets a message to meet Exley at a motel on the outskirts of town. When they get there, they realize that it’s a trap. They quickly set up defense positions and wait for the onslaught.
In a bloody shootout, Exley and Bud manage to take out all the men Smith has sent at them. They don’t expect to see Smith show up, but when he does, he gets several shots on Bud, who shields Exley. He explains everything, from his replacement for organized crime to his promises for the future. Exley wants nothing of it. As Smith is about to finish him, Bud stabs him, and Exley gets a gun. Smith pleads with him and proposes a deal. Exley says no, but he walks out, thinking that Exley would never hurt him and pass up a deal to advance. Exley, however, doesn’t flinch. He shoots Smith in the back.
As Exley explains everything to the D.A. and chief, they realize that the public can’t hear about it. They make Exley the new captain and let him figure out how to clean up the department. He takes the award, bittersweetly, and meets up with Lynn one last time. Bud has survived, and she is taking him to a new life in Arizona. Exley and Bud share a moment as Exley hands him the medal of honor. Bud and Lynn drive off into the sunset. Exley is left with a massive task.
COMMENT/ ANALYSIS
STORY/STRUCTURE: This is an excellent story; the essential Noir tale of backstabbing and corruption. The clues engage the audience into wanting to know more, and the seedy side of Hollywood’s glory days is fascinating. It presents an interesting view on the balance between order and crime in society. The only concern is that the plot takes a lot of turns and involves a lot of characters, so the audience might get confused at times. There is a lot of information to process, but it all fits together beautifully. Along with the great plot, there are strong characters, so it keeps the emotional part of the story as well. The author handles the introduction and development of the three principle characters well. The plot captivates.
CHARACTER: Although this is a plot-heavy script, these characters all have personalities and depth. The arc for each character is strong, as the three cops must overcome flaws to reach their goal. Exley, the brains behind the operation and a clean-cut, moral person, proves to be physically tough as well, and able to reject the rules if needed. Bud, the brutish mauler, proves to be smarter than even he realizes, and Lynn sees that he has a heart. Jack, the swinging, immoral, uncommitted playboy, finds a purpose and tries to redeem himself through the investigation. All these characters change throughout the story. The supporting characters are vivid and serve their purpose. Smith is an excellent villain because he presents himself in a loving and respectful way, like a father to his men, but secretly controls all. The contrast is powerful.
DIALOGUE: The dialogue is fast and catchy, fitting the genre. There are a lot of good quotes and it works for the piece very well. This script, however, includes a lot of on-the-nose dialogue that could be toned down. The film will do better [in reality, they did a great job of this] if many of the emotions of the characters are shown, not told. Exley and Bud’s backgrounds, for example, become redundant. Overall, though, this is excellent writing.
TRAVELOGUE VALUE: The story pulls audiences in right away because it offers a stark contrast to the glamorous view of old Hollywood. The script has a stylized feel that makes it seem fictional, but enjoyable. The film is definitely a period piece, though the story of power and corruption is timeless.
MARKETABILITY: Adults 18-60, particularly older
WILL YOU SEE THIS MOVIE? Yes. This is a great story with fine characters, and it should be a great film.
MESSAGE/ MORAL: Can any city today truly be crime free? What happens to the police when there is no crime?
PACKAGING POTENTAIL: This is a period piece and a target for classic film (especially Noir) lovers. Still, the idea of authorities abusing power relates to our society today and tomorrow.
SYNOPSIS: The city is Los Angeles. The time is the early 1950’s. In a series of images, the world comes alive. The MAYOR announces future plans for the construction of new highways. CELEBRITIES put their marks on the sidewalks of Hollywood. MICKEY COHEN, a local mobster, enjoys a party with his guard, JOHNNY STOMPANATO.
The mayor wants to put a stop to crime and he starts with the removal of Cohen for tax evasion. The D.A., ELLIS LOEW, announces that crime is officially over for the city.
Stompanato turns to snitching for cops. He finds a rough duo in BUD WHITE and DICK STENSLAND. White is a young bull, ready to fight at any time. Stensland is an old veteran. Stompanato gives Bud the name of a THUG who has been abusing a GIRL. Bud goes over to the house, slaps the guy around, and tells the girl to find somewhere safe.
Meanwhile, JACK VINCENNES takes a completely different approach to crime. The smooth, handsome cop spends his time tracking down celebrities with secrets. His unofficial partner, SID HUDGEONS, writes for a Hollywood tabloid and gives Jack extra money and tips to bust actors and get stories. Hudgeons has a task for him involving young actor MATT REYNOLDS. Jack goes over, busts them, and gets a good picture.
Back at the station, young officer ED EXLEY tries to get as report in. Nerdy looking, with glasses, Exley is a no-nonsense cop who strives to achieve.
At his favorite bar, Bud meets up with LYNN BRACKEN, a beautiful but mysterious woman. He sees that she goes into a fancy car with a BRUISED WOMAN, which raises his attention. He inquires, but is told by PIERCE PATCHETT, a wealthy eccentric, that everything is fine. He argues with BUZZ, his bodyguard, who claims that he used to be a cop.
Exley meets up with DUDLEY SMITH, captain of the squad. Smith is impressed with Exley’s rise to prominence in the station, but doesn’t believe he has the mental fortitude to become a detective. They talk about Exley’s father, a former partner to Smith. Exley wants in the bureau.
At the station, these three cops come together when there is a fight. Jack, who has been looking for a underground nightclub, tells Bud to come inside. There Bud sees Stensland beating on two MEXICANS who, rumors say, roughed up a few other cops. Bud tries to stop, but when the one insults his mother, he begins to beat them as well. Exley tries to hold him back, with no luck.
The incident causes a major riff in the department. Jack and Bud are disciplined, while Exley is promoted. Stensland is let go, which upsets Bud. He is ready to quit, but Smith suggests that he work as a mauler for the detectives. Jack has to work in their department as well.
Stensland meets with Bud and cryptically talks of a deal he has. Later on that night, he and several others are gunned down in the Nite Owl Café. Exley springs to the case, using a report he heard earlier. Bud, furious with him, must accompany him to the morgue to identify Stensland. Bud notices that another victim is the bruised woman he saw earlier with Lynn.
Exley thinks that three BLACK YOUTHS are involved in the crime, off the report. Jack takes him to a BOXER who can tip them off. Bud tracks down Lynn and Pierce Patchett, who admits to him that the bruised woman was one of his call girls, like Lynn. Bud questions Lynn about the girl, and they begin to develop a close relationship.
Exley and Jack track down the three youths, who are surprised. Exley interrogates them toughly, but it takes Bud’s threat of violence to get any information. The youths deny any killing but admit that they did beat up a hooker. Bud goes to find her and kills the PIMP holding her. The youths escape. Exley and CARLISLE track them down. IN a tense shootout, Carlisle goes down but Exley gets all of them. The case appears closed, though Exley has doubts.
Hudgeons gives Jack a new piece of information: Reynolds, the actor he previously busted, is gay and has been sleeping with the D.A. Jack doesn’t like the D.A., so he agrees to a setup. Meanwhile, Bud becomes more intimate with Lynn and Exley continues to have doubts.
Jack’s plan goes awry when he arrives to find Reynolds dead. He questions Hudgeons, who claims that he sent the kid home. Jack feels guilt over setting up a death.
Bud begins to echo Exley’s doubts about the Nite Owl Case. Exley finds that the report he used was falsified. Bud goes to the MOTHER of the bruised woman. He learns a little bit about her life, including the fact that his old partner Stensland was involved with her, but finds a better clue: the decomposing body of Buzz, Patchett’s old bodyguard and a former cop.
Exley invokes Jack to work on the case with him. He tells him about his father, and the made-up name of the criminal that killed him. Jack is touched and sees this as a way to make up for all the glitter jobs he’s had. They both head to see Stompanato, and then Patchett. Neither gives much, but they see that Bud has been working hard and has made it with Lynn. Exley goes to question her, surprised that Bud could get a woman.
Exley and Lynn hit it off quickly, but it is a setup by Hudgeons and Patchett. Jack sees the dead body of Buzz, which gets him thinking. He looks up records and finds that Buzz and Stensland were once arrested for backhand deals with Patchett. They would use prostitution as a means for extortion, and Captain Smith was the officer on the case, but never made a charge.
Jack goes to Smith’s house and tells him the news. Smith nonchalantly shoots him. As he dies, Jack whispers the made-up name that Exley revealed to him.
As Smith honors Jack’s career, he makes a quick mention to Exley about the made-up name. Exley is confused and worries that Smith might be behind the murder. He begins to look up what Jack did on that night and discovers the files on Buzz.
Smith persuades Bud to help him beat a suspect into shape. It’s Hudgeons, whom they question about Jack. Hudgeons revels his photos of Lynn, which drive Bud crazy. He finds that they are not of him, but of Exey and Lynn together. This drives him mad and sets off. Hudgeons relaxes, assured that his setup has worked, but he is in trouble after all. Smith orders him dead.
Bud first goes to Lynn, furious. He hits her, which makes him sick. He then goes for Exley, who has been searching hard for files. He beats him hard, wanting to kill him, but Exley keeps telling him what he’s learned. Bud stops as he realizes that his suspicions are the same. Exley goes on to explain, and with Bud’s help, he figures out that Smith is behind this. He explains that it was a setup to get Bud to come after him. Bud relents. They agree to work together.
They go to Patchett’s house only to find that he is dead. A fake suicide note doesn’t impress them. Bud realizes that the next target is Lynn. Exley has her placed in a secret location. He remembers Jack’s attempted setup with the D.A. and heads over there. Exley pleads for help, but the D.A. dismisses them. When Bud threatens him, he tells them that Smith is behind it.
Exley meets up with Lynn, who regrets hurting Bud, and Bud heads back to the station. He gets a message to meet Exley at a motel on the outskirts of town. When they get there, they realize that it’s a trap. They quickly set up defense positions and wait for the onslaught.
In a bloody shootout, Exley and Bud manage to take out all the men Smith has sent at them. They don’t expect to see Smith show up, but when he does, he gets several shots on Bud, who shields Exley. He explains everything, from his replacement for organized crime to his promises for the future. Exley wants nothing of it. As Smith is about to finish him, Bud stabs him, and Exley gets a gun. Smith pleads with him and proposes a deal. Exley says no, but he walks out, thinking that Exley would never hurt him and pass up a deal to advance. Exley, however, doesn’t flinch. He shoots Smith in the back.
As Exley explains everything to the D.A. and chief, they realize that the public can’t hear about it. They make Exley the new captain and let him figure out how to clean up the department. He takes the award, bittersweetly, and meets up with Lynn one last time. Bud has survived, and she is taking him to a new life in Arizona. Exley and Bud share a moment as Exley hands him the medal of honor. Bud and Lynn drive off into the sunset. Exley is left with a massive task.
COMMENT/ ANALYSIS
STORY/STRUCTURE: This is an excellent story; the essential Noir tale of backstabbing and corruption. The clues engage the audience into wanting to know more, and the seedy side of Hollywood’s glory days is fascinating. It presents an interesting view on the balance between order and crime in society. The only concern is that the plot takes a lot of turns and involves a lot of characters, so the audience might get confused at times. There is a lot of information to process, but it all fits together beautifully. Along with the great plot, there are strong characters, so it keeps the emotional part of the story as well. The author handles the introduction and development of the three principle characters well. The plot captivates.
CHARACTER: Although this is a plot-heavy script, these characters all have personalities and depth. The arc for each character is strong, as the three cops must overcome flaws to reach their goal. Exley, the brains behind the operation and a clean-cut, moral person, proves to be physically tough as well, and able to reject the rules if needed. Bud, the brutish mauler, proves to be smarter than even he realizes, and Lynn sees that he has a heart. Jack, the swinging, immoral, uncommitted playboy, finds a purpose and tries to redeem himself through the investigation. All these characters change throughout the story. The supporting characters are vivid and serve their purpose. Smith is an excellent villain because he presents himself in a loving and respectful way, like a father to his men, but secretly controls all. The contrast is powerful.
DIALOGUE: The dialogue is fast and catchy, fitting the genre. There are a lot of good quotes and it works for the piece very well. This script, however, includes a lot of on-the-nose dialogue that could be toned down. The film will do better [in reality, they did a great job of this] if many of the emotions of the characters are shown, not told. Exley and Bud’s backgrounds, for example, become redundant. Overall, though, this is excellent writing.
TRAVELOGUE VALUE: The story pulls audiences in right away because it offers a stark contrast to the glamorous view of old Hollywood. The script has a stylized feel that makes it seem fictional, but enjoyable. The film is definitely a period piece, though the story of power and corruption is timeless.
MARKETABILITY: Adults 18-60, particularly older
WILL YOU SEE THIS MOVIE? Yes. This is a great story with fine characters, and it should be a great film.
MESSAGE/ MORAL: Can any city today truly be crime free? What happens to the police when there is no crime?
PACKAGING POTENTAIL: This is a period piece and a target for classic film (especially Noir) lovers. Still, the idea of authorities abusing power relates to our society today and tomorrow.
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