Video.
Reading Morris's explanation below the video at the link, I see that — spoiler alert! — everyone in the video is actually going to vote and they were prompted to think about how people who don't vote must think. I'm seeing that after watching the video. So to the extent that these people seem dumb... ish... it's at least partly that they are attempting to embody the persona of other people, who they probably think are dumb. So we're seeing a subtle blend of opinion about the nonvoters.
At the end we see that the video was produced with Our Time, and I assume the intent is to improve the turnout for Barack Obama, but in style and substance, it's nicely neutral and quite amusing and charming.
Showing posts with label Errol Morris. Show all posts
Showing posts with label Errol Morris. Show all posts
Wednesday, October 31, 2012
Tuesday, July 10, 2012
"There is no need to worry. It’s just another instance of random violence."
Said the head of head of student health psychiatry at the University of Wisconsin, back when Errol Morris was an undergrad. Now, he says, "I feel the same way about asteroids."
Monday, February 13, 2012
Saturday, May 29, 2010
A cool scene from that movie that led to Werner Herzog eating his shoe.
It's just this woman talking. Barely moving, but talking. She grew up on a farm...
The movie is "Gates of Heaven," a documentary about a pet cemetery, by Errol Morris. Herzog promised to eat his shoe if Morris finished his movie about a pet cemetery. At that link, you can watch the 20-minute film "Werner Herzog Eats His Shoe" ("We cooked it for 5 hours.")
The movie is "Gates of Heaven," a documentary about a pet cemetery, by Errol Morris. Herzog promised to eat his shoe if Morris finished his movie about a pet cemetery. At that link, you can watch the 20-minute film "Werner Herzog Eats His Shoe" ("We cooked it for 5 hours.")
Saturday, May 8, 2010
"Mrs. Ann, do you have (or could you produce) a list of 'DVD's you deem essential?'"
C Black sees a phrase I used and makes a request. I'm here to answer your questions, so, based on a quick scan of the shelf and probably leaving a few things out, here's my list (in alphabetical order) of 40 DVDs I'd try to get you to watch if you lived with me:
32 Short Films About Glenn GouldNow, you may wonder which of these movies Meade had already seen and which ones have I succeeded in getting him to watch. You may wonder which ones, once watched, produced a negative reaction and about which ones did we see eye to eye. I'll leave that for Meade to say in the comments if he wants. The rest of you are welcome to guess, to produce your own lists, or to opine about mine.
American Movie
Aguirre the Wrath of God
Clockwork Orange
Coffee and Cigarettes
Crumb
Divorce Italian Style
Don't Look Back
Dr. Strangelove
Election
Fast, Cheap & Out of Control
Fight Club
Grave of the Fireflies
Grey Gardens
Grizzy Man
Heathers
It's a Gift
Lolita
Memento
Modern Times
My Dinner With Andre
Nights of Cabiria
Pecker
Psycho
Pulp Fiction
Room with a View
Rosemary's Baby
Royal Tenenbaums
Salesman
Serial Mom
Slacker
Spirited Away
Streetcar Named Desire
Stroszek
The Blood of a Poet
The Shining
The War Room
The Wonderful, Horrible Life of Leni Riefenstahl
Wisconsin Death Trip
Wuthering Heights
Tuesday, July 7, 2009
"Has any single American of this century done more harm than Robert McNamara?"
"No one comes readily to mind. Yes, Lyndon Johnson bears greater responsibility for the damage done the nation by the Vietnam War. But McNamara is a Renaissance man. Before he helped ruin the American polity, he helped ruin the American economy, pioneering at Ford the bloodless, numbers-oriented management methods that helped bring so many corporations to their knees. After Vietnam, as head of the World Bank, he helped ruin the entire world's economy, shoveling out billions of dollars to fund failed 'development' projects. It's a tough record to match."
So wrote Mickey Kaus, in 1995.
Via Jac, who — like me in yesterday's McNamara obit-post — praises the Errol Morris documentary, "The Fog of War."
So wrote Mickey Kaus, in 1995.
Via Jac, who — like me in yesterday's McNamara obit-post — praises the Errol Morris documentary, "The Fog of War."
Monday, July 6, 2009
Robert S. McNamara, dead at 93.
"The war became his personal nightmare. Nothing he did, none of the tools at his command — the power of American weapons, the forces of technology and logic or the strength of American soldiers — could stop the armies of North Vietnam. He concluded well before leaving the Pentagon that the war was futile, but he did not share that insight with the public until late in life."
Here's an excerpt from the great Errol S. Morris documentary "Fog of War":
Here's an excerpt from the great Errol S. Morris documentary "Fog of War":
Wednesday, October 29, 2008
How to use ordinary people in political ads.
The great film documentarian Errol Morris -- who makes his living, he says, doing advertisements -- writes about the use of ordinary people in political ads. He surveys some old ads, going back to 1952, and he talks about how he went about using real people to manufacture make an ad promoting Obama:
If you’re not going to put words in people’s mouths, if you’re really listening to what they have to say, you’re going to learn something. Admittedly, the evidence is anecdotal. I haven’t selected these people through some kind of statistical sampling. These people are self-selected. They wrote in and said that they were registered Republicans, Independents or switch-voters who were planning to vote for Obama. People in the middle. And I was interested in talking to them on film about why they were making the switch from voting for a Republican to voting for a Democrat. Was it linked with policy? With the personality of the candidate?Here's the ad :
Saturday, September 6, 2008
The artistic qualities of this McCain ad completely distracted me from whatever words were spoken or shown.
Watching this ad was a strange experience for me. I clicked on the teaser at Politico, so I knew "'Temple' ad mocks Obama's stage," and I'd already decided I was going to watch it, so.... Well, you try to watch it:
Was your experience like mine? I was fascinated by the photographic effects in the beginning, the changing of the image to remove the crowd, and the way the "camera" pulled back from the stage. Then, before other images took over, I fell into a deep contemplation of the music: Was it from (one of my favorite movies) "Fast, Cheap and Out of Control" or some other Errol Morris movie or was it simply music in the style of a sountrack in an Errol Morris movie? Could Errol Morris be making commercials for John McCain? If so, is he only in it for the money, does he actually support John McCain, or does he support Obama and somehow know how to hypnotize us so we cannot concentrate on the overt message, which is what happened to me?
In the end of the ad we are snapped out of it by the cheesy electronic music -- da da da da da da da da -- that ends most McCain commercials. So now that I've come to my senses, let me watch a second time. Okay, I've read the on-screen words and heard the concerned voiceover lady tell me Obama is "not ready to lead." But once again, I was struck by the artistry of the images and the music.
Oh, suddenly the irony of it all hits me. What I think about the ad is what the ad is trying to say about Obama! The style is fabulous, but what, really, is the content?
Was your experience like mine? I was fascinated by the photographic effects in the beginning, the changing of the image to remove the crowd, and the way the "camera" pulled back from the stage. Then, before other images took over, I fell into a deep contemplation of the music: Was it from (one of my favorite movies) "Fast, Cheap and Out of Control" or some other Errol Morris movie or was it simply music in the style of a sountrack in an Errol Morris movie? Could Errol Morris be making commercials for John McCain? If so, is he only in it for the money, does he actually support John McCain, or does he support Obama and somehow know how to hypnotize us so we cannot concentrate on the overt message, which is what happened to me?
In the end of the ad we are snapped out of it by the cheesy electronic music -- da da da da da da da da -- that ends most McCain commercials. So now that I've come to my senses, let me watch a second time. Okay, I've read the on-screen words and heard the concerned voiceover lady tell me Obama is "not ready to lead." But once again, I was struck by the artistry of the images and the music.
Oh, suddenly the irony of it all hits me. What I think about the ad is what the ad is trying to say about Obama! The style is fabulous, but what, really, is the content?
Thursday, June 19, 2008
2 documentaries seen in the last 24 hours: "Roman Polanski: Wanted and Desired" and "Standard Operating Procedure."
I would not have chosen to watch these 2 films so close together, even though they are thematically related enough to belong as a double feature, but I happened to watch the first one on HBO On Demand last night, and the second one is something I'd been meaning to see and learned would be gone after today.
"Roman Polanski: Wanted and Desired." This is Marina Zenovich's nicely put together documentary about Roman Polanski's immense legal problem. Watching this was a very weird experience, because it's quite apparent that child rape was just not taken very seriously back in the 1970s. I was ready to cut Polanski a lot of slack because he survived the Holocaust and his wife and unborn son were slaughtered by the Manson family, but he has admitted to drugging a 13-year-old and having sexual intercourse with her. And he never really seemed to think he did much of anything wrong — as if he shouldn't have had to serve any prison time.
Much is made of the "media circus" surrounding the legal proceedings. We see footage of lots of guys with cameras crowding around trying to photograph him when he's trying to get in and out of the courtroom. (I thought: Big deal. Quit complaining.) And the main target of contempt is the judge, who's dead now and not able to respond to the charge that he sought the spotlight, played to the cameras, and abused his power. But there are interviews with the victim and the prosecutor (as well as the defense attorney), and neither of them is calling for Polanski's blood.
So it's a rather subtle inquiry into the legal process — and into the soul of a man who did something evil but is also a great artist and suffered beyond comprehension in his life. The vintage footage of him with the spectacularly beautiful Sharon Tate and crazed with pain after her death is heartrending. And the clips from "Chinatown," "Rosemary's Baby," and other films are very cleverly used to illustrate aspects of Polanski's legal struggles.
"Standard Operating Procedure." This is the Errol Morris documentary about the prisoner abuse at Abu Ghraib. I adore Errol Morris and have watched some of his documentaries multiple times, but this is not Morris at his best. The movie forces you to stare for many long minutes at giant talking heads, a technique used brilliantly in some of his very best movies: "Mr. Death," "Fog of War," and (one of my favorite movies of all time) "Fast, Cheap and Out of Control." The difference with "Standard Operating Procedure" is that the individuals are not at all fascinating people. They are dull and empty — with revoltingly flat affect.
But they have a story to tell. That is, they are witnesses. But they have been convicted of crimes, so they have the motive to lie, slant, and self-justify. It's like a close up on the direct examination of witnesses at trial — and no cross-examination! I wanted cross-examination. I had the impression that Morris wanted us to see that they were made to take the fall after the infamous photographs became public, but I found them repellent and unbelievable.
There is a lot of good material about how photographs tell an incomplete story. (And you see many, many uncensored Abu Ghraib photographs.) So perhaps Morris also meant to say: And the eyewitnesses also tell an incomplete story. Too damned bad if you are unsatisfied, because, like a photographer framing a shot, the government blocked our view of the whole story.
Morris teaches his lesson, and the viewer is subjected to a truly ugly ordeal. (There are occasional touches of beauty in the short, vivid recreations.) But if you were circumspect enough to attend this movie in the first place, you will probably feel that you have no right to complain about it, given the suffering depicted in the movie. That may be why the movie is leaving town — leaving Madison, Wisconsin — after a short run and why I was one of only 3 people in the audience.
"Roman Polanski: Wanted and Desired." This is Marina Zenovich's nicely put together documentary about Roman Polanski's immense legal problem. Watching this was a very weird experience, because it's quite apparent that child rape was just not taken very seriously back in the 1970s. I was ready to cut Polanski a lot of slack because he survived the Holocaust and his wife and unborn son were slaughtered by the Manson family, but he has admitted to drugging a 13-year-old and having sexual intercourse with her. And he never really seemed to think he did much of anything wrong — as if he shouldn't have had to serve any prison time.
Much is made of the "media circus" surrounding the legal proceedings. We see footage of lots of guys with cameras crowding around trying to photograph him when he's trying to get in and out of the courtroom. (I thought: Big deal. Quit complaining.) And the main target of contempt is the judge, who's dead now and not able to respond to the charge that he sought the spotlight, played to the cameras, and abused his power. But there are interviews with the victim and the prosecutor (as well as the defense attorney), and neither of them is calling for Polanski's blood.
So it's a rather subtle inquiry into the legal process — and into the soul of a man who did something evil but is also a great artist and suffered beyond comprehension in his life. The vintage footage of him with the spectacularly beautiful Sharon Tate and crazed with pain after her death is heartrending. And the clips from "Chinatown," "Rosemary's Baby," and other films are very cleverly used to illustrate aspects of Polanski's legal struggles.
"Standard Operating Procedure." This is the Errol Morris documentary about the prisoner abuse at Abu Ghraib. I adore Errol Morris and have watched some of his documentaries multiple times, but this is not Morris at his best. The movie forces you to stare for many long minutes at giant talking heads, a technique used brilliantly in some of his very best movies: "Mr. Death," "Fog of War," and (one of my favorite movies of all time) "Fast, Cheap and Out of Control." The difference with "Standard Operating Procedure" is that the individuals are not at all fascinating people. They are dull and empty — with revoltingly flat affect.
But they have a story to tell. That is, they are witnesses. But they have been convicted of crimes, so they have the motive to lie, slant, and self-justify. It's like a close up on the direct examination of witnesses at trial — and no cross-examination! I wanted cross-examination. I had the impression that Morris wanted us to see that they were made to take the fall after the infamous photographs became public, but I found them repellent and unbelievable.
There is a lot of good material about how photographs tell an incomplete story. (And you see many, many uncensored Abu Ghraib photographs.) So perhaps Morris also meant to say: And the eyewitnesses also tell an incomplete story. Too damned bad if you are unsatisfied, because, like a photographer framing a shot, the government blocked our view of the whole story.
Morris teaches his lesson, and the viewer is subjected to a truly ugly ordeal. (There are occasional touches of beauty in the short, vivid recreations.) But if you were circumspect enough to attend this movie in the first place, you will probably feel that you have no right to complain about it, given the suffering depicted in the movie. That may be why the movie is leaving town — leaving Madison, Wisconsin — after a short run and why I was one of only 3 people in the audience.
Sunday, February 25, 2007
Simulblogging the Oscars!
I've got to get home first. The flight to Madison is boarding, so let me get going. Start without me!
ADDED #1: Hey, I made it home. No flight delays, but you should have seen how buried my car was. Well, you will see, because I took pictures. Anyway, I can see you're way ahead of me talking about this. 29 comments as I start. But the TiVo is running, and I've seen the really charming Errol Morris film that kicked things off. A sweet, self-effacing attitude. And now, here's Ellen DeGeneres, continuing the sweet, charming, self-effacing tone. She's wearing a dark red velvet tuxedo -- with white shoes -- and looks very sharp. Her first joke makes me laugh. She has a nice joke about Americans not voting for Jennifer Hudson (on "American Idol") and then how they did vote for Al Gore. For no apparent reason, a gospel choir comes out and Ellen dances and plays tambourine. Now, for the first award, for Art Direction, and it's Nicole Kidman, looking very Barbie-like, all plastic-y and shiny. She's wearing an impossibly tall, thin red dress, with a knot at the side of the neck. The award goes to "Pan's Labyrinth."
ADDED #2: They didn't start with a supporting acting award. Good! Now, there's a comedy song, and I'm using it as a chance to try to catch up with you guys. On to the next award: makeup! Again, with the "Pan's Labyrinth." The makeup did look pretty cool. Ooh, now it's Abigail Breslin and Jaden Smith. Kids. They're short, so they do the nominees for shorts. Sorry, it's another fast-forward opportunity.
ADDED #3: Wow, you guys are up to 43 comments. I'm desperately trying to catch up with you. Ooh, it's Rachel Weisz. She looks just great in a strapless beige dress that has a nice jeweled swirl across the chest. I like her dark red lipstick and piece-y dark brown hair. She's doing the Supporting Actor award. Aw, Eddie Murphy looks like he really wants to win. It's Alan Arkin. My favorite. I love this guy. He puts the Oscar down on the floor so he can pull out his speech. The film -- "Little Miss Sunshine" -- can help us in our "fragmented times." It's a choice not to act out the speech. Surely, he could have memorized it. Maybe he was acting the part of a guy reading a speech.
ADDED #4: Melissa Etheridge performs the song from "An Inconvenient Truth," and then out come Leonardo DiCaprio and Vice President Al Gore. Al looks happy (and carries his great weight well). Leo asks him if he's got anything he'd like to announce. He says he's "just here for the movies." He thanks Leo for being "such a great ally" in his anti-global-warming efforts. Leo's all "thank you, sir," and the camera -- pretty randomly -- goes to Jerry Seinfeld, who's caught looking like this:
Cameron Diaz, who also has piece-y dark brown hair, gives the award for animation to "Happy Feet," and she's unbearable cutesy and phony. Nice clip show about movies about writers. At the end, we see Jack Nicholson -- who was featured in the clips for both "The Shining" and "As Good As It Gets" -- and he's shaved totally bald. (A tribute to Britney Spears?)
ADDED #5: "The Departed" wins Best Original Screenplay. Hey, you guys are up to 75 comments. I'm still not reading them, because I'm trying to catch up. I'm sure it's all clever and stuff. There's a great commercial for American Express -- must be a Jerry Seinfeld thing, explaining the "random" shot noted above. And a beautiful ad for iPhone... of lots of hellos from movies. (No need to convince me to buy one of those things when they are available, so the commercial seems to just be about getting me more excited about it.) They're doing the costumes award now. "Marie Antoinette" wins. Tom Cruise presents the Jean Hersholt "humanitarian" award to Sherry Lansing. We're in the depressing "dead" center of the show now, so let me regale you with pix of my car, as I encountered it after my long trip home. It was in this deep:
And here's how it looked after digging just enough of a space to back it out:
How did I get it dug out? Am I the kind of person who keeps a shovel in the trunk? No, but as I was walking to the car, dreading seeing how locked in it was, I ran across a woman with a shovel, and she loaned it to me. Then, carrying a shovel, I attracted a man who helped me because he needed a shovel and a second man who had his own shovel. These two guys dug out the snow while I scraped the windows and lights. (I do keep a scraper!) And I was out in no time. And don't just say: Guys! Because there was also that woman with the shovel. I asked her, "Do you work here?" And she said no, she just drove over with a shovel because a friend called her up, and she trusted me to return the shovel to a spot in the snow that we agreed on. I left that trust with Guy #1 and I'm sure he kept it.
ADDED #6: Speaking of movies, I got my little movie up at last in the previous post. You can hear me and my long-time ex-husband RLC talking about things seen in a record store window. Whoa! You guys are up to 119 comments! Okay, I've gotta rush. Visual Effects. Doesn't Naomi Watts look lovely in that yellow-gold, strapless dress with a thick black band under the breasts? "Pirates of the Caribbean" wins. Now, we see Catherine Deneuve for... what the hell is this? Ah! There's Sacha Baron Cohen in the audience. He's so adorable! "Best Foreign Language Film. "The Lives of Others." Oooh! It's George Clooney. He's handsome! Best Supporting Actress!!! Jennifer Hudson!!!!! She says: "Look what God can do!"
ADDED #7: It's Jerry Seinfeld. He's doing the Documentary award. Oh, so they showed him before when Al was on stage because later he was going to present the award for which Al is nominated. Seems too fix-y to me. And Al wins the Oscar!!!!! Closeup of the oh-so-pleased Steven Spielberg. Why did they make the film? Because of the problem of global warming??? Oh, no: "We were moved to act by this man." So says the director, reaching over to touch the hem of Al Gore's garment. He's gasping with awe. It's kinda embarrassing. He pumps the Oscar weirdly twice in Al's direction and he says "We share this with you." The camera goes to Larry David, clapping righteously. Now, Gore speaks: global warming is "not a political issue, it's a moral issue." I like Al. He makes his wooden squareness hip and cool.
ADDED #8: Kirsten Dunst is wearing a beautiful, witty dress. It's gray and has a see-through section at the top with a collar that seems to belong on a prim blouse. It's intelligent. And the dress makes me love Kirsten! The award is Original Screenplay, and it goes to "Little Miss Sunshine." Now, we see Jennifer Hudson sing a song, which must be fun for her, having already won the Oscar. I try to imagine how Simon Cowell would detect deficiency. Beyonce joins her, and -- isn't it true? -- Beyonce is the better singer. Does Beyonce feel she needs to prove her superiority?
ADDED #9: There's a Michael Mann montage about "America." We're racist war mongers, you know. Then the elegant Thelma Schoonmaker wins the editing award for "The Departed." Now, we see Jodie Foster, dragging excess yards of slate-blue fabric along with her. But she's introducing my favorite segment, In Memoriam. I'll impolitely name the ones that had the most effect on me: Don Knotts, Sven Nykvist, Robert Altman.
ADDED #10: Phillip Seymour Hoffman arrives to give the Best Actress award. It's no surprise that the wonderful Helen Mirren wins. I love the array of actresses as the award is announced. They all do a perfect performance of the thought: Indeed, Helen Mirren is grand! I love the way Mirren "salutes" Elizabeth Windsor.
ADDED #11: It's Reese Witherspoon, here to give the award for Best Actor. She's got major hair extensions and a simple black strapless gown. Oh, don't you want Peter O'Toole to win? Yikes, what is that incredibly smarmy look Jada Pinkett Smith gives Will? Does she hate him + is a terrible actress? And it goes, as expected, to Forest Whitaker. The look on Peter O'Toole's face says: And now, it's impossible. He's very old. Whitaker raves -- touchingly -- about how acting is the belief that we can connect to others and create a new reality.
ADDED #12: Coppola, Lucas, and Spielberg gang up to deliver the long-awaited Oscar to Martin Scorsese, and the Oscar really does go to Marty. Li'l Marty hugs C, L, and S. He stammers and just thanks a lot of people. "So many people over the years have been wishin' this thing for me."
ADDED #13: Damn! I never caught up! I've been struggling and fast-forwarding, but I never could make it. I hope you accept my belated scribblings! Well, Best Picture now. Presenting: Diane Keaton (swathed in black) and Jack Nicholson (gloriously bald). I'm just thinking about how nobody made a political statement tonight. They kept it clean and elegant. And the winner is... "The Departed." Excellent!
ADDED #14: I turn off the lights and collect my bags to trudge upstairs after a long day. I peer out the front door and see the people came to shovel my walks as I was watching the Oscars. I'd parked my car in the street and stalked through foot high snow when I got home tonight. So I put on my big down coat and went outside to pull my car into the driveway. Let me leave you with one last shot of my car at the airport. Actually, this one is so abstract, I'm not positive it is my car:
ADDED #1: Hey, I made it home. No flight delays, but you should have seen how buried my car was. Well, you will see, because I took pictures. Anyway, I can see you're way ahead of me talking about this. 29 comments as I start. But the TiVo is running, and I've seen the really charming Errol Morris film that kicked things off. A sweet, self-effacing attitude. And now, here's Ellen DeGeneres, continuing the sweet, charming, self-effacing tone. She's wearing a dark red velvet tuxedo -- with white shoes -- and looks very sharp. Her first joke makes me laugh. She has a nice joke about Americans not voting for Jennifer Hudson (on "American Idol") and then how they did vote for Al Gore. For no apparent reason, a gospel choir comes out and Ellen dances and plays tambourine. Now, for the first award, for Art Direction, and it's Nicole Kidman, looking very Barbie-like, all plastic-y and shiny. She's wearing an impossibly tall, thin red dress, with a knot at the side of the neck. The award goes to "Pan's Labyrinth."
ADDED #2: They didn't start with a supporting acting award. Good! Now, there's a comedy song, and I'm using it as a chance to try to catch up with you guys. On to the next award: makeup! Again, with the "Pan's Labyrinth." The makeup did look pretty cool. Ooh, now it's Abigail Breslin and Jaden Smith. Kids. They're short, so they do the nominees for shorts. Sorry, it's another fast-forward opportunity.
ADDED #3: Wow, you guys are up to 43 comments. I'm desperately trying to catch up with you. Ooh, it's Rachel Weisz. She looks just great in a strapless beige dress that has a nice jeweled swirl across the chest. I like her dark red lipstick and piece-y dark brown hair. She's doing the Supporting Actor award. Aw, Eddie Murphy looks like he really wants to win. It's Alan Arkin. My favorite. I love this guy. He puts the Oscar down on the floor so he can pull out his speech. The film -- "Little Miss Sunshine" -- can help us in our "fragmented times." It's a choice not to act out the speech. Surely, he could have memorized it. Maybe he was acting the part of a guy reading a speech.
ADDED #4: Melissa Etheridge performs the song from "An Inconvenient Truth," and then out come Leonardo DiCaprio and Vice President Al Gore. Al looks happy (and carries his great weight well). Leo asks him if he's got anything he'd like to announce. He says he's "just here for the movies." He thanks Leo for being "such a great ally" in his anti-global-warming efforts. Leo's all "thank you, sir," and the camera -- pretty randomly -- goes to Jerry Seinfeld, who's caught looking like this:
Cameron Diaz, who also has piece-y dark brown hair, gives the award for animation to "Happy Feet," and she's unbearable cutesy and phony. Nice clip show about movies about writers. At the end, we see Jack Nicholson -- who was featured in the clips for both "The Shining" and "As Good As It Gets" -- and he's shaved totally bald. (A tribute to Britney Spears?)
ADDED #5: "The Departed" wins Best Original Screenplay. Hey, you guys are up to 75 comments. I'm still not reading them, because I'm trying to catch up. I'm sure it's all clever and stuff. There's a great commercial for American Express -- must be a Jerry Seinfeld thing, explaining the "random" shot noted above. And a beautiful ad for iPhone... of lots of hellos from movies. (No need to convince me to buy one of those things when they are available, so the commercial seems to just be about getting me more excited about it.) They're doing the costumes award now. "Marie Antoinette" wins. Tom Cruise presents the Jean Hersholt "humanitarian" award to Sherry Lansing. We're in the depressing "dead" center of the show now, so let me regale you with pix of my car, as I encountered it after my long trip home. It was in this deep:
And here's how it looked after digging just enough of a space to back it out:
How did I get it dug out? Am I the kind of person who keeps a shovel in the trunk? No, but as I was walking to the car, dreading seeing how locked in it was, I ran across a woman with a shovel, and she loaned it to me. Then, carrying a shovel, I attracted a man who helped me because he needed a shovel and a second man who had his own shovel. These two guys dug out the snow while I scraped the windows and lights. (I do keep a scraper!) And I was out in no time. And don't just say: Guys! Because there was also that woman with the shovel. I asked her, "Do you work here?" And she said no, she just drove over with a shovel because a friend called her up, and she trusted me to return the shovel to a spot in the snow that we agreed on. I left that trust with Guy #1 and I'm sure he kept it.
ADDED #6: Speaking of movies, I got my little movie up at last in the previous post. You can hear me and my long-time ex-husband RLC talking about things seen in a record store window. Whoa! You guys are up to 119 comments! Okay, I've gotta rush. Visual Effects. Doesn't Naomi Watts look lovely in that yellow-gold, strapless dress with a thick black band under the breasts? "Pirates of the Caribbean" wins. Now, we see Catherine Deneuve for... what the hell is this? Ah! There's Sacha Baron Cohen in the audience. He's so adorable! "Best Foreign Language Film. "The Lives of Others." Oooh! It's George Clooney. He's handsome! Best Supporting Actress!!! Jennifer Hudson!!!!! She says: "Look what God can do!"
ADDED #7: It's Jerry Seinfeld. He's doing the Documentary award. Oh, so they showed him before when Al was on stage because later he was going to present the award for which Al is nominated. Seems too fix-y to me. And Al wins the Oscar!!!!! Closeup of the oh-so-pleased Steven Spielberg. Why did they make the film? Because of the problem of global warming??? Oh, no: "We were moved to act by this man." So says the director, reaching over to touch the hem of Al Gore's garment. He's gasping with awe. It's kinda embarrassing. He pumps the Oscar weirdly twice in Al's direction and he says "We share this with you." The camera goes to Larry David, clapping righteously. Now, Gore speaks: global warming is "not a political issue, it's a moral issue." I like Al. He makes his wooden squareness hip and cool.
ADDED #8: Kirsten Dunst is wearing a beautiful, witty dress. It's gray and has a see-through section at the top with a collar that seems to belong on a prim blouse. It's intelligent. And the dress makes me love Kirsten! The award is Original Screenplay, and it goes to "Little Miss Sunshine." Now, we see Jennifer Hudson sing a song, which must be fun for her, having already won the Oscar. I try to imagine how Simon Cowell would detect deficiency. Beyonce joins her, and -- isn't it true? -- Beyonce is the better singer. Does Beyonce feel she needs to prove her superiority?
ADDED #9: There's a Michael Mann montage about "America." We're racist war mongers, you know. Then the elegant Thelma Schoonmaker wins the editing award for "The Departed." Now, we see Jodie Foster, dragging excess yards of slate-blue fabric along with her. But she's introducing my favorite segment, In Memoriam. I'll impolitely name the ones that had the most effect on me: Don Knotts, Sven Nykvist, Robert Altman.
ADDED #10: Phillip Seymour Hoffman arrives to give the Best Actress award. It's no surprise that the wonderful Helen Mirren wins. I love the array of actresses as the award is announced. They all do a perfect performance of the thought: Indeed, Helen Mirren is grand! I love the way Mirren "salutes" Elizabeth Windsor.
ADDED #11: It's Reese Witherspoon, here to give the award for Best Actor. She's got major hair extensions and a simple black strapless gown. Oh, don't you want Peter O'Toole to win? Yikes, what is that incredibly smarmy look Jada Pinkett Smith gives Will? Does she hate him + is a terrible actress? And it goes, as expected, to Forest Whitaker. The look on Peter O'Toole's face says: And now, it's impossible. He's very old. Whitaker raves -- touchingly -- about how acting is the belief that we can connect to others and create a new reality.
ADDED #12: Coppola, Lucas, and Spielberg gang up to deliver the long-awaited Oscar to Martin Scorsese, and the Oscar really does go to Marty. Li'l Marty hugs C, L, and S. He stammers and just thanks a lot of people. "So many people over the years have been wishin' this thing for me."
ADDED #13: Damn! I never caught up! I've been struggling and fast-forwarding, but I never could make it. I hope you accept my belated scribblings! Well, Best Picture now. Presenting: Diane Keaton (swathed in black) and Jack Nicholson (gloriously bald). I'm just thinking about how nobody made a political statement tonight. They kept it clean and elegant. And the winner is... "The Departed." Excellent!
ADDED #14: I turn off the lights and collect my bags to trudge upstairs after a long day. I peer out the front door and see the people came to shovel my walks as I was watching the Oscars. I'd parked my car in the street and stalked through foot high snow when I got home tonight. So I put on my big down coat and went outside to pull my car into the driveway. Let me leave you with one last shot of my car at the airport. Actually, this one is so abstract, I'm not positive it is my car:
Saturday, February 17, 2007
Liberals ideate furiously over the black-and-white McCain website.
John McCain has an aesthetically pleasing website, which is distinguished by the very low color level. Instead of the usual florid blue and red, it uses elegant, crisp black, white, and gray. Perhaps that calls to mind some beautifully photographed black and white movie. Bring on the liberal commentators, and what movie do they think of? Of course, it's "Triumph of the Will," which, admittedly, is a film known for its crisp black and white photography (to go along with its Nazi propaganda).
Here's Atrios:
Klein does have a point about the film clip. The music is over-the-top. Visually, I think the film -- Errol Morris? -- and the website are excellent, but the music is off-putting. It announces the intent to manipulate you emotionally. That makes it a less effective effort at manipulation, though. I don't think Leni Riefenstahl would have done something so crude.
ADDED: I've amused Kevin Drum.
Here's Atrios:
Imperial Stormtrooper ChicAnd here's Ezra Klein:
But to get the full flavor of the terrifyingly martial undercurrent, watch the video "stand up," which is currently the default clip on the front page. It looks like an over-the-top parody of fascist campaign propaganda from a movie, and sounds like Triumph of the Will. It's also worth noting that in an effort to shore up his conservative credentials in a particularly pandering and ghoulish way, the next video is simply called "Reagan Tribute," and the weird shoehorning of McCain's time as a POW into his admiration for Reagan really has to be seen to be believed. I don't know how many cults of personality one web site can foster, but props to the McCain team for trying to find out.What bugs me the most about their reaction is not the usual conservatives-are-Nazis business, it's the thoughtless tainting of the aesthetic of black-and-white design, this eagerness to score political points, with no feeling for art.
Klein does have a point about the film clip. The music is over-the-top. Visually, I think the film -- Errol Morris? -- and the website are excellent, but the music is off-putting. It announces the intent to manipulate you emotionally. That makes it a less effective effort at manipulation, though. I don't think Leni Riefenstahl would have done something so crude.
ADDED: I've amused Kevin Drum.
Tuesday, January 18, 2005
"Kerry failed because of his inability to tell his own story."
The great filmmaker Errol Morris brings his storytelling expertise to political analysis on the NYT op-ed page today. The man who edited "The Fog of War: Eleven Lessons from the Life of Robert S. McNamara," writes:
But Kerry chose not to tell the coherent story because he figured people didn't want to hear it, and we can't know how things would have turned out if he done otherwise. Much as I like coherent stories -- and I love Errol Morris's brilliantly edited movies -- I think the antiwar leader version of Kerry would have been a disaster. Even voters who disagreed with the decision to go to war in Iraq still knew they needed someone to lead us to a stable conclusion of that war. Kerry's Vietnam era message was to give up, admit it was all a mistake, and just don't let one more American die for that mistake. Is that the attitude he would take in Iraq? Kerry made a decision not to stir up that worry in the minds of the voters. In making that choice, which was not obviously the wrong one, he walked into the problem Morris describes.
By the way, Morris used his filmmaking skills to make some commercials for the Kerry campaign, but his work was rejected -- with good reason, as I discuss here ("Bottom line for me: I love Errol Morris, but art and politics are a bad mix.")
UPDATE: Edited to correct some garbled syntax.
ANOTHER UPDATE: A reader writes:
John Kerry could have presented to the American people his full biography, but instead he chose to edit who he was. Why?
My guess is that Mr. Kerry and his campaign believed that certain things could not be mentioned. Foremost among these was Mr. Kerry's opposition to the war in Vietnam, which was largely erased from the candidate's life. That was a mistake. People think in narratives - in beginnings, middles and ends. The danger when you edit something too severely is that it no longer makes sense; worse still, it leaves people with the disquieting impression that something is being hidden.
But Kerry chose not to tell the coherent story because he figured people didn't want to hear it, and we can't know how things would have turned out if he done otherwise. Much as I like coherent stories -- and I love Errol Morris's brilliantly edited movies -- I think the antiwar leader version of Kerry would have been a disaster. Even voters who disagreed with the decision to go to war in Iraq still knew they needed someone to lead us to a stable conclusion of that war. Kerry's Vietnam era message was to give up, admit it was all a mistake, and just don't let one more American die for that mistake. Is that the attitude he would take in Iraq? Kerry made a decision not to stir up that worry in the minds of the voters. In making that choice, which was not obviously the wrong one, he walked into the problem Morris describes.
By the way, Morris used his filmmaking skills to make some commercials for the Kerry campaign, but his work was rejected -- with good reason, as I discuss here ("Bottom line for me: I love Errol Morris, but art and politics are a bad mix.")
UPDATE: Edited to correct some garbled syntax.
ANOTHER UPDATE: A reader writes:
Kerry failed because of his inability to tell his own story? No--Kerry failed because he *has* no story. Kerry's opposition to Vietnam was erased in this campaign? *Everything* we heard about John Kerry in this election, good and bad, had to do with Vietnam. What I (and many, many other voters) wanted to know was, what has he done *since* Vietnam? 20 years in the Senate and, as far as I could tell, the answer was, not a damn thing.
Sunday, January 16, 2005
The Madison blogger triple feature.
As predicted yesterday, I got everything done but hanging that damned blind. The Bolognese sauce was cooked and consumed. Pasta chosen for the sauce: rombi! I'm guessing that's Italian for rhombus, and who wouldn't want intensely delicious meat sauce served on equilateral parallelograms? The plan was to eat tasty food from bowls while watching movies on TV. I had my DVD player loaded up with some of my official favorites (as noted in my profile).
My fellow bloggers live-blogged the event, but, having gotten up at 3 a.m. and worked hard all day, I was too groggy to blog (and too bloggy to grog!). Nina's account is here, here, and here. The other blogger I cannot link to without pre-clearance. That's her policy, which I follow along with a policy of my own: no!
We played a triple feature, during which I took, oh, maybe, ten short naps. The first film was "Grey Gardens" -- because, really, why not confront your deep fears about decay while eating meat sauce? You can laugh and gasp at the cellulite and cat shit and the raccoons in the attic, but at some point you must feel the pain of your own anxieties and succumb to the intimacy of the humanity of Big Edie and Little Edie. "It's so hard to keep the line between the past and the present."
If I had been more awake, I would have insisted on following up on the decay theme with the other great movie about decay, "Decasia," but the un-spontaneously-linkable blogger had smuggled in "Hair." So bring on the hippies, hopping and jumping around NYC in the Broadway style made famous in "West Side Story." Just as urban gangmembers don't leap about balletically, real hippies had none of the wholesome peppiness displayed by the performers in "Hair."
The un-spontaneously-linkable one sang along with the inspirational songs: "I got my guts (I got my guts)/I got my muscles (muscles)/I got life (life)/Life (life)/Life (life)/LIFE!" So much for my decay theme! Could you be any more life affirming? The film has that candy-colored hippie philosophy that nonhippies are all up-tight straights who have no life at all, but they only need to see the light, let their "shining, gleaming, streaming, flaxen, waxen" hair down, and become hippies, and then they too could surely live. Life!
"Hair" might be the antithesis to "Grey Gardens," but remember the "Grey Gardens" scene where Little Edie sings and dances? Is there really such a distance between her and dancing, romping hippies?
Are you up for a triple feature? You over there, dozing on the chair arm? You said you weren't kicking us out until midnight! That's quite true, so here is movie three, another one of my favorites, the Errol Morris concoction "Fast, Cheap & Out of Control."
How does this third movie fit with the other three? Well, how do topiary, wild-animal taming, robots, and naked mole rats go together? Errol Morris weaves those things together, and if I wanted to prolong this post, I'm sure I could think of some reasons "Fast, Cheap & Out of Control" goes with "Grey Gardens" and "Hair." Naked mole rats have no hair... I'll let you do the official Madison blogger triple feature and find the connections. And feel free to cook up some parallelograms and make some Bolognese sauce. The sauce recipe is in here:
UPDATE: Tonya, the erstwhile un-spontaneously-linkable blogger, has rescinded her pre-clearance policy, thus allowing me to link to her live-blogging of last night's triple feature, which includes a lot of (sort of) transcription of the conversation, including my obsession with the position of Treat Williams's bellybutton, and Nina and Tonya's interest in other Williams body parts.
My fellow bloggers live-blogged the event, but, having gotten up at 3 a.m. and worked hard all day, I was too groggy to blog (and too bloggy to grog!). Nina's account is here, here, and here. The other blogger I cannot link to without pre-clearance. That's her policy, which I follow along with a policy of my own: no!
We played a triple feature, during which I took, oh, maybe, ten short naps. The first film was "Grey Gardens" -- because, really, why not confront your deep fears about decay while eating meat sauce? You can laugh and gasp at the cellulite and cat shit and the raccoons in the attic, but at some point you must feel the pain of your own anxieties and succumb to the intimacy of the humanity of Big Edie and Little Edie. "It's so hard to keep the line between the past and the present."
If I had been more awake, I would have insisted on following up on the decay theme with the other great movie about decay, "Decasia," but the un-spontaneously-linkable blogger had smuggled in "Hair." So bring on the hippies, hopping and jumping around NYC in the Broadway style made famous in "West Side Story." Just as urban gangmembers don't leap about balletically, real hippies had none of the wholesome peppiness displayed by the performers in "Hair."
The un-spontaneously-linkable one sang along with the inspirational songs: "I got my guts (I got my guts)/I got my muscles (muscles)/I got life (life)/Life (life)/Life (life)/LIFE!" So much for my decay theme! Could you be any more life affirming? The film has that candy-colored hippie philosophy that nonhippies are all up-tight straights who have no life at all, but they only need to see the light, let their "shining, gleaming, streaming, flaxen, waxen" hair down, and become hippies, and then they too could surely live. Life!
"Hair" might be the antithesis to "Grey Gardens," but remember the "Grey Gardens" scene where Little Edie sings and dances? Is there really such a distance between her and dancing, romping hippies?
Are you up for a triple feature? You over there, dozing on the chair arm? You said you weren't kicking us out until midnight! That's quite true, so here is movie three, another one of my favorites, the Errol Morris concoction "Fast, Cheap & Out of Control."
How does this third movie fit with the other three? Well, how do topiary, wild-animal taming, robots, and naked mole rats go together? Errol Morris weaves those things together, and if I wanted to prolong this post, I'm sure I could think of some reasons "Fast, Cheap & Out of Control" goes with "Grey Gardens" and "Hair." Naked mole rats have no hair... I'll let you do the official Madison blogger triple feature and find the connections. And feel free to cook up some parallelograms and make some Bolognese sauce. The sauce recipe is in here:
UPDATE: Tonya, the erstwhile un-spontaneously-linkable blogger, has rescinded her pre-clearance policy, thus allowing me to link to her live-blogging of last night's triple feature, which includes a lot of (sort of) transcription of the conversation, including my obsession with the position of Treat Williams's bellybutton, and Nina and Tonya's interest in other Williams body parts.
Sunday, August 22, 2004
Interrotronning for Kerry.
Errol Morris is turning his brilliantly effective Interrotron camera to making some pro-Kerry commercials, according to The New Yorker, and he's got an idea for the commercials that seems quite likely to reach swing voters: have ordinary Americans, speaking spontaneously about why they've switched from voting Republican to voting for Kerry. Interestingly, Morris's first idea was to aim his interrotronist techniques--seen in "The Fog of War"--on John Kerry himself--just as he'd used them on Robert S. McNamara in the movie.
***
Now, having written all of that, I realized I could look at the ads on the MoveOnpac website. So what do I think?
Well, the ads do give you the feeling of being on the receiving end of a conversation with a real person, but that's not necessarily a good thing. If my local car mechanic or barrista were to just start mouthing off about what's wrong with George Bush, I would be thinking: here we go, get me out of here. Watch the Rhonda Nix one, for example, or the Deborah Wood. The Nix one made me want to reread this classic Christopher Hitchens article.
MoveOn.org had its visitors vote on the most effective ad, but the point of the campaign is to reach people who do not traditionally vote for the Democrat, who are not likely to be the people who go to that website and watch a lot of ads and then vote. The one that won is especially irritating to me because of the "Bush lied" theme, though I can see why it appealed the website's habituées.
Bottom line for me: I love Errol Morris, but art and politics are a bad mix.
“I thought that I could humanize him,” he said. “To solve the problem of Bush being seen as a man of the people and Kerry as an aristocrat, I’d film Kerry exactly the way all the other people were filmed. I’d put him in the mix, and, by being one with all the rest, he would become a man of the people, speaking out with other Americans.”At first the Kerry campaign seemed interested, but in the end they didn't want Morris. Why not? The article suggests that the official campaigns are really attached to the conventions of the political commercial genre. How could they possibly take a chance with something stylistically striking? (Remember Morris's great Apple "Switch" ads?) So Morris ended up working with MoveOn.
"See—part of what I like is that this is not traditional political advertising,” Morris said. “They’re not involved in making a hard sell. The people potentially are likable."Good point (though you just implied what people all too often say: that Kerry is unlikable). I'd watch Morris's commercials even with the TiVo remote in my hand. I think Morris is a wonderful artist. (One of the most re-watchable movies I've ever seen is "Fast, Cheap, and Out of Control.") But maybe the Kerry campaign is right not to want innovative, artistic ads directly associated with it. Maybe arty seems lefty. Or arty seems flaky. Or maybe it isn't a fear of art at all but a fear of making a connection with a specific public figure like Morris, who made a very high profile statement against the Iraq war when he accepted his Oscar for "The Fog of War."
***
Now, having written all of that, I realized I could look at the ads on the MoveOnpac website. So what do I think?
Well, the ads do give you the feeling of being on the receiving end of a conversation with a real person, but that's not necessarily a good thing. If my local car mechanic or barrista were to just start mouthing off about what's wrong with George Bush, I would be thinking: here we go, get me out of here. Watch the Rhonda Nix one, for example, or the Deborah Wood. The Nix one made me want to reread this classic Christopher Hitchens article.
MoveOn.org had its visitors vote on the most effective ad, but the point of the campaign is to reach people who do not traditionally vote for the Democrat, who are not likely to be the people who go to that website and watch a lot of ads and then vote. The one that won is especially irritating to me because of the "Bush lied" theme, though I can see why it appealed the website's habituées.
Bottom line for me: I love Errol Morris, but art and politics are a bad mix.
Monday, March 1, 2004
The dreadful Oscars show. The Oscars show was even duller than the SAG Awards. Was there even a single surprise? Billy Crystal's return reminded me of some of the sad returns Lucille Ball made to TV in her waning years: she was doing the same sorts of things that used to be so funny, but now it just seemed wrong for her to strain herself to do it. Crystal seemed to want to throw out lines about current movie happenings, but how much comic traction can you really get out of "The Passion of the Christ"? Everyone seemed afraid of offending, as if they were all massively overshadowed by Janet Jackson's epic breast. Only Errol Morris said anything with any political sting, and his speech revealed that his true outrage really lay more in the area of the way the Academy has been slighting him all these years. (Of course, he was right about that, but it wasn't all that lovely for him to be the one saying it.) Tim Robbins restricted his politics to concern about child abuse, and Sean Penn only made an oblique reference to WMD. Nearly everyone just thanked people endlessly, tediously. Then more time had to be wasted, lamely, by having Jack Black and Will Ferrell sing about how the thank you speeches are boring. And, oh, the songs, those songs-non-songs that extend the already horrible longueurs of the show's midsection.
I had to read about Sean Penn's statement, because I bailed out before he appeared, somewhere in the show's fourth hour, when I calculated all the awards that had yet to be given, and how long I would need to wait for the big four awards. The show was quite simply torture--impossibility of making "The Passion" quips noted--the least entertaining Oscars show in memory. I enjoyed some of the early red carpet stuff: Jennifer Garner had a lovely tangerine dress and Renee Zellweger looked painfully swaddled in white cardboardish cloth. But it was pretty much downhill from there.
I had to read about Sean Penn's statement, because I bailed out before he appeared, somewhere in the show's fourth hour, when I calculated all the awards that had yet to be given, and how long I would need to wait for the big four awards. The show was quite simply torture--impossibility of making "The Passion" quips noted--the least entertaining Oscars show in memory. I enjoyed some of the early red carpet stuff: Jennifer Garner had a lovely tangerine dress and Renee Zellweger looked painfully swaddled in white cardboardish cloth. But it was pretty much downhill from there.
Saturday, February 7, 2004
Things I bought at Border’s today and why.
1. Decasia: The State of Decay. A film by Bill Morrison. Because I read this article by Herbert Muschamp in today’s NYT, I remembered reading about this film before, and now it’s out on DVD. Because it’s got a sticker on the front with a quote from Errol Morris saying “Haunting, Mysterious and Incredibly Beautiful. A definitive work of art” and I love Errol Morris and am a sucker for art as long as it doesn’t trigger any of my many objections. Even though Muschamp wrote:
3. The audio version of Yann Martel's "Life of Pi." Because years ago I learned how to solve my terrible insomnia problem by listening to spoken word. Audio books last years for me, because I can only hear a couple minutes a night. Because I think the elements of the story involving animals and floating in a lifeboat will harmonize well will sleeping and dreaming. Because I've listened to "A Short History of Nearly Everything" for the past year and some aspects of it are not harmonizing well with sleeping and dreaming (e.g., Yellowstone is a supervolcano due to erupt and destroy life as we know it, a large asteroid could suddenly kill us all something like a second after we became aware of it).
4. Sam Kashner's "When I Was Cool, My Life at the Jack Kerouac School." Because there's the adorable Sam Kashner on the cover wearing what William Burroughs called "suspenders of disbelief." Because I opened the book up at about twelve different places and read one sentence and every sentence passed my personal test of goodness (some combination of specific/surprising detail and an arrangement of words that charms me in some way ("I graduated 'in the Earth Horse Year,' whenever that was.")).
1. Decasia: The State of Decay. A film by Bill Morrison. Because I read this article by Herbert Muschamp in today’s NYT, I remembered reading about this film before, and now it’s out on DVD. Because it’s got a sticker on the front with a quote from Errol Morris saying “Haunting, Mysterious and Incredibly Beautiful. A definitive work of art” and I love Errol Morris and am a sucker for art as long as it doesn’t trigger any of my many objections. Even though Muschamp wrote:
Already a cult classic, the movie is a time capsule of the postmodern obsession with decrepitude. What a space saver! Just pop this disc in the player and you'll have all the putrefaction you could ask for. Watch the Master Narratives Crumble! Entropy Now! Pomo's Greatest Hits!2. The Four Complete Historic Ed Sullivan Shows Featuring The Beatles and Other Artists Including The Original Cast from "Oliver!", Cab Calloway, Cilla Black, Frank Gorshin, Soupy Sales, Gordon & Sheila MacRae, Tessie O'Shea, Myron Cohen, Mitzi Gaynor, Allen & Rossi, and many more ..." Because I love a historic mishmash that is likely to give me all sorts of weird mixed feelings of delight, anxiety, regret, nausea, horror, and general sublime awareness. Because tomorrow is the 40th anniversary of the first of the four shows and the DVD empowers the consumer to mark the occasion. Because I want to rethink how I felt when I was thirteen and had to face the reality that not everyone was as much in love with The Four Seasons as I was. (Oh, how sadly they have fallen out of the culture! A search for "Four Seasons" in Amazon did not show them at all on the first page of a list that began with: The Most Relaxing Classical Album in the World...Ever!, Sex and the City - The Complete First Four Seasons, Four-Season Harvest: Organic Vegetables from Your Home Garden All Year Long, and Montbell Ultralight #2 Sleeping Bag.)
3. The audio version of Yann Martel's "Life of Pi." Because years ago I learned how to solve my terrible insomnia problem by listening to spoken word. Audio books last years for me, because I can only hear a couple minutes a night. Because I think the elements of the story involving animals and floating in a lifeboat will harmonize well will sleeping and dreaming. Because I've listened to "A Short History of Nearly Everything" for the past year and some aspects of it are not harmonizing well with sleeping and dreaming (e.g., Yellowstone is a supervolcano due to erupt and destroy life as we know it, a large asteroid could suddenly kill us all something like a second after we became aware of it).
4. Sam Kashner's "When I Was Cool, My Life at the Jack Kerouac School." Because there's the adorable Sam Kashner on the cover wearing what William Burroughs called "suspenders of disbelief." Because I opened the book up at about twelve different places and read one sentence and every sentence passed my personal test of goodness (some combination of specific/surprising detail and an arrangement of words that charms me in some way ("I graduated 'in the Earth Horse Year,' whenever that was.")).
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