Comic-Con 2009: More Highlights

Posted on July 27, 2009 at 8:35 pm

The 40th anniversary Comic-Con hosted some of the biggest Hollywood stars (Denzel Washington for “The Book of Eli” and Robert Downey, Jr. for “Sherlock Holmes” and “Iron Man 2”) and first peeks at some of the biggest Hollywood blockbusters (James Cameron for “Avatar”). But the heart of Comic-Con is still the passionate fans, irreverent without being snarky. I loved taking pictures on the exhibition hall floor and attending some of the special interest panels like the one on “Christian Comics” (which met Sunday morning and began with hymns and a sermon) and the one on monsters (where the moderator noted with spirit that “there’s no reason the monster has to be the bad guy.” I overheard one attendee asking another, “Are you going to the Klingon wedding?” Attendees could have a zombie makeover or sit in a replica of an electric chair to watch clips from a new horror movie.
I heard comic strip legend Leonard Starr talk about Mary Perkins On Stage, Kelly Green, and Thundercats. I saw Seth Green on a panel about “Robot Chicken” and the creators and talent from Chowder and Flapjack.
And I got a sneak peek at the brilliant second episode of Glee with stars Cory Monteith, Matthew Morrison, Lea Michele, and Dianna Agron.
Every week I review movies on the Jeff and Jer Show and one of the best parts of visiting San Diego is the chance to visit them in the studio. Many thanks to Jeff (and hope Jer is feeling better!), Laura, Delana, and of course my special pal Tommy for a wonderful visit and a sensational dinner at Trattoria Fantastica.

Two more posts coming — with some of my favorite costumes and my interviews with Eric McCormick of the delightful “Alien Trespass” and Clifton Collins, Jr. and Julie Benz of the upcoming vengeance action drama “Boondock Saints II: All Saints Day.”

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Comic-Con 2009: Interview with the Winner Twins

Posted on July 26, 2009 at 11:56 pm

One of the highlights of Comic-Con was the time I spent with Brianna and Brittany Winner, 14-year-old identical twins who are cuter than a box of kittens and more fun, too.

When the girls were in fourth grade, they became discouraged because their learning disabilities made reading and writing difficult. They told their parents they thought they were stupid. But their parents knew that the girls were exceptionally intelligent and imaginative. Their father suggested something almost unimaginable — that the girls who found reading and writing such a challenge should write a novel. Once they completed the first chapter, they were excited to see what would happen next and had the confidence to finish the book. They have since finished a sequel, a comic book supplement, and a soundtrack CD. And they say that the best part has been the way it has brought their family closer together and given them an opportunity to speak to more than 45,000 students about overcoming challenges and achieving their dreams.

The books are about a “super-hero with no super-powers,” a brilliant scientist who discovers that accelerated evolution is producing predators who are about to put the entire human race at risk. He uses science to develop tools to help him understand and defeat the creatures. The books ae vivid and exciting, grounded in reality (it opens at the White House), rich in fantasy, but focused on character. The girls say that they want them to be fun to write so that they will be fun to read. They sometimes disagree with each other about what to write, but say that it is only temporary and makes the books better. They bring a creative energy to everything they do, including two books (so far), a comic book, a CD, and even their attire and the strings of pearls in their hair.

The girls are bright, creative, and enthusiastic, but what makes spending time with them so much fun is their endearing curiosity and courtesy. They are fully engaged in everything that goes on around them and deeply committed to helping others through their new non-profit and their work to encourage other kids. As exciting as their book series is, the next installment I am most looking forward to is what they will do next.

To arrange for the twins to make a no-charge visit to your school or other group, contact Ilene at 714.396.7685 or at ilene@strandprophecy.com.

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Interviews: ‘In the Loop’

Posted on July 23, 2009 at 7:59 am

“In the Loop” is a scathingly funny satire about politics and politicians. While it names no names of individuals or countries or conflicts, it is inspired by the British and American government in the run-up to the Iraq war. But it is perpetually timely for its take on the pettiness and thuggery of complex organizations. Think “Dr. Strangelove” meets “The Office.”

I spoke to actor David Rasche and director Armando Iannucci, who also co-wrote, when they came to Washington DC for a screening and question and answer session.

Rasche has shown a skill for deadpan comedy as the title detective character in “Sledge Hammer!” But this is not his first political role — he played a CIA staffer in “Burn After Reading” and the President of the United States in “DAG” and “The Sentinel.” He is a confirmed political junkie and was really looking forward to seeing the movie with a Washington D.C. audience.

What do you think will be special about showing this film in Washington?

Various cities have various characters but I’ve found my group here. My wife can’t wait to go to the screening and see Washington look at itself in the mirror.

How did you prepare for this role of a State Department official who is both hawkish and bureaocratic?

I’ve been preparing for this role for eight years, five hours a day watching CNN, MSNBC, and Fox. So I brought all of my ammunition to that character, and made him arrogant, self-serving, condescending and belittling and supercilious. If that reminds you of Rove, Rumsfeld, or Addington, well….

Mimi Kennedy is also very, very political, and she also spent five hours a night watching the news. She was very familiar with the terrain not just through watching the news but through her own work with Truth in Voting.

The script gave us an adversarial relationship. It told me a lot of what I thought about her. And we drew some of our performance from Washington itself. This place is fierce! People will talk to you as long as they are interested. And everyone is always like “My take on this is smarter than yours is,” or “Bob told me, he didn’t tell you??” Every moment is a contest. As they say, Washington is Hollywood for ugly people.

This is a British film that shows the contrasts — and similarities — between the UK and the US. Is there a difference in audiences or styles of humor?

There’s no difference in humor. This is a British film but it has the same two strains of DNA as in American comedy, the verbal wit and the situational.

Your character seems to believe that facts would only distract him from the truth.

I think there’s some Illinois in that. My dad was a little like that. You’d say, “Want to try this new kind of curry?” And he’s say “Nope! Nope! Nope!” I think that is just what Rumsfeld felt. He already had everything he needed. I’m from Illinois, too! I can sing the state song!

You cannot talk about this movie without discussing the astonishingly inventive invective, the avalanche of profanity and insult.

The funny thing about it is that it is volcanic but somehow innocent because of the sheer magnitude. There’s so much of it, it’s silly. This is ornate, it’s oriental, it’s unbelievable, embroidered. In London, if you have less than three c-words in a movie it’s 13 and under. One of the writers specialized in this and when they needed some sort of over-the-top rant they would ask him for it.

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Interview: D.W. Brown, Acting Coach to Stars and Future Stars

Posted on July 8, 2009 at 3:59 pm

D.W. Brown has trained, directed, and coached hundreds of actors and is co-artistic head of the distinguished and successful Joanne Baron/D.W. Brown Studio. His new book, You Can Act!: A Complete Guide for Actors is both practical and inspiring with tips, diagnostics, and reference material that guides newcomers and professional actors to everything from the classics to a shoot-’em up. He took the time to answer my questions about the book and his work.

On “Inside the Actor’s Studio,” I heard Alec Baldwin talk about the difference between an actor and a movie star. What do you think the difference is? Can you be both?

You certainly can be both because the ability to act is actually one of the traits that results in success for an actor. Imagine that. But there truly are other factors involved in being a star. Those would include the type you are, your basic physical attributes and your essential nature and how this present society responds to that type. There have always been femme fatale types like Angelina Jolie (Lauren Bacall), and the decent man like Tom Hanks (Henry Fonda); but we don’t seem to have much use for John Wayne types right now. There’s also the buzz factor. The industry feels a trend for certain people and their fame, a fame not necessarily related to their acting, and then it builds on itself.

I was surprised to see you say that “as long as you’re committing to the truth of your Action, you can pretty much be oblivious to whatever you’re saying and it will come off just fine.” How do you suggest an actor treat the words in the script?

Yes, I know it is heretical in some quarters to discount the text, but I’m only saying that an actor should do their job, trusting the writer has done theirs. It’s Shakespeare’s advice to actors when he said (through Hamlet’s mouth): “Suit the action to the word and the word to the action.” You use the words only as a blueprint to determine what you should be doing and, once that’s decided, you make the words total slaves to the thrust of your Action. Our society makes such a big deal out of the use of language and how you present yourself intelligently, an obligation to the words and their ideas is a curse. All these reasonable minds talking to reasonable minds. An actor needs to aim for gut.

Many actors are fine when they are speaking but get lost when another character is speaking. How do you teach them to maintain concentration?

We train the concentration of an actor so that they put their attention on what’s really going on, not just the words and how they themselves are coming across. The Meisner technique we teach at our school (The Joanne Baron/D.W. Brown Studio) is a brilliant method for getting an actor to habituate playing moments and working off their environment, mainly the subtextual interaction with other human beings.

What is the best way to prepare for a role set in another era?

Whatever the environment your character inhabits you have to examined the culture and its values, and then bring that to your performance; it may be by relating to events through the use of particularizations, which is saying to yourself: “This thing is to this character as blank would be if it happened to me.” By this I mean, if your character is discovered to be pregnant out of wedlock in the 60s, it might be for you as if you’d been discovered prostituting yourself. To play something set in a different era you might also have to alter how you carry yourself physically.

What is the best way to think about a character’s past? About the character’s goals?

The past may be hugely influential or barely at all. Although it’s often an interesting plot point, I think well-meaning actors tend to get too hung up on back story, whereas your character might simply have been born a shark or a saint. I do think connecting to a past can be very powerful if you think of the character as motivated for a larger purpose because of it. This might be the case with someone who, because of the sacrifices made by others to get them through college, strives passionately to succeed so as to honor them, or a person having been bullied taking revenge for all who have been bullied. I think a great way to think of a character’s goals is to imagine how it is that they want to be praised. Everyone wants to be praised. If not by the entire population, at least by that certain like-minded soul. Even a self-hater loves themselves as a self-hater.

Interview: Ellen Besen on Visual Literacy

Posted on July 6, 2009 at 3:58 pm

The average American child watches two to three hours of TV a day, according to the American Association of Pediatrics. And that doesn’t include the time they spend playing video games, sitting in front of the computer, and watching movies. Yet, few children are taught how to decode the messages that come wrapped in visual media. Ellen Besen, an acclaimed animator, author, and teacher who’s worked with students from pre-school to college level says that visual literacy is a skill that every child should be taught. “Because of technology our kids have near-constant access to visual media, yet we’ve done very little to teach them how to really understand what they’re seeing,” says Besen. She is the author of Animation Unleashed: 100 Principles Every Animator, Comic Book Writers, Filmmakers, Video Artist, and Game Developer Should Know and she answered my questions about what parents should know about visual literacy.

How do you define visual literacy?

It’s the ability to watch visual media with awareness of exactly what is being communicated (including less obvious messages and intents) and how that communication is being achieved.
How do you turn children from passive viewers to active, engaged viewers of television and film?

The first step involves introducing the idea that media can be questioned instead of just being accepted carte blanche. By its very nature, media seems authoritative — if something is on TV, for example, it must not only be true but also important. Left unquestioned, media can become established in a child’s mind as the ultimate authority. So you need to sit down with your children and watch things with them and discuss what you are watching. This way you maintain (or re-establish) the role as the main authority in your child’s life. Media may then raise interesting questions but the final answers to those questions come from you.

What can preschoolers learn about visual media? Elementary school kids? Middle and high schoolers?

Recognition that everything we see in media was put there by choice is key to developing visual and media literacy. This recognition leads to three big questions which can be adapted for children of different ages:

What choices did the creators make? Why did they make those choices? What else could they have chosen to do?

Again I must emphasis here that for kids of all ages, you need to watch the shows and movies they watch, preferably with them — you can’t be a credible authority (especially with older kids)unless you know the material! This allows you to see how your children react to specific elements — both positively and negatively — which will open doors for conversation with them. It also helps you observe your children’s overall reaction to media. What kind of watchers are they? Some kids get taken right in and once there, are hard to peel away. Other kids treat TV as a background element to which they give some of their attention while also carrying on with other activities. These different styles of watching offer clues to what your child might need to understand about media.

Since preschool programming is already quite regulated, efforts with very young children can mostly be focused on laying the foundation for visual literacy. Watch a favorite show with them and ask what they like best about it and what they like least. What would they change, if they could — show more of a favorite character, perhaps, or add a new character? Put the stories in a new setting or have more stories in a favorite one? This encourages active watching and helps create the groundwork for critical thinking by stimulating the child’s ability to form an opinion. Older preschoolers can also begin to consider the difference between real and not real — at this age, it might only be the broadest of distinctions: live action actors — real, animated characters — not real, for example.

With elementary school kids and preteens, you can try a more sophisticated version of the same exercises. Here along with encouraging active watching towards forming an opinion about the content, you can also begin to foster an awareness of the various elements through which different media communicate. Have them watch for changes in camera angles or the use of camera moves. Once they’ve identified that the angles often change, you can have them think about why they change: has the camera just cut closer to showcase a tiny detail which would otherwise be hard to see, such as something a character is taking out of her pocket? Has the camera started to move way back from the scene because the show is over and we are now saying good bye?

At this age, the “real/not real” discussion can also become more sophisticated. And it definitely becomes more important. Kids can watch TV ads aimed at them and look for false information — camera angles which make a toy look bigger than it really is; favorite cereals which look more brightly colored and more appetizing on TV than the real thing because the food has been doctored. They can also watch action sequences or fight sequences and begin to understand that the actors are not actually fighting.

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