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Lindy Hemming -- who surely has the best name ever for a costume designer -- may have won an Oscar over 12 years ago for the fussy Victorian finery of Mike Leigh's "Topsy-Turvy," but the Welsh-born veteran's reputation these days rests on decidedly more modern-day gear. It may not be as Academy-friendly a niche, but Hemming has become something of an expert in the art of dressing the action hero -- or even, in one very famous case, the superhero.
Hemming is the woman who saw James Bond through two contemporary redesigns: boarding the franchise with Pierce Brosnan on 1995's "GoldenEye," she also clothed the character's rougher reincarnation as Daniel Craig in 2006's "Casino Royale." She's also responsible for Lara Croft's painted-on silver bodysuits in the "Tomb Raider" films, and did wardrobe duty on one of "Harry Potter" films.
Okay, now I fully believe that Paul Thomas Anderson is a sadist.
How else do you explain his decision to start dropping these tantalizing clues about his new film "The Master" when we've still got months and months until we actually see the thing?
"Why all the skulking and sneaking?"
When I was at Cannes, the first teaser was released, and that night, I went to the presentation that the Weinstein Company held, where they showed us a much longer trailer. I transcribed that entire footage reel in the article I published that night, and this new trailer features some of that material as well as footage that wasn't part of it at all. This new stuff makes a really strong case for this as something special, and I find myself excited because of how much it looks like it fits with Anderson's other films, about unconventional groups that form around charismatic centers, about these charming monsters. And if that's what Hoffman's playing, that sounds like it's going to fit him like a glove.
JAMES BOND 007 DECLASSIFIED
FILE #6: "On Her Majesty's Secret Service"
This series will trace the cinema history of James Bond, while also examining Ian Fleming's original novels as source material and examining how faithful (or not) the films have been to his work.
Directed by Peter Hunt
Screenplay by Richard Maibaum
Produced by Harry Saltzman and Albert R. Broccoli
CHARACTERS / CAST
James Bond / George Lazenby
Countess Tracy di Vicenzo / Diana Rigg
Ernst Stavro Blofeld / Telly Savalas
Marc-Ange Draco / Gabriele Ferzetti
Irma Bunt / Ilse Steppat
Sir Hilary Bray / George Baker
Grunther / Yuri Borienko
Shaun Campbell / Bernard Horsfall
M / Bernard Lee
Q / Desmond Llewellyn
Miss Moneypenny / Lois Maxwell
Ruby / Angela Scoular
Full Orchestra Sting. The familiar "DAH-DAH, dah! DAH-DAH, dah! DAH DAH DAH DAH!"
HARRY SALTZMAN and ALBERT R. BROCCOLI Present
Then the rest of the theme kicks in, swinging and a little bit tweaked, like it's being played on a Moog harpsichord. Lazenby walks in and the gun barrel follows, taking his time, and when he turns suddenly to fire, he drops to one knee. It's him making that moment his with a new move.
And as always, feel free to e-mail us questions for the podcast.
Lots of finale talk on this week's Firewall & Iceberg Podcast, as we break down the recent conclusions of "The Killing," "Girls" (and here's a link to the Allison Williams .gif we discuss during that segment) and "Veep," but before that we have to check in on "Wilfred" season 2, and also spend quite a while discussing our concerns about Aaron Sorkin's "The Newsroom." Also, after a few weeks of duds, we get another good "Buffy the Vampire Slayer" episode to discuss.
Justin Bieber finds himself at an important, but tricky, intersection with his new studio album, “Believe,” out June 19. Now 18, can Bieber transition from his teen idol status to an artist that transcends that nearly unbreachable hurdle?
It’s unclear on the mixed-bag “Believe,” a 16-track collection that takes a certain scatter shot, cut-and-paste musical approach. It’s like that saying about the weather: if you don’t like it, stick around for five minutes and it will change: If you don’t like it when Bieber delves into electroclash as he does on “All Around the World,” then wait a few minutes and he’ll be imitating his retro soul musical heroes on the Motown-inspired “Die In Your Arms” or taking the listener to church on the title track. “Believe” is an album for those with short-attention-spans, i.e., anyone under 21. In fact, it would be fascinating to see if his fans can even digest the whole set in one sitting. Probably not.
Bieber is in the dream business: he wants to love you and support you and remind you that you’d be nothing “if your heart didn’t dream/if you didn’t believe.” R. Kelly’s “I Believe I Can Fly” has nothing on Bieber’s positivity. And that’s not meant as a bad thing. In a craven world, Bieber remains overtly non-cynical.
Pivoting around themes that strike a direct bulls-eye into the heart of his tween/teen female fanbase—almost every song is based on love and infatuation, Bieber continues to have A-List rappers on speed dial, all of whom seem only too happy to pair with the Biebs. On this album alone, Ludacris, Drake, Nicki Minaj and Big Sean show up, but they add nothing other than their name value.
Instead, “Believe” is about showcasing Bieber as a singer. He positively croons on sweet, gentle, mid-tempo R&B ballad “Catching Feelings.”
There’s the obvious comparison to be made with the other Justin— Timberlake—who, himself, extremely successfully transitioned from pop star to highly respected artist before pretty much abandoning music to focus on acting and other endeavors. Bieber, while no slouch, doesn’t have Timberlake’s vocal talent but he surpasses Timberlake in the vital ambition department. For anyone who follows Bieber on Twitter, being Bieber is a 24/7 job. No artist has ever tried so hard to stay in constant touch with his millions of fans and let them know how much he appreciates them.
There’s some delicacy here that Bieber dances through beautifully, to his credit. He may have come of age, but many of his fans are much younger, and he wisely knows that indulging in the raunch that even artists only a few years older, like Rihanna, routinely turn to is a one-way trip to Nowheresville at this stage. To that end, the album is G-rated from start to finish, without ever seeming Disney-fied. That is a noteworthy feat in and of itself. Even on “One Love,” in which he declares he wants to “lie down beside you,” he pledges fidelity.
Bieber’s greatest assets are his likability, his musical curiosity and his almost preternatural ability to balance being a regular teen with the pressures and responsibilities that come with being a multi-million dollar enterprise. The only time Bieber ever addresses such conflicts is on closing track “Maria,” a direct response to the woman who accused Bieber of fathering her child last year. The thumper, which sounds like a companion to his hero Michael Jackson’s “Billie Jean” or “Dirty Diana,” is one of the most interesting musically on the album in part because it’s clear that the incident, understandably, really riled Bieber. There’s a bite to the song that no other material on “Believe” possesses.
For all his rampant popularity (his upcoming tour was a quick sell out) radio has been a little fickle with Bieber. He has yet to score a No. 1 single (contrast that with Rihanna, who has 22 top 10 hits). “Boyfriend” made some headway, but only with a with his label mightily pushing that rock uphill. “Believe” seems to acknowledge that gap between his massive fan base and radio play by containing tunes that would fit right in with current radio playlists, but doesn’t pander to them.
Bieber’s voice is now recognizable, but the problem with “Believe” is too many of the songs sound generic, as if they come from the same music factory pumping out every song on the radio today, except for “Somebody That I Used To Know” or “We Are Young.” Every tune is catchy, but not particularly memorable. There’s nothing on here that comes close to the earworm-ability of “Call Me Maybe” by Carly Rae Jepsen (who is now signed to Bieber’s manager’s label). Bieber is great at selling sincerity, emotion and inspiration. Now he just needs to work on getting some great hooks.
The wait for a new Cat Power record was, in part, due to a relationship and a break-up, but fans' first taste of Chan Marshall's next "Sun" is more about travel than anything.
"Ruin" bops along to the sounds of the various countries to which Marshall's travel -- not the native styles of music, mind you, but the actual names of the countries. Can't say I'm wild about the silly over-pronunciations of said countries, like Meh-heeko and Great Breht-ahn, but it's a driving, cool-eyed song with a undeniable refrain.
Cat Power played all the instruments on "Sun," and produced it herself too. Which is always impressive. She and her mixer kinda pulls the whole thing on "Ruin" back a bit much (around the 2:15 mark) but damn if she didn't do a nice job driving the whole jangly, piano-rocking thing.
"Sun," as previously reported, arrives on Sept. 4 via Matador. It's the follow-up to 2008's covers set "Jukebox" and the first set of originals since 2006's "The Greatest." Marshall explained to the Stool Pigeon recently that the wait was because she was working hard at making her relationship with her boyfriend -- now ex-boyfriend and actor Giovanni Ribisi -- work. But a woman who changes her hair changes her life: after years of also dabbling on the record, she split, three days later cut her hair mad short, and then went to France to finish this album.
Here's how you know "Twilight" is a giant pop culture phenomenon: even the denial of a story about the series becomes a headline across the entire Internet.
Bloody-Disgusting ran a story over the weekend saying that Lionsgate has begun having internal conversations about the idea of rebooting "Twilight." Considering they haven't even released "The Twilight Saga: Breaking Dawn Part II" yet, it seems premature to start having these conversations, but that would suggest that there is some sense of logic or rational behavior that drives the decision-making process in Hollywood. Lionsgate has denied the report, of course, but it makes sense.
Here's the cold hard truth. "Twilight" is giant business, and one of the reasons Summit was such an attractive purchase for Lionsgate this past January is because they own the "Twilight" franchise. While Open Road Films certainly hopes to have a success on the same scale with their upcoming adaptation of the Stephenie Meyer novel "The Host," my guess is that lightning will not be striking twice. With nothing else to sell, Meyer has pretty much reached the end of her commercial lifespan unless she finds a new way to exploit Edward, Bella, Jacob and the rest.
Refused, M83, Beirut and Sleigh Bells will headline the 9th FYF Fest, to be held Sept. 1-2 at Los Angeles State Historic Park. This indie-music festival expands to two days this year, a first since it moved to its current location four years ago.
Among the other acts on the 75-artist bill are Against Me!, Cursive, Quicksand and Wild Flag.
Tickets for the all-ages festival go on sale June 22 and start at $77 for a weekend pass. The festival, which is put on in conjunction with concert promoter Goldenvoice, runs from noon-midnight.
FYF FEST LINE-UP
Paul Banks (Interpol)
DJ Coco (Primavera Sound)
Father John Misty
I Break Horses
King Khan & the Shrines
Simian Mobile Disco (Live)
The Allah La's
The Pains of Being Pure at Heart
The Soft Pack
The Suicide of Western Culture
Tiger & Woods
MGMT, Best Coast, New Pornographers, Lykke Li and The Kills are among artists contributing to “Just Tell Me That You Want Me: A Tribute To Fleetwood Mac.”
Out Aug. 14, via Hear Music/Concord, the 17-track set features indie rockers and Fleetwood Mac contemporaries such as ZZ Top’s Billy Gibbons examining the popular group’s catalog.
Some acts, such as Best Coast and Karen Elson, took on more familiar Fleetwood Mac tunes, while others, such as Shudder to Think’s Craig Wedren paired with St. Vincent to dive deeper into the group’s 45-year catalog. A complete track listing is below.
Movie music supervisor Randall Poster and Geyla Robb put together the collection; they were also behind last year’s “Rave On Buddy Holly” compilation that included reinventions of Holly tunes by such artists as Paul McCartney, The Black Keys and Cee Lo Green.
As longtime Fleetwood Mac fans know, former member Bob Welch committed suicide earlier this month. MGMT covers “Future Games,” a tune recorded under his tenure in the group. The current members of Fleetwood Mac—Mick Fleetwood, Stevie Nicks, Lindsey Buckingham, and John McVie—are expected to tour again, perhaps this year. The band’s website notes “check back soon for more details on the upcoming tour.” Fleetwood told Billboard last November “we’re all up for touring in the early summer of next year.” That timeframe is clearly not happening, but look for an announcement here once details are firmed.
'Just Tell Me That You Want Me' A Tribute to Fleetwood Mac' Tracklist:
1. "Albatross" - Lee Ranaldo Band Featuring J Mascis (4:16)?
2. "Landslide" - Antony (3:33)?
3. "Before The Beginning" - Trixie Whitley (4:46)?
4. "Oh Well" - Billy Gibbons & Co. (4:45)
5. "Rhiannon" - Best Coast (3:07)
6. "Think About Me" - The New Pornographers (2:56)
7. "Angel" - Marianne Faithfull (4:59)?
8. "Silver Springs" - Lykke Li (4:11)
9. "Gold Dust Woman" - Karen Elson (5:43)?
10. "Storms" - Matt Sweeney And Bonnie 'Prince' Billy (4:46)?
11. "Straight Back" - Washed Out (3:44)?
12. "That's All For Everyone" - Tame Impala (3:43)?
13. "Sisters Of The Moon" - Craig Wedren with St. Vincent (3:45) ?
14. "Dreams" - The Kills (4:46)?
15. "Gypsy" - Gardens & Villa (4:40)?
16. "Tusk" - The Crystal Ark (5:30)
17. "Future Games" - MGMT (9:02)