Archive for February, 2012
Oh my, the New York Times has created a Tumblr site that documents some of its old photos. Better than showing the photos themselves, it also documents the notations and edits on the backside of the picture. Consider this 1973 Joe Namath example.
I love when Letterman facilitates bits like this one (From this week’s Tuesday night’s episode).
And while I feel bad for Sean Young’s personal struggles, I have to admit Lane’s joke early in this snippet is a good one. And Young clearly wanted this incident in the news, for whatever reason.
From the New York Times obituary for Bruce Surtees, Oscar-Nominated Cinematographer (and frequent Clint Eastwood collaborator).
Mr. Surtees, who lived in Carmel, was also the cinematographer for “White Dog,” Samuel Fuller’s controversial film about a dog trained to attack black people. Made in 1982, it was not officially released — on DVD — until 2008 because of the studio’s fears that it was inflammatory. (The film, which stars Kristy McNichol, Paul Winfield and Burl Ives, is ardently anti-racist.)
And yeah, I am not going to lie–I am utterly fascinated in a pop culture sense that McNichol and Ives made a film together.
Article first published as Actor Terence Bernie Hines on A Thousand Words, Rushlights on Technorati.
The next two months are going to be quite busy for actor Terence Bernie Hines. First up, on March 9, A Thousand Words, a comedy-drama Eddie Murphy film will open, featuring Hines among the supporting cast. Then, in April, Rushlights, a murder-mystery movie with a cast featuring Beau Bridges–and including Hines as well–will be released. In anticipation of these two new films, Hines was kind enough to entertain a series of questions in an email interview about the creative process in both projects.
In your next film, A Thousand Words, you are part of a cast that includes Eddie Murphy, Allison Janney, and Jack McBrayer. How did you land the role–and who are most of your scenes with?
I auditioned for the part and was initially cast in a different role; but when I met with the director Brian Robbins on set, he felt I would better fit the role as a friend of Eddie’s in his office. So everything I do is with Eddie – and we definitely had fun!
What were some of the benefits of getting to work with a director like Brian Robbins?
Brian has been in the business since he was a kid and has done literally hundreds of shows as an actor, producer or director, so he has a great sensibility for working with actors. And when he sees something that works, he just lets you go with it, which is always nice.
Friend of the blog, novelist Susan Straight, recently made me aware of her biweekly feature (in conjunction with photographer Doug McCulloh) for KCET, in which she shares stories/slices of life pieces about Riverside, California. Here’s a snippet from this week’s installment:
But now Guasti is a startling contradiction in landscape, a convergence that happens over and over in Southern California. The road heads through CentreLake, an industrial park of buildings with white walls and blue glass that house for-profit colleges and businesses. And then, you see the Guasti Post Office, and an old brick schoolhouse, and across from there, one of the loveliest churches I’ve ever seen. Anywhere in the world.