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In 1999,  Michael Crichton played what he knew to be a fool’s game and predicted the future. He was not so successful. Things he got wrong: Printed matter will be unchanged, movies will soon be dead, communications will be consolidated into fewer hands. Well, he did foresee YouTube.

Crichton, who was fascinated by science and often accused of being anti-science, commenting in a 1997 Playboy interview on technology creating moral quandries we’re not prepared for: “I think we’re a long way from cloning people. But I am worried about scientific advances without consideration of their consequences. The history of medicine in my lifetime is one of technological advances that outstrip our ethical systems. We’ve never caught up. When I was in medical school—30-odd years ago—people were struggling to deal with mechanical-respiration systems. They were keeping alive people who a few years earlier would have died of natural causes. Suddenly people weren’t going to die of natural causes. They were either going to get on these machines and never get off or—or what? Were we going to turn the machines off? We had the machines well before we started the debate. Doctors were speaking quietly among themselves with a kind of resentment toward these machines. On the one hand, if somebody had a temporary disability, the machines could help get them over the hump. For accident victims—some of whom were very young—who could be saved if they pulled through the initial crisis, the technology saved lives. You could get them over the hump and then they would recover, and that was terrific.

But on the other hand, there was a category of people who were on their way out but could be kept alive. Before the machine, ‘pulling the plug’ actually meant opening the window too wide one night, and the patient would get pneumonia and die. That wasn’t going to happen now. We were being forced by technology to make decisions about the right to die—whether it’s a legal or religious issue—and many related matters. Some of them contradict longstanding ideas in an ethically protected world; we weren’t being forced to make hard decisions, because those decisions were being made for us—in this case, by the pneumococcus.

This is just one example of an ethical issue raised by technology. Cloning is another. If you’re knowledgeable about biotechnology, it’s possible to think of some terrifying scenarios. I don’t even like to discuss them. I know people doing biotechnology research who have decided not to pursue avenues of research because they think they’re too dangerous. But we go forward without sorting out the issues. I don’t believe that everything new is necessarily better. We go forward with the technology while the ethical issues are still up in the air, whether it’s the genetic variability of crop streams, which is a resource in times of plant plagues, to the assumption that we all have to be connected all the time. The technology is here so you must use it. Do you? Do you have to have your cell phone and your e-mail address and your Internet hookup? I was just on holiday in Scotland without e-mail. I had to notify people that I wouldn’t be checking my e-mail, because there’s an assumption that if I send you an e-mail, you’ll get it. Well, I won’t get it. I’m not plugged in, guys. Some people are horrified: ‘You’ve gone offline?’ People feel so enslaved by technology that they will stop having sex to answer the telephone. What could be so important? Who’s calling, and who cares?”

Three parts of a rough cut of a seemingly pissed Woody Allen being anti-interviewed by Michael Parkinson in 1971 at the time of Bananas. Woody, apparently annoyed that United Artists forced him to do press, decided to screw around, so his questioner had no choice but to go with the moment. There comic is sincere when he says that he didn’t care for Laurel & Hardy’s comedy. And the line about A Streetcar Named Desire having a chase scene is funny even though the guest wanted to amuse no one. It’s just a train wreck.

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Economist Robert Reich, small but perky like a Tina Fey tit, just did an Ask Me Anything at Reddit to promote his new documentary, Inequality for All. He makes the comment that “the rich have done the best when everyone else is doing well.” That’s historically true, but have the rich ever done better than they’re doing now? (I’m talking about the super-rich, of course.) What’s really bad for most has been great for them. A few exchanges follow.

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Question:

Professor Reich, you are a noted supporter of free trade and outsourcing. From a neoliberal economics perspective, these policies are justifiable, but don’t they dramatically undermine the bargaining power of the American working class?

Robert Reich:

Not if they’re done correctly. For example, our trade treaties should require that our trading partners have a minimum wage that’s half their nations’ median wage (and we should do the same) — thereby helping ensure that the benefits of trade are spread widely.

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Question:

You appear to be a strong advocate for growing the economy as a way to pay off America’s debt obligations. What are your thoughts on the idea that economic growth is ultimately unsustainable, given the accelerated depletion of key natural resources that would be required to fuel such growth?

Robert Reich:

Growth isn’t the problem. It’s what the growth is used for. Rich economies have healthier environments than poor economies in large part because they can afford to protect their environments. Productivity gains — through invention and innovation — will enable us to save more energy in the future. But we need a carbon tax to get incentives right.

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Question:

Realistically, what are some policies that could pass this Congress that would be good for the country. We hear so much about what wouldn’t pass, but where is there bipartisanship. I’d love your input, Professor.

Robert Reich: 

I think the Democrats should introduce a bill to raise the minimum wage to at least $10.50/hour — which is what it would be if the 1968 minimum wage had just kept up with inflation. The vast majority of Americans agree. Many Republicans would come along. It would be a worthy fight.

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Question:

Professor Reich, I am a big fan and looking forward to seeing the film. However, I believe the rich & powerful in this country actively DO NOT want a successful middle class in the U.S., because that means the laborers have too much power. (Also a reason why they’re against Obamacare – health insurance binds people to jobs they hate.) As it is now, employees are scared to ask for raises and demand better working conditions. Multinationals can do better selling to China, India, Brazil etc. What can we do about this situation?

Robert Reich:

Look at American history and you’ll see that the rich have done the best when everyone else is doing well. Today’s rich would do far better with a smaller share of a rapidly-growing economy (growing because the middle class and poor had a larger share) than their currently large share of an economy that’s barely growing at all. It’s not a zero-sum game.•

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Michelangelo Antonioni was great at many things, but he never filmed sex or dance convincingly. Why was that? Self-consciousness? Guilt? In 1970, at the time of his remarkably infamous film, Zabriskie Point, the director was given the cover treatment by Look. An excerpt from the article:

“When Blow-Up became a money-maker in the U.S., Antonioni had a prompt invitation from MGM to do a film here. Partly because of Antonioni’s temperamental reputation, MGM officials kept their distance. He went to the Chicago convention (where he was Maced), SDS meetings and the Free Church at Berkeley, arousing suspicions in some vigilant quarters that he might be going to emphasize the trouble spots of America. MGM still claims it doesn’t know what Zabriskie Point, an expensive production, is all about.

Antonioni worked on his script with two young American writers, Sam Shepard and Fred Gardner. No one was permitted to discuss the ever-changing plot (‘political events go by too fast for the cinema to keep up’). His company never knew where they would work the following day. Press agents and crew members, unused to his impromptu methods, were fired.

‘Our relationship was purely platonic,’ Mark Frechette says of the director, because Antonioni (politely embarrassed by Mark’s ardor for a ‘spiritual revolution’) never discussed with him the character he was playing, although he spent hours with Daria [Halprin]. Rangers at Death Valley National Monument clashed with hippie members of the Open Theatre during filming of a love-in. College militants didn’t trust Antonioni and suspected he was exploiting them.

So it went. No matter what he did, Antonioni provoked resentment. His maverick methods hark back to the times of I-am-the-boss directors D. W. Griffith and Josef von Sternberg. He is an artist who creates his mystic and original work in absolute control of what he wants, and to hell with busybodies and gossips who don’t understand. Long before this point in his career, he had been bruised by censorship of church and state in Europe. A tense man with a nervous facial tic, Antonioni has become superstitious, suspicious and easily hurt.

Within the shell of his absorption in his work, he is genuinely surprised that some people don’t ‘like’ him. He ‘likes’ Americans and is amused at himself for thinking them a much happier people than he expected. At his return to Rome, he announced that his fellow Italians were unbelievably provincial compared to Americans and were still vainly arguing problems that Americans had resolved 50 years ago.

‘America has changed me,’ he says. ‘I am now a much less private person, more open, prepared to say more. I have even changed my view of sexual love. In my other films, I looked upon sex as a disease of love. I learned here that sex is only a part of love; to be open and understanding of each other, as the girls and boys of today are, is the important part. But it is not fair to ask questions of me before I put my picture together. The responsibility is mine. It is me in front of the camera saying what I feel about my America.'”

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Alfred Hitchcock, deeply brilliant, and a real creep, not just a pretend one, participated in a 1976 press conference, moderated by Richard Schickel of Time, for Family Plot. One unidentified reporter asked an interesting question, wondering if shocking actual events, like that era’s sensational Patty Hearst case, made it more difficult for a thriller writer to surprise audiences. The filmmaker ultimately acknowledged that he was “fighting headlines all the time.”

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Many feel that filmmaker Roman Polanski should be in prison for the rest of his life, although not everyone agrees. One of those who begs to differ is Samantha Geimer, who was just 13 years old in 1977 when the filmmaker drugged and raped her. Now middle-aged and more bitter with the justice system than Polanski, Geimer has published a new book about the ordeal and actually has something of a correspondence these days with her victimizer. From an interview with Geimer in the Guardian:

“In 2009, after the release of Marina Zenovich’s documentary on the trial, Polanski sent Geimer an email apologising. ‘I want you to know how sorry I am for having so affected your life,’ he wrote. It wasn’t an admission of guilt, exactly, but it was at least a softening of his customary flat denial of any wrong-doing. She didn’t reply, but since then they have been in touch sporadically. This seems extraordinary – both his apology and their continued contact – a subject that Geimer is reluctant to the point of coy about speaking of.

‘Over all these years, our attorneys have communicated. We’re not buddies. But, I mean, I have been in touch with him just a little bit by email. Just personal stuff, nothing worth talking about.’ She gives the impression she is protecting his privacy, and, one imagines, the fragile state of detente between them. Has she sent him the book? ‘No. I don’t know if he’ll read it. I don’t believe he’s seen it. He’s a busy person, so I’m not sure if it’s something that it’s important to him to get to.’ The tone of this – there is no mistaking it – is the deference that creeps into interactions with the famous. It is alive, even now.”

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Francis Ford Coppola, in 1982, taking a break from casting The Outsiders to speak with David Letterman about the torturous release of One from the Heart.

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Writer Margaret Atwood, who has a lot more to say than Madonna and can say it much better, received far fewer questions than the pop star during her Ask Me Anything at Reddit. Some exchanges follow.

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Question:

What are you most scared of?

Margaret Atwood:

This might seem strange to you, but a person is often afraid of fewer things as they get (shhh!) Older. We know the plot. We know how this is likely to end. As Anita Desai once said, It Is The Cycle Of Life. But apart from that, spiders, if unexpected.

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Question:

Do you have one or more favorite science fiction films? What are your thoughts on the process of translating literature to cinema, generally or specifically in the genre of science fiction?

Margaret Atwood:

Blade Runner. Beautifully made. Let The Right One In, Swedish version; not SF but same problems faced (plausibility). With SF: I watched a large number of SF B movies when they first came out. The problem then was the low-budget special effects. Now it’s likely to be holes in the plot, or over-slickness. But all of that’s a generalization.

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Question:

I can honestly say that without a doubt, The Handmaid’s Tale was the scariest book I have read. May I ask if you had someone in mind while writing the character of Serena Joy?

Maragret Atwood:

More like a type: women who make a career out of telling other women they shouldn’t have careers. Also the Shelley Winter character in the splendid film Night of the Hunter (Robert Mitchum’s best role, IMHO)

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Question:

Hi, I’m a high school English teacher in Northern California who is rolling out a unit featuring The Handmaid’s Tale–we’re starting Thursday! My question: What would you say to a group of students from an affluent community weaned on science and technology to convince them of the enduring relevance of the novel? Thank you so much for your consideration; it’s been an amazing learning and professional experience teaching your novel—my students brought this ama to my attention and I couldn’t be more thrilled at the opportunity as well as the timing!

Margaret Atwood:

As they already know some science, show them some brain-science and evo-devo studies – folks studying the inherent human story-telling “platform.” We tell stories because we’re human. The novel appears to be the most brain-intensive media form – second only to being there.

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Question:

What are your thoughts on the current popularity (which is perhaps on its way out) of dystopian novels, especially in the Young Adult genre? 

Margaret Atwood:

Lots of thoughts on that! I wrote Oryx and Crake before this wave set in, but there were a number in the 20th C. However, turn-of-century often causes folks to wonder where we’re going, and how they themselves might behave if they find themselves in a bad version of There. And Climate Change and the resulting storms and floods, and the threats to the biosphere.. young people are attuned to all of that.

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Question:

Maybe an odd question but one that interests me: have you written anything that you now regret?

Margaret Atwood:

Several letters.•

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Jon Voight is at least two things in life: a racist a-hole and a brilliant actor. In the aftermath of David Frost’s death, when I was done sitting shiva, I got my hands on a copy of The Americans, a book of transcribed interviews from the TV presenter’s conversations with prominent U.S. citizens. (If you’re interested, there are quite a few 1¢ used copies at Amazon.) It features talks with all manner of accomplished Americans: Orson Welles, Tennessee Williams, Clare Booth Luce, Helen Hayes, Johnny Carson, Dennis Hopper, James Baldwin, etc. I think my favorite one is with Voight. In one exchange, he explains how he readied himself for Midnight Cowboy and responded to its astounding success. An excerpt:

David Frost:

How long did you prepare yourself for the part in Midnight Cowboy?

Jon Voight:

I had read the book about five years earlier, so I just was sitting around thinking about it for a long time. It was probably the only part I really wanted to do. I turned down an awful lot of things. But finally when we got to it, and they gave me the role, we had a couple weeks’ preproduction shooting in New York. I had a week with a voice coach in New York, fellow by the name of J.B. Smith who did a lot of accents. And then I went  down to Texas and I spent a week in Texas. And then when I came back, we rehearsed it for fourteen or eleven days, and then started shooting.

David Frost:

How much of you is there in the character in Midnight Cowboy?

Jon Voight:

I really don’t know. I think it’s very easy for me to be Joe Buck. It’s almost more comfortable for me to be Joe Buck now than it is for me to be me. I like him a lot. But he goes on his own steam, as a character does when it takes off.

David Frost:

What kind of experiences did you have in Texas?

Jon Voight:

Well, I did very cliché things in a way. I’d say, ‘I’m going out tonight to a bar, and I’m going to sit there and talk with the people.’ Now they have liquor bars in Texas, and then they have beer bars, and I went to a beer bar. And I sat there, and there was one guy sitting there, and somebody listening to the jukebox, and me. And I’m waiting for a conversation to start up so I can just maybe get into the accent a little bit. And half an hour goes by, and he doesn’t say anything. And we’re nodding to the music and tapping out a few things and looking at each other. ‘I’ll have another beer, please.’ He looks up at me. Like we had some kind of thing going. I don’t know what it was.

(Laughter.)

And then finally I said, ‘You in cattle?’ He said, ‘Oil.’

David Frost:

He ad-libbed.

Jon Voight:

Yeah. ‘Oil.’ ‘Oil, oh.’ ‘Yeah.’ Another half hour.

(Laughter.)

It was like that. I mean it was a whole night like that, see. And it was funny. We talked about the water.

(Laughter.)

I said, ‘The water’s hard here in this part of Texas.’ He said, ‘Yeah, it’s good for your second teeth, though.’

(Laughter.)

And then I went to a boot shop and worked there with a bunch of people, and I really got to love them.They knew that I was an actor in town and some of the local characters would stop by the boot shop in Stanton, Texas. They were terrific guys. They’d be these old guys that’d come in. They have nothing to do, see, and they’re just sitting by the drugstore up the street. And they’d come in and say something about the weather. They say, ‘The wind’s down.’

(Laughter.)

I can’t really represent them properly because they make jokes about the wind, and they’d come in with a little thing they had to say. And it was really sweet. Really nice people. And I talked with this fellow by the name of Otis Williams, who was maybe nearly seventy. He used to be a bronc buster in the rodeo. We talked for long periods of time, and he wanted me to go to a rodeo with him, and I wanted to go, but I knew that we had to leave shortly, and I didn’t think I was going to be able to make it. I found out later that he’d gotten tickets for me, and really was excited about the fact that I might go, and I feel kind of disappointed that I didn’t. Anyway, I was leaving that day, and I said, ‘Well, Otis, I’ll see you, I’m gonna go. You know, maybe I’ll be back in New York. Maybe I’ll come up and see the rodeo. I’d like to. But, you know, if I don’t, it’s been real good talking.’ So I walked out of the store, and I’m getting in my car. And Otis comes out of the shop with his saddle, and he’s walking away. And it’s like he wanted to say goodbye, because he probably knew that I wasn’t going to see him again, right?

So I walked over toward the car, and Otis walked this way and said, ‘Yep.’ And he looked at me and I said, ‘Yep.’ And we stood there for a long time. And he’s looking and trying to think of something nice to say. And I didn’t know what to say either, but here we were along in the street of this old ghost town of a place, this old cowboy and me. And I’m standing there, and he finally looks up and says. ‘There’s a lot of good horseflesh up there.’

(Laughter.)

It was really touching.

David Frost:

And good for your second teeth, too. Jon, what’s it been like after the fantastic success of Midnight Cowboy? You’ve become a sort of youth-sex, or sex-youth, symbol? Did the reaction knock you out when it first happened?

Jon Voight:

I suffered a lot of different reactions. When something like that hits, it hits very heavily for me. I was really unprepared for it. A lot of things happened. Like when I walk down the street, and somebody knows the work and understands it and likes Joe Buck maybe as much as I like him says, ‘Hey, terrific!’ And he walks on. That’s a great feeling.

I came in today to check something, and I walked out front, and a bus driver was driving by, and he said, ‘Hey, Joe! How you doing?’ I said, ‘Terrific!’ That kind of acceptance is really a nice thing to feel. But I’m an actor, and I feel that I have to keep trying other characters. Maybe Joe’s the only one I’ll ever feel that I ever fulfilled. But I just have to keep going and keep trying other things and getting interested in other things and trying to make those things work. I’ll succeed and I’ll fail and I’ll fool around a little bit.

David Frost:

You said something about when the movie first hit you almost wanted to hide.

Jon Voight:

Yeah, I did. I didn’t know what I could follow it with it was so big. I almost didn’t want to follow it. It says so many nice things that I really like, and it’s so powerful a movie. It’s like I want to take a break for a while. But I also want to prove that I’m fallible too. I was thinking of going back on the stage right away and just test my stage legs again. Somebody said, ‘Why don’t you do Streetcar, but I’m not right for it in many ways. I could build up to it, like I built up to Cowboy, and have a lot of fun doing it. I thought, why not? And then I thought, well, somebody’s going to say, ‘There he is. That’s Jon Voight. He’s a fifth-rate Marlon Brando’ And I’m going to say, ‘Hey! Wait a minute. Third-rate!’

(Laughter.)”

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“Where’s that Joe Buck?”:

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Goldfinger’s henchman Harold “Odd Job” Sakata destroys Johnny Carson’s New York-based Tonight Show set. Apparently the skit was inspired by a Vicks commercial, hence the “cough” comment.

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Another of the 1970s TWA ads featuring Peter Sellers, with the protean actor this time portraying a jolly if condescending British chap.

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Almost as amusing as Peter Seller’s buffoonish international playboy character was his enthusiastic Scotsman, which was also used to sell TWA in the 1970s.

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In the 1970s, Peter Sellers did several TWA commercials. Here’s my favorite.

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Fat-necked babyhead Karl Rove spent a good part of Sunday excoriating the President for inching backwards from his line in the sand on Syria, but I’m glad Obama retreated if only a little. I know he doesn’t want a Rwanda to happen on his watch, but it’s difficult to bomb a country into a safer place. Not impossible, but difficult. Obama did what responsible adults do when they feel emotions getting the best of them: They doubt. And then perhaps they proceed or maybe they realize that strength isn’t only in being inflexible, the way JFK did after the Cuban Missile Crisis. Khrushchev sure seemed forceful when banging his shoe on a table, but even if he won a day or two with bluster, he didn’t win the history books. Certitude alone doesn’t do that.

Doubt was in short supply when Rove’s candidate, President George W. Bush, was in office. He and his inner circle knew that Iraq had WMDs, and there was no bending their spines of steel. So many people died because they had no doubt. In Errol Morris’ new Donald Rumsfeld documentary, the former Secretary of Defense still doesn’t question his decisions. From Gregg Kilday’s Hollywood Reporter interview with Morris about Rumsfeld’s desire to own the narrative even though the facts say he got owned:

Hollywood Reporter:

You eventually interviewed him for 33 hours.

Errol Morris:

Over 11 separate days, four separate trips to Boston. We filmed in a studio in Allston over the course of a little bit more than a year.

Hollywood Reporter:

And you had him read his memos as part of the interview?

Errol Morris:

Yes, the memos are memos that he shared with us. I don’t believe they were ever available before we started talking with him. I sometimes describe it as a kind of history from the inside out rather than the other way around. What was so fascinating and still is fascinating about the memos is that they came from [various] periods, whether it was the Ford Administration or his role as an ambassador-at-large in the Middle East during the Reagan Administration and during his tenure as secretary of defense for George W. Bush. They also reflect how he wants other people to see him. They are complex. It gives some kind of insight into what he was thinking, how he wanted to present himself to others, how he wanted to present himself to history. I think there are a lot of complicated things going on that fascinated me and still fascinate me. For a lot of people when you make a movie, you’re supposed to come away with definite answers about things. I’m not sure that is my M.O. In fact, I’m pretty sure it is not.

Hollywood Reporter:

He seems strangely obsessed with the definition of words.

Errol Morris:

I’ll tell you how I interpret it. When we think of words and the definition of words, I immediately think of George Orwell because he wrote so extensively about it. Orwell was obsessed with language and how language could be used to manipulate people. But I don’t think that’s what’s going on here. It’s something stranger. Words become for Rumsfeld his own way to regain control over reality and history as he feels it slipping away. I’m not sure I’m even characterizing it correctly either, but there’s something strange and powerful about it. If somehow he gets the right word or the right definition of words, everything will be OK. America will win the war in Iraq, the insurgents will vanish. It’s all a problem of vocabulary.”

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Jack Benny is one of my favorite comedians, and I think his odd, long-running radio and TV sitcom, with its scheming cast of characters, was the template in some ways for Seinfeld. Sadly the episode tapes of the TV version are in poor condition so the program never became a rerun staple on cable. In this 1964 clip from near the end of the show’s run, the host is joined by Walt Disney, empire builder, urban planner, technologist, Wernher von Braun collaborator and mouse enthusiast.

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A 1975 60 Minutes portrait by Mike Wallace of the late Hollywood agent Sue Mengers, which is likewise a portrait of that brief, fascinating era in between the Studio System’s collapse and the rise of the blockbuster. There’s an extended sequence with Robert Evans.

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I’m sure Faye Dunaway is every bit as difficult as advertised, but where would I be without Bonnie and Clyde and Chinatown and Network? Here she is in two commercials, one from the 1960s in which she plays a mommie dearest for Thrill detergent and the other a 1980s spot which has her peeling and eating a hard-boiled egg for Japan’s Parco shopping center. 

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Woody Allen’s first talk-show appearance was with Merv Griffin. In this clip, the two men reconvene in 1969, the comic now a grizzled veteran of the format. By the middle of the next decade, Allen was a serious filmmaker who had given up dishing out great ad-libs into American living rooms.



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Frank Zappa visits Mike Douglas in 1976 for an interview, a performance and to present a clip from the Mothers of Invention documentary, A Token of His Extreme, which features clay animation by Bruce Bickford. Thankfully, Jimmie Walker and Kenny Rogers were on hand.

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Here’s the first trailer from the new Errol Morris doc about Donald Rumsfeld.

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!n 1968, Judy Garland visited Dick Cavett for the first time. The picture is very shaky and so, sadly, is she.



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I interviewed Nick Nolte, one of my favorite actors, nearly a decade ago, and he told me about his regimen of taking human growth hormone as a way of trying to repair the damage he did to his body with a variety of excesses. It seemed an unusual anecdote at the time, but no more.

PEDs have, of course, never been just for athletes. Among numerous others, students, classical musicians and Hollywood actors all indulge to enhance their performance. In the latter community, you can add to botox and collagen a heavy usage of HGH and steroids. The opening of an article on the topic from Tatiana Siegel in the Hollywood Reporter:

“In 2005, a 30-something actor on the precipice of superstardom began prepping for a lead feature role that required ample spotlight on his abs. The actor met with the film’s trainer and outlined the performance-enhancing drugs, including human growth hormone (HGH), he already had been taking. The trainer, a firm believer that a chiseled physique should be achieved naturally, recused himself from working with the actor.

‘He told me that HGH made him feel like nothing else ever made him feel,’ recalls the trainer, who declined to be identified out of respect for trainer/trainee confidentiality. ‘He was basically addicted. I told him to find another trainer. He did.’

That actor, now an A-lister who continues to cash in on his impressive torso, is just one of Hollywood’s growing list of stars who turn to injectable HGH and other performance-enhancing drugs (PEDs) amid the ever-competitive world of looking great at any age.

With its fountain-of-youth promise, HGH quietly has become the substance of choice for Tinseltown denizens looking to quickly burn fat, boost energy and even improve complexion.”

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Back before everyone, tan or teen, was willing to stick it in the camera, it was rare to see adult-movie actors in the mainstream. In this 1979 clip, Tom Snyder welcomes porn star Marilyn Chambers to promote the release of her new work, Insatiable. Of course, she had crossed over somewhat into non-blue films with her performance two years earlier in David Cronenberg’s Rabid. Part of the discussion involves Linda Lovelace, who had come out strongly against the porn industry. Producer Chuck Traynor, Lovelace’s former husband and the-then spouse of Chambers, joins in during the interview’s last segment, making it a three-way.

The only things I know about Chambers: She did ads for Ivory Snow before becoming famous for hardcore exploits, she had sex with comedian Robert Klein (who joked about her crassness, which was sort of crass of him) and she died young (56), which probably is not unusual for that business.

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From Peter O’Toole to Andre Dice Clay, Woody Allen has written dialogue for actors to not exactly be ignored but to be reinterpreted. He tells them to get his message across but to not feel hidebound to the screenplay. Louis C.K., one of Allen’s recent actors, would cut off your vagina if you stray from any of his words. Two very different approaches that have both yielded pretty miraculous results. In this 1965 clip, Allen talks about his first original screenplay, What’s New Pussycat.

Just prior to the Allen interview is a commercial for Hollywood Bread, which is usually served with a spread made from semen, cocaine and disappointment.



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Spike Lee, soon to release his reinterpretation of Park Chan-wook’s classic Oldboy, just did an Ask Me Anything at Reddit. A few exchanges follow.

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Question:

I remember watching Do The Right Thing on TV one time, but every time a character said “motherfucker” it was dubbed over with “mickeyfickey.”

Who chose mickeyfickey as a way to censor motherfucker?

Spike Lee:

Wasn’t me. And I hate it. I hate it I hate it I hate it.

Question:

There are too many mickeyfickey snakes on this mickeyfickey plane!

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Question:

You’re directing a remake of Oldboy, a brilliant, original Korean film. It is a very tall order. Are you nervous? What do you want to do differently?

Spike Lee:

Before we started the shoot, Josh Brolin went to Park Chan-wook and asked for his blessing. He told Josh “you and Spike make your own film, don’t remake ours.” And that’s what we did. 

Question:

To me that almost sounds like Brolin didn’t get his blessing.

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Question:

What actor have you NOT worked with that you would really LOVE to work with?

Spike Lee:

SEAN PENN, my man Sean Penn. Sean Penn, Javier Bardem, Idris Elba, Cate Blanchett, the other Kate, Kate Winslet.

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Question:

Can you tell us a cool anecdote you’ve wanted to share? How do you think America’s racial politics/awareness have changed from when you first started filmmaking to now?

Spike Lee:

It was March 20, 1988. I was having a birthday party in LA and E.U. was the band. And this is right after School Daze and E.U. had the number R&B hit with the song “Da Butt.” And this lady was dancing crazy on top of a speaker, I told her to get down, because if she fell, her neck would be broken and I would be sued. So finally she jumped off the speaker and started cursing me out in a voice I’d never heard before. I asked her where she was from, and she said she was from Brooklyn. I said “where in Brooklyn” and she said “Fort Greene” which is my neighborhood. I said “What is your name” and she said “Rosie Perez.” At the time I was writing Do The Right Thing, and that’s when I got the idea to make Mookie’s girlfriend Puerto Rican.

Historically African-Americans and Puerto Ricans have intermarried.

And that’s my anecdote for tonight. The rest is history!

Well, we have made some changes. We have an African-American president. But here’s the thing. A lot of people thought racism would be eradicated or disappear as soon as we had a Black president. That we would enter a post-racial America. That has not worked out.

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Question:

I often confuse you with Spike Jonze. Do you two know each other?

Spike Lee:

We’ve met one time in Mexico. We were at a film festival. That was it.•

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