06 February 2006

coming attractions

i've been meaning to update for a while. i'm not sure i even remember everything i wanted to write about. but between being in previews at work, and things starting to really get going with iphigenia with tempco, things are carazy, so let me just jot down a few things.

mission impossible three: if you asked me, 'jaime, would you like to watch philip seymour hoffman cause tom cruise lots of pain, and then maybe kill him?' i would say, 'yes, emphatically yes.' so except for the fact that tom cruise will almost certainly prevail, i think this sounds so awesome.

munich: can't even begin to respond to this movie. 2:44 managed to not drag. but what's really blowing my mind right now, after this twelve-hour workday (and the caraziness, lest you forget), is that i just got around to imdb-ing the actor who looked so damn familiar but i couldn't place (the bomb-maker for those of you who've seen it), and it turns out that this doofy, shmendricky (i think i'm using that right), sweet but not at all in the vicinity of anything at all resembling cuteness or attractivity, this guy is the actor who played love of my life nino quincampoix, amelie's love interest in le fabuleux destin d'amelie poulain. (the french title is just so much better.) (see how wiped i am? not only am i not linking the shit out of this post, but i'm parentheticalling all the would-be footnotes.) (phinneus just walked into the living room with a full sheet of paper in his mouth.) (he's one of the cats, in case you don't know.) but back to the issue at hand, actor mathieu kassovitz. sure, he's a doof in amelie, but it's the sweetest, most endearing, kiss-him love-him awkwardness. where as in munich, and you know i love my awkward sweet guys, but in munich... well, a bad beard and jewfro do wonders, in the unwonderful way. or maybe he's just that good of an actor.

okay, i am entirely rambling. but why stop now.

grey's anatomy: !!!!!!!! james gets mad bonus points for totally calling this - so we're analyzing the carazy teaser, the code black. i had already learned (and confirmed, thank you internet) that a code black is a bomb, but, i said, burke tells them there's a code black while he's in the OR. and this is where james is smart, and uses his past tv-watching so well, because he says, 'maybe they're pulling an alias and the bomb's inside someone.' and whaddya know! thank you, j.j., for teaching us how to think.

i will admit that for the first bit of strategery in munich, the maneouverings seemed so low-tech and simple compared to the shmancy espionage of alias. things were so much harder then, but in some ways (allison pointed out) also so much easier. but they also seemed a bit lazy about being seen. tsk. see how that helps you feel safe with your baby and hot israeli wife in brooklyn, avner. see how safe you feel then.

this was supposed to be a place-holder post, jotting down bits of what i plan to write about in more depth later. obviously not what happened, but why go back and edit when i can keep writing, wrap up, and then go watch will & grace? what else have i been wanting to write about? i have no bloody idea. tim curry's dancing with john cleese on the teevee. (john otto cleese, birthname john marwood cleese.)

god, i actually had to just check my palm pilot to see what i was doing last thursday. i knew there was something else. the writers and the public panel. john guare, diana son, suzan-lori parks, moderated by oskar eustis. drool, swoon, sigh, all that stuff, down to the bottom of my artistic soul. observation: john guare hates joe papp. observation: diana son seems really cool, and i feel bad for having talked smack about 'stop/kiss.' i should see my feelings about that play for what they really are - feelings for how lowry handled that bit (okay, all of) ta23. she gave me and ollie the play, said to pick a scene. turned out there weren't any good scenes for our purposes. turned out lowry'd only read the play once, and she didn't remember it all too well. turned out that left me feeling tres dismissed by ms. l. so. i should separate that from the play.

so i've put those bad feelings behind me, or at least confined them to where they rightfully belong. and then there was suzan-lori parks. wow. after seeing munich, steven called for the establishment of a tony kushner cult. slp conjured that feeling in me. and the combination of her and oskar made me just want to... well, to work at the public some day, but they made me want to go make art, to really support playwrights, to hold tight to my obsessively idealistic artistic integrity, to make good art.

suzan-lori parks: "bad theatres are afraid of writers. bad people are afraid or writers."
oskar: "it's our job to make writing less scary."

important things to remember. yes, i want to work at the public some day. (who in their right mind doesn't?) but till then, i can do plenty of good where i am now.

yeah, the whole reason this was going to be a coming attractions post was that i'm in no condition to form intelligent thoughts at the moment. but leave it to me to try. and fail. good night.

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