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direct essay passwordsDirect essay passwords -” And Fenwick responds with the line that, for -lovers, best captures male befuddlement over women and the world: “You ever get the feeling there’s something going on that we don’t know about? Made for $5 million and first released in March 1982, earned less than $15 million and lost out on the only Academy Award—best original screenplay—for which it was nominated.Reiser needed socks for a show in Florida; he figured he’d hit Macy’s.Johnson and Levinson found a diner graveyard in New Jersey and their mythical “Fells Point Diner” squatting in the mud; they trucked it down and planted it on a vacant lot fronting Chesapeake Bay.The part in where everybody’s sitting around talking about sex and you realize [Steve Carell] doesn’t know what he’s talking about, or ‘You know how I know you’re gay?Ever since, he’s been trying to match the shaggy, improvised dialogue that Levinson encouraged during his tabletop scenes.So even movies set in the here and now played out in a hermetically sealed universe: the bank robbery, the romance, or the bankrupt farm was the only story to tell.The second day began with Claudia Cron, the actress playing Jane Chisholm, losing control of her mount.Forget high-concept; this script was nearly no-concept: A half-dozen young guys talk over a table; one fears getting married; one’s semi-girlfriend is pregnant; one worships his record collection.Reiser had just started acting classes, and for Levinson he tried investing his scene with all the “projection, motivation, focus, and energy” that he’d been hearing about.“Don’t do that,” Levinson said.It looked so authentic that, as Levinson was setting up the shot, a trucker pulled up looking for breakfast; the crew chased him off in time to catch the last moments of perfect light.And Barry let it run, and that elevated the energy, the comedy, and when you finish and look back, you go, ‘Well, I don’t know how it holds together as a plot … It was true.’ ” And, Stern adds, “Barry cast him totally by accident.”One of Reiser’s buddies, a comic named Michael Hampton-Cain, was heading downtown to audition for the movie and asked him to come along.“[Guttenberg] kept coming up to me,” Daly recalls, “and saying things like ‘Mickey says that if I don’t have sex or beat off the whole time, my acting will get a lot better: I’ll have this endless tension.’ I’m like, ‘You listen to this shit?Months before, Levinson had asked a venerable British production designer, Richard Macdonald, for ideas on the movie’s look, and Macdonald had unloaded an incomprehensible torrent before ending theatrically, “And the diner … ” Levinson peered into the monitor at the diner on the vacant lot, and it hit him: He wanted improvised, *Diner-*like banter and picked five actors who knew each other, who “actually hang out” offscreen, because “I knew that they could sit and talk and something natural would evolve.” Levinson’s cast didn’t know one another at all.He went so heavy on eyeliner and eye shadow that he himself laughs when he sees the movie today. “Mickey,” he said, “we’re not doing ” But the performance from Rourke is all but perfect: tough, fragile, warmer than anything he’s ever done. But he seemed to have a problem with everything I did.”Rourke became her refuge, and the animus between Rourke and Stern built up with little digs (“You ever think of doing your own hair?Because, while movie audiences lived in an outside world cluttered with names and faces from newspapers, TV, politics, and the products of the Hollywood machine, movies themselves didn’t much reflect popular culture.While they were checking in, a corpse was being rolled out a side door.served as the launching pad for the astonishingly durable careers of Barkin, Paul Reiser, Steve Guttenberg, Daniel Stern, and Timothy Daly, plus Rourke and Bacon—not to mention Levinson, whose résumé includes and Al Pacino’s recent career reviver, *You Don’t Know Jack.Pushed by her agent, David Guc, Barkin had fished the script out of the trash and, after reading through the coruscating “flip side” scene with Levinson, realized that this was hardly a dippy teen comedy.Levinson couldn’t use Baltimore’s old Hilltop Diner, where he and his boyhood pals had once gathered nightly and no one dared bring in a female.The film itself, though, is rarely accorded its actual due.direct essay passwordsThe production felt like college—all-night shoots, six A. drinks, hormones surging—with everyone working together, sort of, toward the same goal.There were occasional references here and there, and, at the time, Steven Spielberg was spelling out TV’s place in suburbia like never before. players like Alan Ameche, and real actors like Troy Donahue.“Ricky and I often talked about how, in taught me: that there is charm and interest and value in capturing the way real people behave.“It closed in two days.” As the one female set adrift in a sea of male lunacy, Beth had to be a convincing mix of vulnerability and toughness, but Barkin’s offbeat looks—now sexy, now off-putting—were a problem.On paper it was a minor part, just 18 lines of filler dialogue.Midway through, Guttenberg and Rourke went to Levinson and asked him to write them a scene together; 15 minutes later he came back with the moment at the diner counter when Boogie figures out Eddie’s a virgin. But the movie’s heart—the place where male confusion about commitment, growing up, and the ethos of loyalty gets teased out most explicitly—is the triangle featuring the tense married couple, Shrevie and Beth, and Boogie, an old flame with whom she’s eager to have an affair. ” Stern ad-libs in one scene) until the two had to be pulled apart in a snarling, chest-shoving tussle.But Bergman films, President Eisenhower, newscasts, real N. Levinson even playfully mixed his own dialogue with that of a background TV. But what made the movie click were the jazzy back-and-forths between hit men John Travolta and Samuel L.Daly, so green that he didn’t know how to hit his mark, and Reiser were both film novices playing men unsure of their place.Ellen was way above the other girls.” Weintraub backed down and has since become one of Barkin’s great champions.Earnest Eddie was played by the wide-eyed Guttenberg, who found himself startled by Barkin’s swearing and was soon under Mickey’s spell.In 1983 a girlfriend had brought home a tape of director Barry Levinson’s pitch-perfect comedy about twentysomething men, their nocturnal ramblings in 1959 Baltimore, their confused stumble to adulthood.’ ”Guttenberg and Rourke would retreat to a hotel room after hours for acting workshops.,’ or any of the scenes with Adam Sandler and Seth Rogen in —they’re all at some level influenced by the dialogue style that Barry Levinson is the master at.”“Influence” can be a tricky word. Come on, then, what did did start a way of thinking about writing about popular culture.’ ”Levinson lost half of the first day when the video on a TV set in the background malfunctioned.This story was about guys who’d known one another since elementary school; the different types had to mesh into a convincing whole.“If there was a problem over what I was going to wear or how I was going to do my hair,” he says, “I’d walk.” But the results were often comical.“These conversations that can go on endlessly through the night—bets over the stupid fucking things that you can bet on—is it. It had a complexity that not a lot of movies at the time had—they tended to be tremendously dramatic or broadly comic—and this was landing in a territory between, where somebody could be entertaining and humorous and also make you cry.”And do so in a vocabulary at once familiar and new.From left: Tim Daly, Mickey Rourke, Daniel Stern, Kevin Bacon, Steve Guttenberg, and Paul Reiser., Photograph COURTESY OF PAUL REISER. Because suddenly there was that face—the upturned nose, the lupine grin, the wary expression barely softened by the passage of, what, three decades now? God knows, Hornby had seen that too often: an actor friend, eyes darting, cornered by a gushing stranger.”) or in the beauty-parlor scenes with Rourke, is shattering. It’s something all women think: I don’t care if you look like Michelle Pfeiffer; there are times in your life where you think you’re not pretty and don’t know who you are, and you’re lost.”To this day Stern can’t tell if their offscreen dislike was just that, or Barkin’s Method-y attempt to keep their scenes fresh, or, as Daly theorizes, the product of her bid to be the “sexual vortex” of a male-dominated set.When told, last spring, about Sova’s piece of counter-sabotage, he said, “That’s not very nice. direct essay passwords Levinson had been assured that Cron knew how to ride, but as he lined up the first shot, “I can see her on a horse, like, disappearing over the horizon,” he says.Barkin, mistaking him for a bellhop, told him to take her bags to her room. Actors took their places, cameras hummed, everyone waited … “Barry,” an assistant director finally whispered, “you have to say ‘Action!But it ended up saying far more about time and regret than did Streisand crooning about memories.John Doe, the lead singer of the punk band X, read for Fenwick and made the 23-year-old Bacon, whose bedroom then was a kitchen-floor piece of foam in an 85th Street S. (“First time,” he says, “I’d seen a urinal in a private house.”)When it came to casting Beth, the wife of Stern’s Shrevie, Levinson saw only one actress—the 26-year-old, Bronx-born Barkin—and sensed that she could deliver trapped confusion like no one else.Another greasy spoon fell through when the owners demanded too much money.Diner’*s groundbreaking evocation of male friendship changed the way men interact, not just in comedies and buddy movies, but in fictional Mob settings, in fictional police and fire stations, in commercials, on the radio.Early in the movie, the place is seen just after dawn, windows and neon glowing, gray emptiness to either side.The idea of taking a mouthful of sugar before washing it down with Coke, though, was Rourke’s own, scene-stealing flourish. Off the set, Barkin and Stern barely got along, to the point where they spent an entire night filming in a car without speaking. The tension served Levinson’s purposes; the scenes with Barkin and Stern crackle with hostility.While Hampton-Cain auditioned, Chenoweth stepped out, heard Reiser riffing, and asked for a headshot.“We couldn’t believe it: showed up at the hotel for the first day of shooting, in March 1981.But producers and editors mostly found the imperatives of plot and pacing best served by verbal ping-pong matches where nobody is at a loss for words—snappy director Sydney Pollack had to argue furiously with producers to keep a scene where Redford and his friend Bradford Dillman lounge on a boat, trying to top each other by ranking the best city, day, and year.Everyone else in the London club that December night was flittering around Colin Firth, set aglow by the Oscar buzz for his performance in Hornby let them flit. This belated celebration of Firth’s 50th birthday was a private bash where artists and actors, people like Firth and Bacon—and, well, Hornby—could expect to relax.Michael O’Keefe—just off an Oscar-nominated performance in —turned down the part of Billy, which was given to Timothy Daly. Levinson took a chance on the 24-year-old Daly, whose show-business experience consisted mostly of watching his actor dad, James, and older sister, Tyne, and, just months before, tiling Lorne Michaels’s bathroom.“A hooker got murdered up the stairs,” Rourke remembers, “where they were bringing us to our rooms.” Now it was the first read-through, and here came Rourke, late, as he would be for much of the shoot, making an entrance with a white scarf tossed around his neck.You don’t have to have 90 minutes of shouting or fist-fights or blue aliens.Yet no movie from the 1980s has proved more influential., right on the edge of their seat—because, hey, this guy’s going to steal the fucking movie!Eavesdropping on the people who drink in your local bar can be just as interesting.”But, at heart, Apatow was credited with creating the “bromance,” one of the few genres capable of luring the increasingly elusive male audience into theaters. film school and screen his favorite movie, the choice couldn’t have been easier.It was important for me to establish a connection with the actor. Yeah.”Finding Fells Point The diner itself was a central cast member.Reiser’s shambling shtick and non sequitur asides (“You know the thing about Sinatra? I don’t like that”)—much of it ad-libbed and all lightning-quick—rattled his conventionally trained castmates and imbued the movie with a quality that no writer or director can force: whimsy.“He elevated the competitive comedy, because he was so sharp and you had to keep up,” says Stern, “and it made everybody, like, FOINK! direct essay passwords Once, Guttenberg and Rourke began a mirror exercise, face-to-face, their palms pressed together. ,” Rourke chanted until a mystified Guttenberg repeated it. ,” Rourke yelled, and Guttenberg repeated that too, over and over, until at last Rourke roared, “He gets all my fucking parts! Rourke considered hair and makeup to be one of the few things a young actor could control.The first-read response from his agent, Michael Ovitz, wasn’t good. Halfway through her own first reading, Barkin hurled the script across her New York apartment and into the garbage. Can people tell that’s Tim’s character or mine or Paul’s? Ovitz came around, and enough people who mattered—from Mel Brooks to Levinson’s fellow Brooks alum Mark Johnson, to his immediate boss, independent producer Jerry Weintraub, who called Levinson as soon as he finished reading the script—recognized *Diner’*s merits. The $5 million budget—big enough (at the time) to do the job right, small enough that the suits wouldn’t hover—gave Levinson plenty of rope.After a pause, someone said, “What the fuck is that? Just 22, Guttenberg was probably the most experienced; he had already shared sets with Laurence Olivier, Gregory Peck, Geraldine Page, Valerie Perrine, and Karl Malden. “People ask what was my favorite time: Everyone was raw.Led by casting genius Ellen Chenoweth, Levinson and Johnson planted themselves in New York, scouted countless comedy clubs, and auditioned some 500 actors. Bacon was known for his work Off Broadway and for his role as “Tim the teenage alcoholic,” on was already getting attention, and Guttenberg’s ability to play loopy naïveté proved irresistible.And Barkin’s portrayal, whether in the flip-side showdown (“Because I don’t give a shit!Hornby declared it, then and there, “a work of great genius.”Midway through the movie, the ladies’ man Boogie, played by Mickey Rourke, is driving in the Maryland countryside with Bacon’s character, the perpetually tipsy Fenwick. Rourke throws up his hands and utters the words that Hornby, to this day, uses as an all-purpose response to life’s absurdities: “What fuckin’ Chisholm Trail? ’ off my chest.”The Invention of Nothing)—two postmodern London slackers who could easily have slid into a booth at the Fells Point Diner—are only the most obvious branches of the movie’s family tree.The roast beef the story.“I wanted the piece to be without any flourish, without anything other than basically saying, ‘This is all it was,’ ” Levinson says. And it was particularly influential with actors—this notion that you could play someone who was extremely real and at the same time be humorous and emotional.But, while won praise for its ultra-stylized, ultra-violent take on the L. Jackson about Big Macs, foot massages, and the virtues of eating pork like “that Arnold on sprang from the decision to make his reprehensible characters sympathetic—to make the audience laugh in recognition while wincing at the blood—through dialogue that any truckdriver would recognize. in 2004, comics Ricky Gervais and Stephen Merchant began dreaming up a BBC series, fated to reboot in a still-running American version, that all but assaulted the viewer with hilariously dead-end dialogue.After all, between best-selling books such as when Bacon’s buddy sees a boyhood enemy in a crowd and breaks his nose: Hornby had no choice.But after two years of soaps and Off Broadway stage work, she had just gotten her big break: a part in a Broadway production about the Warsaw Ghetto, the perfect platform for a Jewish girl determined to be “a serious actor.”She called Guc in tears. “Please don’t make me pull out of this play.” “If you don’t do this movie,” Guc said, “I will kill you.” She gave in, finally, “and while we were shooting, David sent me the review of the play,” Barkin says.Rourke would leave the makeup trailer, shampoo, wash his face, and do it all over again himself; that’s why one scene’s pompadour is the next scene’s Eraser-head.He told her he wasn’t there for the movie; she told him to come back the next day.”) tossed about by men over drinks, behind the wheel, in front of a cooling plate of French fries—and made it central.But has suffered the fate of the small-bore sleeper, its relevance these days hinging more on eyebrow-raising news like Barry Levinson’s plan to stage a musical version—with songwriter Sheryl Crow—on Broadway next fall, or reports romantically linking star Ellen Barkin with Levinson’s son Sam, also a director.and Judd Apatow’s career, and made stars of Mickey Rourke, Kevin Bacon, Ellen Barkin, and Paul Reiser. TABLE TALK On the set of the Fells Point Diner, 1981; the diner itself had been trucked to Baltimore from New Jersey. That knowing smirk may have derailed him as a leading man, but it has allowed for a career of darker, richer roles—and allows him still to cruise a cocktail party longer than most boldfaced names without some fanboy rushing up to say how wonderful he is.Of her three dozen films, she says, no character has felt closer to her own experience than the insecure Beth. Stern became even more confused, he says, during the filming of the classic popcorn-box scene (where, for at least one take, Rourke planted a dildo in the box to surprise actress Colette Blonigan), when Barkin hopped into Stern’s lap in the movie theater and whispered how much she wanted him.“I can hear this walkie-talkie: ‘Yeah, the wranglers are trying to get her … We lost half that day, too.”Quickly, the cast’s offscreen dynamic began to unfold in an uncanny shadowing of Levinson’s script.Hornby was 26, a soccer fanatic, a writer searching for a subject.Egos were huge, but held in check because no one had been warped yet by fame and money.During postproduction on MGM/UA executive David Chasman complained to Levinson about one of its most famous set pieces, when Guttenberg’s Eddie and Reiser’s Modell argue ownership (“You gonna finish that? Chasman wanted it cut because it didn’t advance the story. direct essay passwords Johnson and Levinson found a diner graveyard in New Jersey and their mythical “Fells Point Diner” squatting in the mud; they trucked it down and planted it on a vacant lot fronting Chesapeake Bay. direct essay passwords




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