15 new Arrested Development episodes in one day?
I think the internet is going down on May 26th.
He doesn’t give much away, but this interview with creator and writer Mitch Hurwitz is pretty funny.
His road rage story is great.
Hopefully the new sci fi actioner from Neill Blomkamp can deliver on it’s promise.
In case it doesn’t at least it’s got Syd Mead design and Alice Braga.
In the 1970s, Chris Burden produced a series of late-night television commercials that blurred the worlds of entertainment, advertising and conceptual art.
Appearing as idiosyncratic interruptions to the station’s regular programming, Burden’s sometimes shocking, sometimes dryly humorous advertisements reveal how easily notoriety and stature can be bought, manipulated, and subverted through popular media. Writes Burden: “During the early seventies I conceived a way to break the omnipotent stranglehold of the airwaves that broadcast television had. The solution was to simply purchase commercial advertising time and have the stations play my tapes along with their other commercials.” In this video, Burden shares the motivations and logistical complications behind his four historically significant ads: Through the Night Softly (1973), Poem for L.A. (1975), Chris Burden Promo (1976), Full Financial Disclosure (1977).
The best one has to be Chris Burden Promo
I’ve learned when you work with people that are heroes to you, you have to be really careful, especially if you’re directing them. It’s unsettling to act and you feel a little untethered, and the director makes you feel like someone else is in control and it helps you. So when the director is someone going, “Oh my God, I’m like the biggest fan of you” – when he showed up, I said “Hi” to him, quickly. “You have any questions? Thank you for coming.” And I stayed away from him. And we just started shooting. The first thing we shot was him coming to say goodbye to me, his last scene. And he comes and sits down and he just says, “Well, I’ve done my part. Now it’s up to you. It’s just, if you can do it.” I’m sitting there in character, going, “I can’t believe how good everything he says is. This is way better than I thought it would be.” He had it perfectly memorized. He had something to prove as an actor.
When we did the scene in the office where I dance around, it was really humiliating. I’m doing this in front of this guy, who I love, and it gave me a stomachache. At one point, out of self-consciousness, I said, “This isn’t even funny.” And David said, “No, it’s not funny. It’s not supposed to be.” He said, “Jack doesn’t give you the extra week ‘cause he thought you were funny – don’t make any mistake of that. He gave you the extra week because you did something. He finally got you try and do something. And by the way, that extra week was pretty close to, you didn’t get it.” He had a few things to say like that. I got to hang out with him, smoke cigarettes with him, even though I haven’t smoked in a year. I love the guy. I love him.
Can’t wait for this show to return
Ross Scarano has an interesting take on the excellent first episode of Mad Men season six.
It was everyone’s first thought last night, when the sixth season of Matthew Weiner’s Mad Man premiered. From a first-person POV, someone dying looks up at a ceiling while a bald doctor administers blows to the chest. A heart attack? Megan Draper is screaming.
It’s Don. It must be Don.
Confirming the fears, we hear Don in voice-over, reading from Dante’s Inferno. Then we’re in Hawaii, and Don’s alive. But like one already dead, he isn’t speaking. In just one of many incredible moves made last night, Don spends the first five or so minutes of the episode not speaking. Through a number of scenes we see Don but he’s silent. Megan prattles and a comedian at the resort where they’re staying cracks wise and dances. But Don is as quiet as a corpse.