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Watching this, you can totally see why David Thewlis was cast as Lupin:  I don't think I've ever seen another interview where the interviewee seems so laid-back, genuine and good- tempered.  Also, I love the revelations that he a) grew up in a toy shop, and b) paid his twelve-year old neighbour in Harry Potter memorabilia to tell him what happened in all of the books after the Goblet of Fire.
Ladies and gentlemen: the nicest man in showbiz?
 


 

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Has anyone else seen this?  I was going to work on my photography thesaurus, but I think I might need to go to the video store instead.
 


 

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Man, yesterday was the nicest Sunday I've had in ages - went through to Edinburgh and met the former German Flatmate for a coffee and catch-up and general gossip about the state of things, and then piled into The Liquid Rooms amongst all of the other pensioners and teenagers and students and middle-aged folkies. I've never been to a concert where the excitement has been so palpable from the moment you walked in. GUYS, THERE WERE TEENYBOPPER FAN GIRLS SCREAMING FROM THE UNDER 18s BALCONY. AT A FOLK GIG. (Presumably they also have massive crushes on Jon Boden.  What can I say, the  man is impossibly tall, very expressive, and the sight of him playing a tambourine and what appeared to be a handheld wind tunnel simultaneously is the single most adorkable thing I HAVE EVER SEEN EVER. Sight is approximated below on Jools Holland - enjoy!)  I actually think it's really great when venues recognize that people under the legal drinking age also want to go to concerts and see live bands. More places should figure out ways of accommodating that, because it sucks to be one or two or five years under legal drinking age, and your favourite band comes to town, and you can't get in. It's especially unfair when you're a teenager who isn't really that bothered about drinking and you just want to go see your musical heroes. I'm about ten years past having to worry about it, but, you know, I'm still bitter that I never got to see Lisa Germano play at Lee's Palace.

Anyways: there was screaming and whooping and dancing, and Andy Mellon is like a trumpet-playing jack in the box, and Pete Flood threatened to give us all a fifteen minute tambourine solo ('it's written by John Cage'), and John Spiers looked like he was maybe suffering from a cold but played beautifully anyways, and Justin Thurger was dressed in what appeared to be priest's robes (maybe he is a priest? An awesome trombone-playing priest?), and Paul Sartin was all gleeful about being in Scotland:
 
Paul: To celebrate our first time north of the border, we're going to sing you a song about loose women!
Crowd: YAAAAAAAAAY!
Paul: ...followed by a song about poverty and destitution!
Crowd: YAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAYYYYYY!

I'm still on a concert buzz. Perhaps it will carry over into my yet to be written essay on the state of libraries in the 21st century? Off to the library now, see you all later!

 




 

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AASDJDGKL;ALKSJDFLAKS; A lovely and enterprising person has posted the whole of the movie 'Strike' on Youtube. The title is significant in more than one way, but let's just say that when the  movie starts, it's 1963 in New England, and the girls at Miss Goddard's Finishing School are less than thrilled about their school's upcoming merger with St. Ambrose's boy's school...

At some point post-theatrical release the film was retitled 'All I Wanna Do', and the box cover played up the fresh-faced leads in their candy heart coloured dresses. Presumably this was in a vain attempt to slot a niche film into a broad market.  I say vain, because what else can you do with a film whose opening credits proclaims it to be made by 'Everybody Who Worked On It'?  How do you market a film which contains firecracker dialogue, pastel colours, five leading ladies with goals, dreams, ambitions and interests other than the prom, an exploding tube of contraceptive foam and a vomiting choir?  The leads are all 90s teen queens (Kirsten Dunst, Gaby Hoffman, Rachel Leigh Cook), but as far as I can tell, the film didn't make much of a splash upon arrival, and has remained relatively obscure. And I hate to say it, but here we go: if a film this funny, this kooky, this smart, this good had been centered around the antics of a boy's school, would it have attained teen comedy cult status by now?  I think perhaps some rehabilitation is in order here, folks...Go forth and view! 
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http://www.huffingtonpost.com/american-library-association/banned-books-2010-graphic-novels_b_740726.html#s145740
I have to wonder about a society that tries to censor reading material on the grounds of 'anti-family', 'nudity', and 'unsuitable for age group' (which in turn implies a very narrow conception of who graphic novels should be/are read by), but yet doesn't seem to have a problem with 'extreme violence'...

On the plus side of my day: I MET MIKE LEIGH AND HE IS AWESOME.  I went to a preview screening of his new film, 'Another Year', at the GFT. The film was really moving, sad and funny and compassionate and generous, and there was a  Q and A afterwards. (He gave as indepth an answer to what his favourite yoghurt is as he did to questions about his filmmaking process.)  And when I made it out into the lobby, he was standing over by the side of the wall, putting on his scarf like any other pensioner, so I toddled over to him and said somethng like 'Thank you for making such good movies', and he was super-nice, and I've been all 'aaaaahhhhh' about it for the rest of the evening. He really was exactly the way you'd expect him to be from the films that he makes, and that just makes me...really happy, I guess. It's good to see good people making good art, and that art being recognized as something not just beneficial but integral to sociey. Inspiring in the best possible way.
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Just stayed up far too late watching the remake of The Wolfman.  It's gleefully cheesy and Hammer Horroresque, to the point of pastiche.
Hugo Weaving got all of the best lines, and had all of the best reaction shots while  Anthony Hopkins phoned his performance in from the depths of the Welsh mountains, and then presumably went back to his painting. Benicio Del Toro was suitably tortured and brooding, and, incidentally, head-deskingly dull.  Emily Blunt wept until the Library Goddess and I  threw popcorn and screamed with bloodthirsty enthusiasm, "RIP GWEN'S HEAD OFF!"  The puddle that was Gwen's character did nothing to detract from the fact that Emily Blunt looks fantastic in period clothing; someone should pass a bylaw which proscribes her from going out wearing anything post 1900. 
Some neat shots and camera work, but I think that rather than thinking of it as a remake of the Lon Chaney original, it might be better to think of it as the sort of product that Hammer would have turned out if they'd had just a little bit more of a budget. Impossible to take seriously on any level, and full of gore and sillyness (the London sequence had a particularly nice balance between pacing and tongue in cheek humor). One to watch with popcorn and friends who will provide a Mystery Science Theatre running commentary.  And now to bed.
Night night.

Exhibit A

May. 29th, 2010 02:34 pm
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Do we need any further proof that Natalie Merchant is the most expressive person in pop today? I don't think that we do.


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Oh my God how much do I love this fanvid? It gives me the same feeling I get on the best days of summer. Fred Astaire should always and only dance with Judy Garland because that chemistry fairly blazes off the screen. They don't make 'em like that anymore.
 


 

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