My 500th Post: 2001 Julie Delpy Interview

When I started this blog, I posted once a week and thought that was probably the right amount. I never would have anticipated that I'd reach 500 posts in just a little over two years of blogging. It quickly became addictive and only grew more rewarding with interactions among the film-loving community. Instead of digging into my thoughts about doing this blog, I've decided to do something different this time. The first place where I wrote about film online was digitallyOBSESSED!, which covered DVDs in the early days of that medium. Back in 2001, I was lucky enough to speak with the great French actress Julie Delpy. She'd just reunited with Richard Linklater and Ethan Hawke for an animated segment in Waking Life. Given this summer's release of Before Midnight, it feels like the right time to post this conversation. She was friendly and generous with her time, which meant a lot to this nervous movie fan. There are some dated elements in this discussion, particularly when we talk about the rise of DVDs. Even so, her thoughts on working with Linklater and the evolution of the medium should be interesting today. If you're curious about the original post, you can locate it through this link. I hope that you enjoy this interview! It's definitely my favorite of the limited direct connections that I've had with the film universe.

Let's start with Waking Life. How did you initially become involved in the project?
I'd worked with Richard Linklater on Before Sunrise, and he called me and told me he was doing a picture with digital animation on the subject of dream life. He didn't have a script, and I didn't know much about what was going on, but I had confidence in Richard and went over to Texas.

How much of your scene was scripted? Did you improvise much?
This was actually completely scripted, just like Before Sunrise was. The difference was that on Before Sunrise we workshopped the entire film. For three weeks, we wrote and worked on it. On this one, we more or less did the takes that he gave to us because it was on a more limited subject. It's not like on Before Sunrise, where we could get all of our own little stories into it. [Laughs.] It was a more specific subject, so we did the dialogue that he gave to us.

The scene lasts for only four minutes. How long did it take to film it?
It took about a day, an afternoon really.

Was it shot in Austin?
Yes, it was.

How does it feel to act in a scene when you know everything is going to be animated afterwards?
I didn't know how it was going to be made or know too many things about the animation. Since Richard was doing it, I knew it was going to be an interesting project because I know he always does very good things, and I had confidence. It really was lovely to see yourself being animated, and I think it was amazing.

What was it like seeing yourself animated on the screen?
It was fun. I was happy, plus they gave me a really nice animation. I love the animation. It was alive and like a constantly moving thing; even the backgrounds are moving. I love that about it.

Both you and Ethan Hawke were returning to characters you initially played in Before Sunrise. How did you go about rediscovering the personality of your character?
It was funny. It's almost like the characters never really left us. We just went back and did it very easily and automatically. It's almost like the minute Ethan and I are together, we go back to that dynamic of talking and bouncing off ideas. Lines are even lifted from Before Sunrise. And, we have a third interlocutor when in real life, which is Rick (Linklater).

Much of this story focuses on lucid dreams. Do you have many lucid dreams of your own?
Oh yeah, I have lucid dreams, very much so. It's crazy. I have so many dreams it's scary.

What are some of them about?
My dreams go from horror to porno, just like everyone else. I just happen to remember most of my dreams. I know a lot of people that don't remember them. I remember them in detail, and it's great. There's quite a lot of horror, fears, and scary things, but also kind of beautiful, amazing things, especially colors. That's what I love about Waking Life in that it really translates the beauty of it into animation. It has such a dreamy quality to it.

Your conversation with Ethan Hawke's character talks about reincarnation and the idea of a collective memory. Personally, do you think much about these subjects?
I don't really believe in reincarnation, but I believe in something, I don't know what it is exactly. I believe there is something collective in memory or fantasy that has no words to define it.

Waking Life was recently released in the United States on an excellent DVD. Do you have much of a DVD collection or interest in the format?
I'm just starting my collection. There's just so many out there to buy.

What are some of the DVDs that you've enjoyed recently?
I've watched Red Beard from Kurosawa. Also, I love Dr. Strangelove. I watch it over and over. I'm just starting to get really excited about DVDs. I don't have enough, and I want more.

There's always so many that it's impossible to keep up.
I know. I buy them one-by-one, here and there when I really want them. But sometimes it's hard to always find DVDs and you can only find them on tape. It's not the same.

You've worked in the past with so many incredible directors. Who are some directors you've love to work with and haven't yet?
I feel so terrible because once you start making a list you forget people. Mmm, who do I love? I love Tim Burton, Woody Allen, Jim Jarmusch.

Woody Allen actually just released a new film here. What attracts you to his work?
You know, I like comedy. I like the neurotic, dark sense of humor that he has. Love and Death is one of my favorites.

You've moved into directing with Looking for Jimmy and a few others within the last several years. What made you choose to tackle directing?
For now, I've really only done a few short films. It's such a part of me. I really have a passion for movies. I'm more of a cinephile. I've enjoyed films from all around the world and they're inside me. To direct is always something that I've really wanted to do. I love acting, and I would never give up acting, but it's something in which I would feel totally fulfilled as well. It's something else that I can do in films.

As far as Looking for Jimmy, you basically did everything on this film.
Yeah, it was more of an experimental film. We shot it in 24 hours on digital video. It was very experimental in that films haven't been made that way very often. It was more of a challenge to shoot in 24 hours nonstop and edit it down to an hour, and I did a bit of everything.

How were you able to juggle all the tasks?
It was very nerve-wracking and I would never do it again. [Laughs.] That's for sure. I shot it all in 24 hours, and never again. But I'm happy with the result; it is what it is. It's not a perfect film, but it's from a different perspective.

There's no perfect films, although some come pretty close.
Well, it's not Dr. Strangelove, but I think for what it is, it's very successful. It's entertaining, and that's what I wanted.

With a few exceptions, you've avoided the Hollywood machine and been very successful. How have you been able to avoid it?
Well, it's not easy. It's hard, and I've decided that maybe it's not just a good idea to strictly do small films. I've decided to do more Hollywood movies, but not only that, because I could never do only that. I'll always be doing independent and European films too. I think I should do more mainstream films, which will give me more freedom to choose later. Often independent filmmakers go for Hollywood stars, so it doesn't matter anymore. The gap is smaller and they help to get movies financed.

The line often blurs between independent and Hollywood films. It seems that the overall quality of mainstream films has gone down lately.
Yeah, that's true. I don't know why. When I was thinking about what mainstream movies have become, it's crazy. I think that now they're sure of what makes money and what doesn't make money, so now they control the market, which is very dangerous. If The Godfather was made now, it would have a hard time, because the characters are too dark. You can't have dark characters now, which is so wrong. Everyone loves the dark, lead character that's a twisted and sick guy. It's totally untrue to think that something far more twisted would not be attractive to watch. Even when characters have an edge, they make them kinder and sweeter.

They have to be redeeming in some way even when they're really not.
Yeah, he can't be killing people, only killing by accident. Even when it's a true story, they change it to make them nicer. Or, he's a terrible person, but he was beaten as a child. There's all the reasons. Sometimes people are horrible without having reasons. It's just not reality.

I think the marketing process has become almost more important.
People just don't have a choice. I think the public is not as dumb as people wish they were. I think they're smarter. They want more diversity, that's for sure.

Even Waking Life was showing here in just one theater.
The whole publicity machine has one movie make millions over the weekend, then it can die. It makes tons of money over the first few weeks, and then we forget about [it]. No one ever even hears about [it] again, except to rent on video or whatever. It's weird that in the theaters in America, if you don't go see a film in the first three weeks, it's nearly gone after that.

It's even a week for some movies. If you miss them in the first week, then you have to wait six months for video.
I know. In France, after six months a film will still be showing, even if it was not a huge hit. It's fun. There's so much more diversity. I open the paper and there's thousands of movies showing.

You also recently appeared on ER in a guest role. How was that experience?
I actually enjoyed it a lot. It's a truly different experience. At first, they threw me into the set and I didn't know what was going on. There was screaming, with people running in every direction. And then I realized that you actually adapt very fast. It's very professional, and it's good training because you have to be good on the first take. I enjoyed doing it.

You recently starred in Villa des Roses.
It's a Belgian film. I'm not sure if it's going to be released in the U.S. It's very beautiful. I've done a lot of films in Europe, and you never know which ones will come out in America.

What current projects are you involved in?
I've been doing stuff I wrote: one that I'll be starring in and one that I'll be directing. I've been working on getting everything together. Both are very different. I can't even talk about it anymore. They've fallen apart too many times. One seems to be going forward that I'll be starring in. It's unusual. I might end up with people really liking me or people really hating me. [Laughs.]

What caused you to go into acting?
I think it's my love of movies and theater. I've always been fascinated by theater, and I've always been in that world, right away with my parents. And I enjoyed it. I enjoyed the freedom of it.

So, what was it like growing up having both parents involved in acting?
It's not always easy. It has its ups and downs. They worked for years, and then didn't work for a while. There's so much pressure and all that. When I started acting, I was trying to keep everything in perspective. I know that it's very tough.

What do you like to do besides films? What are some of your hobbies?
Music. I like to sing. I like to write, but that goes with films. I like to torture my cat. [Laughs.] I don't really torture him. I do bug him and play with him. That's it. And I hang out with my friends and watch movies. Sometimes we like to watch really bad movies. Or really good movies. It's one or the other.

Sometimes it's better than picking the dull ones in the middle.
Exactly. We like to go with one or the other. Because in-between, we just get really bored.

We're All Dead! Marathon II: Oblivion (2013)

Back in the summer of 2011, my fifth marathon for this blog explored the world of post-apocalyptic cinema. I named it the "We're All Dead!" series and watched intriguing films like The Quiet Earth, Monsters, and On the Beach for the first time. I also enjoyed silly movies like Kevin Costner's overly ambitious epic The Postman. It remains one of my favorite marathons, so returning to that genre is long overdue. This time, I'll be digging further and catching up with both classics and lesser-known selections. My first post covers a recent 2013 release that drew a mixed reaction from audiences and critics. Oblivion makes Tom Cruise one of the last men on Earth preparing to abandon the planet. Will he discover a massive conspiracy? Is the sky blue? Both questions and more will be answered in this second feature from Tron: Legacy director Joseph Kosinski.

Oblivion – Directed by Joseph Kosinski; Starring Tom Cruise, Morgan Freeman, Olga Kurylenko, Andrea Riseborough, Nikolaj Coster-Waldau, Melissa Leo, and Zoe Bell

What's this story about?
The year is 2077. Earth was devastated in a battle with invading aliens 60 years earlier, and few people remain. Jack Harper (Tom Cruise) is tasked with securing important devices that will assist with humanity’s transition to the Saturn moon of Titan. He lives in the Tower 49 base above the former New York City with his partner Victoria (Andrea Riseborough) and prepares to exit this planet. They were brainwashed five years earlier, but remnants of a past life remain in Jack’s brain. He dreams of a strange woman (Olga Kurylenko) and yearns not to leave, but the alien Scavs threaten him each day. When Jack encounters one of them up close, he discovers that all is not what it seems. These revelations paint an entirely new picture of the war and who’s really running the show behind the scenes.

Is the post-apocalyptic environment believable?
For a movie that makes good use of CGI, Oblivion feels pretty authentic. There are a few shots that resemble a video game more than a film, but even those are so gorgeous that it’s hard to dislike them. The cool interiors of Tower 49 contrast sharply with the colorful environment that remains in a few parts of Earth. Kosinski clearly shows the humanity we’ve lost via the clean, static home above the ground. When Jack travels down to the world below, it’s dirty and yet retains the remnants of a thriving society. The challenge with such an effects-heavy project is making us believe that anything we’re seeing could exist. The wonderful score from M83 sells the grandeur of both the futuristic structures and the striking natural beauty. While the epic structures and massive land masses may not seem realistic, they fit within the world of this movie. That’s the key element because it maintains the stakes of the ultimate conflict. If the actors feel like they’re playing in a green-screen environment, it falls prey to the George Lucas syndrome and takes us right out of the movie.

Would I rather be dead or spend time with these characters?
Jack is set up as the everyman with his Yankees hat, record collection, and interest in basketball. Part of him would rather die than abandon the planet. It’s easy to admire that connection to our Earth, and Cruise has never had a problem being likable on screen. His movie-star persona doesn’t get in the way of making Jack engaging. Kosinski’s methods are pretty transparent; who wouldn’t like this guy? Victoria seems nearly emotionless, but she’s hardly a bad choice for a working companion. Her character limitations make sense once the twists appear, and Andrea Riseborough effectively plays her static nature. Morgan Freeman has fun as Malcolm, a mysterious figure Jack meets on Earth. The one question mark is Olga Kurylenko, who is attractive but isn’t entirely convincing. She works perfectly as the image from Jack’s memories, but the actual character doesn’t generate the same level of interest.

Beyond surviving in this dreary world, does our hero have a compelling quest?
This story is primarily a mystery with the naïve hero slowly discovering the man behind the curtain. Malcolm sends Jack on the path towards knowledge, but he can only do so much. Although the resolution is fairly generic, the journey is exciting because we’re discovering the truth along with Jack. When he comes face to face with a shocking adversary, it’s a surprise because Kosinski hasn’t tipped his hand. The interactions between Victoria and the space station contact Sally (Melissa Leo) are strange, but that just adds to the mystery. Why does she keep asking if they’re an “effective team”? Is this a strange performance evaluation from a nasty corporation? Sally would be more interesting if Leo wasn’t giving her such odd mannerisms, but that’s been the norm for her acting lately. Even so, we’re on board with finding out the truth right along with Jack. It might not hold up as well to repeat viewings, but the original journey is an entertaining ride.

What are some of the most memorable scenes?
Although Oblivion is a stunning visual presentation, some of its best moments are the quiet scenes. When Jack first visits his cabin on the lake where he gathers artifacts of a forgotten era, it’s a charming moment. He turns on a record, shoots hoops, and just hangs out in the quiet setting. Compared to the drone-infested wasteland around him, this haven reminds us what’s been lost. It may be obvious yet works because of Cruise and the beauty around him. It’s also easier to be direct when you have M83 supporting the emotions. The fast-paced chase between Cruise’s ship and the three drones is exciting because of the impressive effects, but it’s more forgettable than the slower moments. The art direction and ambitious visuals rarely miss a beat and shine the most when there’s little chaos on the screen. Kosinski’s Tron: Legacy also had some issues but showed a unique style. He brings that artistry to this story and is clearly a filmmaker to watch in the sci-fi universe.

How heavy-handed is the thematic connection to our present-day world?
There’s clearly a longing for simpler times in this story, which distrusts technology in many forms. The vicious killing machines are flying robots, and they’re not in the humans’ control. The pivotal moment from the past involves our exploration into the unknown regions of space. Maybe the space program’s end isn’t such a bad thing, at least in the minds of writers Karl Gajdusek and Michael DeBruyn. Unlike many post-apocalpytic films, Oblivion isn’t presenting a strong allegory about the dangers of our current path. We can infer that Jack’s humanity is tied to nature, but that hardly seems like the primary goal of the filmmakers. They’re building a mystery to uncover as humans face their final days on this planet.

Next week, I’ll venture into the wasteland and join the Six-String Samurai.

Top 10 Steven Spielberg Films

Exploring the early phase of Steven Spielberg’s career has shown just how much he’s evolved since the 1970s. His 27 feature films include the expected blockbusters and prestige pictures along with some interesting detours into passion projects. Duel and The Sugarland Express have a much different feeling than his breakout movies yet already revealed his technical expertise behind the camera. When deciding on my Spielberg favorites, there was no way to narrow the list to five films. Even making 10 choices was a challenge, and this list has several omissions that are excellent options. While the placements for several Oscar contenders may be surprising, they work for my preferences because I’m not looking to watch them again in the near future. I could easily sit down with the top choices at any point and not check my watch. Those favorites provide great entertainment and never feel like they’re pandering to the audience. That’s a tricky balance that shows why Spielberg deserves attention as one of our top current directors.

10. A.I. Artificial Intelligence (2001)
This last spot was the most difficult to fill because the possibilities were so different. My choice is one of Spielberg’s most ambitious films. A.I. confounds many viewers by combining a hard-edged look at the future with a child’s search for his mother. There are a few slip ups along the way, but the scale and excitement of this world overcomes those hurdles. We rarely see this type of movie that shoots for the stars thematically and with its effects. Stanley Kubrick originally worked with Spielberg on this project, and the combination of their different sensibilities makes for a surprising and original movie.

9. Saving Private Ryan (1998)
This up-close depiction of the horrors of war is clearly a passion project for Spielberg, and his commitment delivers some remarkable sequences. The opening battle at Omaha Beach is one of the most ambitious war scenes ever put on film and throws us right into the heart of the conflict. When the pace slows down and the main story begins, we’re still on board with the characters. Nothing can match the energy of the first act, but there’s still plenty to like in the rest of the movie. The actors stay down to Earth and seem to understand the overall setting is more important than their characters. Tom Hanks, Barry Pepper, Adam Goldberg, and Jeremy Davies stand out in memorable roles.

8. Schindler's List (1993)
Spielberg’s most acclaimed film is easily his stunning 1993 look at the Holocaust and its many horrors. The black-and-white cinematography brings a reverence to the material and avoids making it too dramatic. With a few notable exceptions, the camera sits back and lets us get sucked into the action. Liam Neeson is sharp in a tricky role of a guy who’s more of a businessman than a heroic savior until the end. This was also the breakthrough performance for Ralph Fiennes as the heartless Amon Goeth. This three-hour epic isn’t a movie that I revisit often, but it’s still quite a filmmaking achievement.

7. Indiana Jones and the Last Crusade (1989)
This is one of the most purely entertaining movies in Spielberg’s career and nearly rivals his success in Raiders of the Lost Ark. Sean Connery and Harrison Ford have such great chemistry, and the comedy between them never feels forced. Their bond seems effortless, which is saying a lot when you consider the star power of both individuals. The search for the Holy Grail is basically a retread of the pursuit of the Ark, but it’s so much fun that we barely notice. Although Spielberg returned to the character one more time, I prefer to believe the series ended on just the right note with this movie.

6. E.T. the Extra-Terrestrial (1982)
I watched E.T. for the first time in a long while last year, and it was surprising to remember just how great it is. It’s the kind of movie that could be dismissed as just for kids but remains enchanting for adults. Spielberg does an excellent job presenting the world from a child’s point of view and doesn’t bring the grown-ups into the mix until the final act. The undercurrent of the damage caused by the family’s recent divorce hangs over the entire story. Despite the sci-fi premise, this timeless film remains firmly grounded in reality. It’s refreshing to even see a government agent who isn’t the stern bureaucrat you might expect. Spielberg delivers an affecting and refreshing movie that still hits the mark today.

5. Close Encounters of the Third Kind (1977)
Spielberg followed his breakout success in Jaws by delivering this subtle and intriguing story about aliens landing on Earth. It’s more of a personal story about Roy Neary (Richard Dreyfuss) and his unflinching pull to discover the truth. He’s so drawn to this place that he leaves his family and sets out for the landing site at Devil’s Tower. Spielberg wrote and directed this film and uses a deliberate pace to build our expectations towards the surprising climax. Although it lacks the firepower of his biggest effects pictures, Close Encounters rewards on repeat viewings and keeps you thinking about for a long time.

4. Jurassic Park (1993)
I remember the anticipation while waiting in a long line at my local theater. We ended up stuck in the front row, which made for a pretty hairy experience when the T-Rex arrived. Jurassic Park has lost none of its luster today, which says a lot about its impressive effects. The reason for this timelessness is the classic three-act structure. We receive all the necessary exposition up front, all hell breaks loose, and then the characters do their best to survive. Unlike the bloated follow-up, this movie flows smoothly through both the build-up and the action. Sam Neill and Jeff Goldblum play well off each other, and even the kids aren’t so bad. This remains one of the great adventure films of the past few decades.

3. Minority Report (2002)
One of the great sci-fi thrillers of all time, Minority Report combines an intriguing story with great action to deliver a stunning experience. Spielberg takes the “innocent man on the run” theme used so well by Hitchcock and wraps it in a sci-fi premise. The screenplay from Scott Frank and Jon Cohen never lets him down, and Tom Cruise is at his best as the everyman trying to survive. There are several incredibly tense sequences, and the world feels real even during the high-flying chase scenes. This thrilling movie hits on every level and provides great entertainment while engaging our mind at the same time.

2. Jaws (1975)
Spielberg’s first hit succeeds because it’s about much more than the Great White shark. It's the classic tale of man versus beast with an unlikely trio facing their fears in the open water. The technical problems are well-documented and show how limitations often deliver the greatest filmmaking achievements. There have been countless movies with huge budgets that couldn’t deliver an ounce of the thrills in this film. The creative failure of the sequels and many knock-offs just reveals the achievements of this first true blockbuster.

1. Raiders of the Lost Ark (1981)
What more can be said about Raiders? It’s a classic adventure yet never feels like it’s stealing from the old-school serials. It’s pure joy from start to finish and includes so many exciting sequences. The truck chase would be enough to carry most films, yet that’s just one of the great examples. Harrison Ford is perfectly cast as Indiana Jones and makes the part seem effortless. Few actors have even one character on this level; he’s done it twice! The humor feels natural in Indy’s world, and John Williams’ score keeps the energy rolling without becoming intrusive. This is one of the most re-watchable movies ever made because it’s so packed with gags and thrills. Lawrence Kasdan’s script is witty and smooth, and Spielberg rarely takes a breath as he sends us headlong into the adventure.

In case you're curious, these three choices nearly usurped A.I. for the final spot. In no particular order, here are the movies that came closest to grabbing the last spot:

Catch Me If You Can
Lincoln
Munich

I'd love to hear your thoughts about this Top 10 list. Should I have placed his prestige films much higher in the rankings? What are your favorite Spielberg movies? You should also check out my past Top 5 Lists if you've missed them.

TV: Survivor: Caramoan, "Last Push"

This recap was written for Sound on Sight, an excellent online spot for great writing on film and television. You can check out the original post at this link.

Despite the unpredictable second half of Survivor: Caramoan, a sense of inevitability dominates the finale. Cochran has avoided the vote throughout the game, and his victory feels secure after he wins the final immunity challenge. The only question is whether Dawn or Sherri will receive any votes, and the bitter jury makes it clear neither has much chance to crack the scoreboard. While Jeff Probst makes a huge deal about Cochran being unconventional, it’s not a surprise to see him win the million. Along with playing a strategic game, he has the likability factor that’s eluded powerful contestants like Russell Hantz at their Final Tribal Council. The jury needs to feel good about giving the million dollars to the winner, and only one possibility fits that requirement. Dawn received unfair nastiness from fans after Brenda’s exit, but that move’s role in her game isn’t in question. That move confirms the jurors’ beliefs about her cold play and makes her emotional outbursts look phony. Dawn clearly was not playing a character, but the contradictions are too significant. Instead of providing an underdog story of how she overcame adversity to reach the end, Dawn becomes a symbol of victory at any costs. Cochran voted out almost everyone on the jury, but it was always about the game. Whether it’s fair or not, the jurors decide to reward a likable guy who makes no qualms about his focus on strategy.

The Final Tribal Council includes several uncomfortable moments where the nastiness towards Dawn crosses the line. The worst is Brenda bullying her to remove her false teeth and humiliate herself. While her anger is understandable, this move is overly mean and accomplishes little more than making Brenda feel better. Cochran and Dawn worked as a pair since the start of the game, but his moves are applauded. Part of the issue is their personas from the South Pacific. Dawn was the mother of six who was too nice. Cochran was the Survivor nerd who was too nervous to play a successful game. Both returned this time with plans to change their perceptions, and neither leaves with the same impression. The elephant in the room is sexism, which allows some players to get away with moves while others suffer the consequences. It’s an intriguing subject that crosses gender lines, so it’s too simple to say that women are never considered great strategists. Parvati and Kim Spradlin both received credit for running the game and winning the top prize. On the other hand, Sophie and Denise were considered lesser-tier winners despite playing excellent games. There’s definitely a certain view among many fans of what makes a great player, and some will not live up to those expectations.

Sherri also reaches the end yet gets no consideration from most jury members. Erik tries to summarize their lack of interest, but he comes off like a jerk piling on after the situation is clear. Her journey began with strong play to build an alliance and take out the two couples. After the merge, she adapted and joined the favorites. In a strange way, the closest model to her game is Phillip on Redemption Island. She clung to Dawn and Cochran and avoided risks to ensure her spot at the end. While the jurors are mad at Dawn, they respect her game a lot more than the third wheel. Sherri seems like a nice person, but the editing rarely shows her bonding with anyone. She skipped opportunities to shake up the game, and that safe play is not enough to earn respect. Speaking of Erik, he makes a very brief cameo in the finale and is medically evacuated minutes after the previous Tribal Council. His exit was clearly set up last week and creates less tension for the next two hours. The main question is whether Eddie will get a chance to “bro down” in the finals. He reveals smarts in giving his assessment of Erik because of his EMT job at home. It would have been interesting to see if Eddie could have made the right points to challenge Cochran’s dominance with the jury.

Erik’s surprise exit forces the producers to shift gears. The winner of the “house of cards” battle receives an advantage in the final immunity challenge. This is unfortunate since it skews that key contest in favor of one player. While the edge did not benefit Malcolm in the Philippines, it helps Cochran this time. He struggles with the puzzle yet has a big enough lead to find the solution. The only chance for Dawn and Sherri leaves when Cochran wins that challenge. He makes the right choice and eliminates his last opponent towards victory. It doesn’t hurt that he also performs strongly with the jury and uses his trademark self-deprecating wit. When Malcolm asks about the differences between them, he brilliantly calls out his own uncertainty. Cochran throws Dawn under the bus without being overly nasty, and he even humors Eddie’s goofball question about hanging out at the bar. In other news, Reynold comes off like a jerk and ruins some goodwill by bashing Dawn, and Philip revokes Sherri’s membership in Stealth ‘r’ Us. How will she live? Despite the hate, it’s an interesting Final Tribal Council and shows why Cochran deserves to grab the ultimate prize.

The reunion is marred by the decision to move the non-jury members off the stage. It’s possible this move tries to disguise the absence of Brandon Hantz, who was banned from attending the live show. Either way, it creates a strange feeling all is not right in the Survivor world. Jeff spends too much time talking to Rudy and Boston Rob instead of the current players. It’s hard enough to find time to speak to everyone, so why waste time on distractions? The Boston Rob chat is obviously designed to plug his new book. That is not a good way to use the limited minutes. Jeff also seems to think Cochran’s win is a lot more surprising than it really is. There are past examples of slim guys taking the top prize. Todd Herzog and Bob Crowley were hardly alpha males. Cochran modeled his game after Rob Cesternino and caught the right breaks to finish the deal. Despite the issues with the reunion and some poor casting moves, there still was plenty to like during this messy season. The twists for the next installment may be an entirely different matter. Regardless, it’s remarkable to find a show still providing great entertainment in its 26th outing.

Early Spielberg Marathon: The Miscues of Twilight Zone: The Movie (1983)

Steven Spielberg is a filmmaker who frequently identifies with the joys of childhood. Movies like E.T. the Extra-Terrestrial and Hook tackle this subject directly, while Empire of the Sun and A.I. Artificial Intelligence explore the tougher side of being young. Given this fact, it's no surprise that Spielberg's entry in the anthology film Twilight Zone: The Movie covers this theme. This is a tricky movie to consider because there are dramatic tonal shifts between the segments. Three of the four parts remake an original episode of the famous TV series, and the other doesn't feel out of place. It opens with John Landis' new story about an angry racist sent back in time to encounter Nazis, the KKK, and U.S. soldiers in Vietnam. It's an obvious approach but employs the sense of dread that exists in the later segments from Joe Dante and George Miller. Those parts are the highlight and present two nasty scenarios with thrills and clever special effects. Given Spielberg's talent, you'd expect that his contribution would at least match up with the other guys. Unfortunately, his approach is too straightforward and negates what could be an interesting premise.

Scatman Crothers (The Shining) stars as Mr. Bloom, an extremely upbeat senior citizen who's a new arrival at the Sunnyvale Rest Home. The residents sit in place and seem resigned to living out the rest of their days with quiet rest. However, it's clear they're not such a happy bunch. Even the grumpiest old man Leo Conroy (Bill Quinn) clearly wants to connect with his son and live a fuller life. Bloom convinces everyone except Leo to go outside one night for a game of "Kick the Can", and they magically transform into kids. This seems like a wonderful miracle, but most decide to actually return to their older selves. One guy just can't resist and ventures into the night as a boy once again. It's clear that Bloom is reminding the residents that being old is a state of mind and not a prison. Leo doesn't become a kid, but he's saved by the experience and seems ready to enjoy the rest of his life. This differs considerably from the original episode, where the transformed children don't return to their original bodies. Bloom is also a new creation and adds a sense of mysticism to this tale.

The "Kick the Can" remake has an engaging premise that could have followed an interesting path. Instead,  the themes are so blatant that it becomes too generic. Jerry Goldsmith's music constantly reminds us that we're seeing something "amazing", and forcing the charm is rarely wise. Spielberg's critics push the idea that he's overly sentimental, and that's usually a simplistic look at his career. In this case, however, that claim is accurate. This literal representation of what happens when you're "young at heart" is so obvious that it loses its steam. It also suffers from the use of "magical black man" who saves the dour lives of white people. This tactic is rarely seen these days yet still remains through movies like The Legend of Bagger Vance. Crothers does a good job, but it's impossible not to consider this unfortunate convention when watching this segment. The movie has some great moments, particularly in Miller's chilling "Nightmare at 20,000 Feet" final segment. Spielberg creates the most forgettable story and needs more subtlety to make this concept succeed.

Early Spielberg Marathon: 1941 (1979)

Steven Spielberg has directed 27 feature films, and few have a lower reputation than his World War II comedy 1941. It sits in the land of The Terminal and Indiana Jones and the Kingdom of the Crystal Skull, and both of those have more fans. With serious caution, I’ve entered the arena and decided to check out the 146-minute extended cut. Although it earned a decent box office take, this film rests in the middle with four major hits around it. Compared to Close Encounters of the Third Kind and Raiders of the Lost Ark, the returns look like a massive failure for Spielberg. Is this a hidden gem that deserves more attention? There’s always a chance for such a marquee director with a strong reputation. It certainly has a few fans, so the question is whether the prevailing sentiment of disaster is accurate. Let’s close out this look at Spielberg’s early films with one of his most notorious pictures.

1941 – Directed by Steven Spielberg; Starring Dan Aykroyd, Ned Beatty, John Belushi, Lorraine Gary, Murray Hamilton, Christopher Lee, and Toshirô Mifune

What's the story about?
The Japanese have attacked Pearl Harbor, and the citizens of California are frightened they’ll be the next target. Their fears may be justified when an enemy submarine arrives with thoughts of taking out Los Angeles. The residents need no help to freak out and wreak a lot of destruction before this vessel even appears in their sights. Wally (Bobby Di Cicco) just wants to take his girl Betty (Dianne Kay) to the USO dance, but only soldiers are allowed. While he tries to find a way to this big event and its jitterbug contest, the local soldiers and sailors are itching to fight anyone. Meanwhile, pilot Wild Bill Kelso (John Belushi) flies his fighter around town and induces chaos wherever he goes. The paranoid climate keeps growing, and it’s only a matter of time before all hell breaks loose.

Does this film reveal the skills that would make Spielberg a household name?
1941 reveals the technical proficiency that Spielberg showed in his successful projects. He presents the action skillfully and makes the complicated sequences believable. That’s pretty much the only thing that connects to his best work. This is a messy series of gags that seems below such a marquee director. The comedy is so obvious and involves people falling down and inadvertently causing explosions. The sexual humor is painful and shows a filmmaker working outside of his comfort zone. Spielberg can direct funny moments within the context of a different genre, but he’s clearly not the right guy for this type of comedy. It’s hard to just blame Spielberg, however. The screenplay from Robert Zemeckis and Bob Gale tries so hard to be zany that it falls flat right from the start. Watching one-note characters run around like maniacs is rarely entertaining no matter what production values surround them. It’s stunning that this is the same writing duo who created Back to the Future. That film has some goofy comedy, but it’s part of a larger story with characters we like. This mess is so full of characters that it’s difficult to connect with anyone.

Are there connections between this early movie and his later work?
This is a strange outlier in the Spielberg filmography, particularly when you look at the movies that followed. He’s clearly paying homage to Hollywood’s past and casts actors like Warren Oates, Robert Stack, Slim Pickens, and others in small parts. The veterans do their best with limited material, but there’s only so much they can do in this weak format. The movie opens with a girl taking a naked swim, and it’s Denise Cheshire from Jaws! She played the swimmer in the opening of that film, and John Williams reprises his famous score in this scene. This time, it’s a submarine that arrives from below, and there’s an awkward joke of a Japanese sailor being amazed (“Hollywood!”) by the image of her clinging to the ship. While callbacks to previous films can be fun, this connection is so blatant that it completely fails. Spielberg and Williams leave subtlety at the door right from the start. The intrusive score remains throughout the story and beats the “fun” into our brains. This is not a wise move.

What are the primary themes? Does Spielberg make them interesting?
There’s a witty comedy about citizens dealing with fears of invasion hidden somewhere within this film. Unfortunately, that theme is lost in all the set pieces. The best sequence is the USO dance, which is well-staged and fun. When this is compared to houses falling down and painful escapades from Nancy Allen and Tim Matheson, its success stands out even more. The reason is that we’re actually invested in Wally’s goal to win the dance contest. It sounds trivial but is one of the few interesting arcs in the very large cast. Spielberg goes for the mayhem, and it becomes very grating by the second hour. Even with Dan Akroyd, John Candy, John Belushi, and many other talents, there’s no salvaging this mess.

Spielberg called 1941 a “total conceptual disaster”. Does it live up to this billing?
Definitely. 1941 batters the audience with gags, music, and over-the-top acting. While this approach fits with the comedy trends of the time period, that era’s gems have simpler stories. There are far too many characters to follow, and few are memorable. There’s a clever gag involving a Ferris Wheel rolling off its foundation near the end, but it’s surrounded by actors mugging for the camera. The treatment of women and the Japanese characters is problematic, but the dim-witted approach includes nearly everyone. There’s little to ground the story as the mayhem increases, and it’s exhausting just to reach the end.

Next week, I’ll return to the post-apocalyptic future with Tom Cruise in Oblivion.

TV: Survivor 26.13, "Don't Say Anything About My Mom"

This recap was written for Sound on Sight, an excellent online spot for great writing on film and television. You can check out the original post at this link.

An interesting characteristic of this season’s returnees has been the goal to change the perceptions about their original games. Dawn wants to avoid following someone else and getting stuck in a minority alliance. Andrea tried to make big moves after being labeled a mindless follower of Boston Rob. Erik was so damaged by his massive blunder that he’s avoided all strategy. One of the most intriguing changes has come from Brenda, who stood out as a strong competitor in Nicaragua. After falling on the wrong side of the numbers in the first vote, she moved into the background and focused on being nice. This strategy seems limited but actually set her up brilliantly to make the end. Unfortunately, it also makes her a huge target once the numbers dwindle. Brenda’s a challenge monster who probably beats Dawn this week if she gives it her all. She’s likable and well-spoken, so Cochran is wise to recognize the danger in keeping her around. With Dawn backstabbing everyone, his path to victory is clear if he makes the finals. Sherri joins the duo in removing Brenda 3-2 with Eddie once again living to see another day. The last Amigo has put his fate in the others’ hands, and they clearly see no problem with letting him stick around for a few more days.

Looking closer at the choice to eliminate Brenda, it makes sense for Cochran because his biggest opponent leaves the game. Why give her a chance to win immunity next time? If he makes the end, there isn’t a scenario where Cochran doesn’t win the million dollars. The vote benefits Sherri because she’s locked into a final-three alliance that won’t see her as a threat. Her chances of winning are small, but she’s doing her best to reach the end. The question mark falls on Dawn, who casts the deciding vote to take out her ally. Brenda’s heartbreak comes from the betrayal of a friend, not just because she’s leaving the game. The line of players who will connect their exit solely to Dawn is growing very long. This fact shows that she’s played a strategic game, but there will be issues with her convincing the jury. Dawn has been unstable and struggled with taking emotion out of her decisions. Acting wishy-washy is not a good approach to earn others’ respect at the end. Dawn and Cochran have made the same moves, but the jury is unlikely to see it that way at the Final Tribal Council. She must consider taking him out to have a real shot at grabbing the top prize.

If getting voted out isn’t enough, Brenda is forced to make an impossible choice with another cruel twist after the reward challenge. It’s the family visit, where Sprint equals love. Yes, they actually say that on the show. The reunions are touching, and everyone breaks down when they meet their loved ones. There is plenty of crying and hugs from everyone, and it’s clear this group is having a great time. They compete in pairs with their relatives, and Brenda and her dad grab the win. It’s never wise to win an individual reward challenge because the producers always force decisions that will anger some players. This week’s choice for Brenda is possibly the worst in the show’s history. For the first time, a second family member is waiting for each person. Brenda can give four players the chance to have a barbecue with them, but she must take it away from herself and Dawn. This adds a new layer because she’s depriving another player. The producers tighten the screws by setting the barbecue in the water right next to camp. That’s overly cruel and manipulative even for this show. Brenda makes the right pick despite its negative effect on her closest friend.

The immunity challenge is a test of endurance that increases in difficulty as it moves along. Players must keep their arms behind their backs and are cranked forward every few minutes. The guys fall quickly, and it comes down to Dawn and Brenda. After claiming she’s going to compete until the end, Brenda unwisely lets go and gives the win to Dawn. By this point, it’s clear that she’s in serious trouble and has no idea about it. Hilariously, Erik asks about food and has little motivation to compete. The episode opens with him climbing a massive tree hoping to grab a coconut. The creepy part is that he seems to welcome a possible injury from this daring feat. While this sets up his renewed energy after the family visit (this happens every season), Erik remains an enigma. It makes sense to take him out next, but he doesn’t appear to be a real threat.

This Sunday’s finale could include an easy victory for Cochran, but anything might happen in this unpredictable season. Could Erik, Eddie, or Sherri win the game? This trio probably needs to sit together at the end to make this happen. The editing hasn’t suggested they are working behind the scenes to blind slide the leaders. Eddie and Erik must win the last two immunities to guarantee their spot. If that happens, it makes Sherri more vulnerable than Dawn or Cochran. The previews suggest an unexpected event could drastically alter these considerations, however. Another factor is the level of bitterness of the jury, which can affect who gets the votes. This doesn’t feel like an angry jury, which means they would focus more on the actual game play. Regardless of the outcome, this has been one of the better post-merge runs on Survivor in a long time.