Showing posts with label Brad Pitt. Show all posts
Showing posts with label Brad Pitt. Show all posts
Sunday, October 2, 2011
Baseball Economics Expert Billy Beane: The Man Behind Moneyball
Simon Kuper
Monday 09/26/2011
http://www.maxim.com/amg/SPORTS/Articles/Baseball+Economics+Expert+Billy+Beane:+The+Man+Behind+Moneyball
Share What’s life like today for Billy Beane, the man who revolutionized baseball as a GM in the ’90s? For one thing, he’s adjusting to being portrayed by Brad Pitt in the film version of Moneyball. For another, he’s quietly overhauling the world’s most popular sport. Soccer, get ready to be Beane'd!
At ?rst you think it’s the junk room, a cellar where they dump old, broken things. But gradually it dawns on you: This really is the Oakland A’s clubhouse. Billy Beane, the A’s general manager, is sprawled on a battered sofa, his giant feet on the grubby beige carpet. The Oakland Coliseum has barely changed since 1981, when my dad drove me, a rabid 11-year-old A’s fan, up from Palo Alto to see the A’s beat the Red Sox 4-3 on a Dwayne Murphy homer. It must now be the most dilapidated stadium in the major leagues.
In this very room not long ago, Beane and Brad Pitt sat eating takeout pizza from Zachary’s in Berkeley. Pitt was hanging around, preparing to play Beane in the movie Moneyball, and as the GM explains, “He’s not the kind of guy who can just walk down to the local restaurant.” Pitt also sneaked a visit to Beane’s house, in the hills near Oakland. “I didn’t think it was a big deal,” Beane says, “but my wife and the nanny seemed to think it was. They were up at ?ve in the morning getting ready, which is the ?rst time my wife’s got up at ?ve in the morning.”
Beane spends a lot of time sitting in this room watching European soccer on the big television. While he watches, the A’s players watch him. Beane remembers sitting on his battered sofa last year when Arjen Robben of Bayerne Munich volleyed in the shot that knocked Manchester United out of the Champions League. Beane, nearly 50 now, jumped into the air and whooped. An A’s player looked up and laughed. What an absurd sight. You didn’t often see Beane whooping when his own team won a ball game.
“Just watch that goal,” Beane instructed the player, and because Beane is the boss and 6'4" and still sports the Charles Atlas physique that once lured half the baseball and football scouts in the U.S. to his parents’ house in San Diego, the A’s player watched the replay. And the second replay. Finally he got it: That skinny, bald little European was as great an athlete as the A’s player himself. “Wow,” said the A’s player, though maybe he said it only to please the boss.
Like millions of other Americans, Beane has come to follow soccer with the almost unhealthy fervor of a convert.
“I watch as many of the games as I can,” he admits. “I’m a bit of a junkie.”
And he’s also a soccer revolutionary. Five thousand miles from Europe, almost unseen by the media, Beane in?uences the thinking of soccer powerhouses like Chelsea and Manchester City. He regards Arsenal’s French manager, Arsène Wenger, as a soul mate, and you could even call him the brains behind Liverpool, the English club Red Sox owner John Henry bought last fall. Beane and his followers are now changing soccer—just as he previously changed baseball.
Sometime in late 2009, Beane and I began phoning and e-mailing each other to chat about soccer. I ?rst met him in real life in October 2010, and he turned out to be an unusual mix: an amiable Californian with big eyes behind his round glasses, and at the same time a bone-hard American businessman. I found the contact enjoyable, but also surreal. I had trouble seeing Beane as an actual person. Like millions of others, I already knew him from Michael Lewis’ book Moneyball, about the remaking of the Oakland A’s a decade ago. To me Beane was a great literary character, like Winston Smith or Holden Caul?eld.
We know most of his story from the book: The son of a naval of?cer grows up to be a brilliant teenage athlete, courted by major-league baseball clubs and elite college football programs. In the junk room this morning, I ask whether he ever played soccer.
“Not once,” says Beane.
Did he never even kick a ball?
“We had a hybrid game at junior high we called speedball, which would disgust anybody from outside the United States. You could actually catch the ball in the air and throw it. I did have a Pelé poster on my wall from the Cosmos. Most Americans in the ’70s knew Pelé. They weren’t quite sure what he did, but they knew of him.”
In the classic high school divide, Beane was both jock and nerd. His parents, who had married young and never had a shot at college, wanted Billy to use his brain. “Our family wasn’t particularly well-off,” says Beane. “Really, the reason my dad introduced me to sports was the ability to acquire a college scholarship. It was a way to pay for college.”
That’s why in 1980 the Beane family was excited when Stanford tried to recruit him as a quarterback. Beane likes to joke that if he’d accepted the scholarship, you’d never have heard of the guy who was then Stanford’s quarterback, John Elway. Anyway, Beane turned down Stanford. The New York Mets were offering him $125,000 to play baseball, and the middle-
class military kid felt he ought to take the money. Beane missed out on college.
“I don’t look at it as a regret now,” he says. “I’d say missed opportunity is probably a better way to put it. The people you’re going to school with, what you’re exposed to in future world leaders, senators—I missed that opportunity, and I don’t think you can really put a price tag on that. But it was a great life lesson.” Beane has tried never again to make a decision based on money alone.
Beane began playing in the minors, but from the beginning he had inklings of having chosen the wrong profession. He recalls: “I wanted to be the guy running the club. And as I’ve gotten older, I wanted to be the guy running the business, because it’s such an important part of sports now.”
Beane never became the great player the scouts had seen in him. “As a baseball failure—” I begin my question.
Beane pulls a pained face: “Can we… do we have another…? Is there a synonym that we can use? How about ‘my relative success’?”
He did, after all, make the major leagues. In 1990 he was a 27-year-old outfielder with the Oakland A’s. That was when he walked into the A’s front of?ce and said he wanted to quit playing and become an advance scout. As Lewis notes in Moneyball, nobody ever quits the bigs
at age 27 to become a scout. But Beane wanted to be the guy running the show.
Naturally, he treated his new career as a kind of further education—graduate school, if you like, at the University of Billy Beane. The great thing was that baseball at the time had recently acquired its very own revolutionary intellectual movement: sabermetrics. The story of Moneyball is how Beane became general manager of the A’s and reformed the club along sabermetric lines. “We just stole these ideas from people smarter than ourselves,” he says now, then corrects himself: “Stole, that’s the wrong word.”
Beane hired smart young statisticians, like 24-year-old Harvard grad Paul DePodesta. Their job was to ?nd undervalued players, and to further Billy Beane’s education at the same time.
As Moneyball records, stats worked for the A’s. Whereas other clubs did things because they’d always done them that way, the A’s came up with new ways of running a baseball club. Whereas other clubs tried to recruit living Greek statues like the 18-year-old Billy Beane, the A’s were quite happy to sign fat players. “Big-boned is the term we prefer to use,” chuckles Beane. Always they were trying to ?nd players who had been undervalued by other clubs.
Other people began to notice. In 2002 John Henry, owner of the Boston Red Sox, tried to lure Beane to Boston. He offered him a minimum of $12.5 million over ?ve years, more than a GM in baseball had ever been paid. Beane ?rst said yes, but then he said no. He wasn’t going to make a decision based on money again. Instead, Henry hired a 28-year-old Yale graduate named Theo Epstein.
The A’s punched above their weight for years. The team won the American League West four times between 2000 and 2006. With a bit more luck they might have made it to a World Series.
And there the story might have ended, with Beane a minor celebrity at a small club, but for the fact that he had met a clever guy who lived down the road from the Oakland Coliseum: Michael Lewis.
The University of Billy Beane is always on the lookout for visiting professors. Lewis, the master of business books, was the perfect candidate for a man who had educated himself largely from business books. “I consider him both a friend and an incredibly stimulating person to be around,” says Beane. Partly for that reason, and partly because Beane is a canny businessman who knows the value of publicity, he let Lewis hang around for a year. In 2003 Lewis published Moneyball. Suddenly everyone in baseball knew what Beane and his fat A’s had been doing.
More and more clubs began to copy them. Baseball, says Beane now, “has turned into more of a science—I think more of a science than even people will publicize.” But Moneyball’s in?uence goes even further: It changed other sports, too. In 2004 an NBA team hired a full-time statistician for the first time. Now they all have statisticians. And from there the revolution spread across the Atlantic to sports like rugby, cricket, and even soccer.
The conquest of baseball by Moneyball methods was formally sealed in 2004, when the Red Sox of John Henry and Theo Epstein won the club’s ?rst World Series since 1918. In 2007 they won another. In a way these were triumphs for Beane, but they weren’t visible triumphs.
Once almost everyone in baseball went Moneyball, the A’s lost their advantage.
It’s surely no coincidence that, as the A’s have tailed off somewhat, Beane has developed an obsession with soccer.
It began when Beane’s wife had a birthday. Like most men, Beane couldn’t think of a present. He panicked. Luckily, he says, “I had a cheap ?ight to London. So I said, ‘Hey, honey, we’re going to London for your birthday.’?”
“I didn’t go over anticipating falling in love with soccer,” he claims now. But, inevitably, he did treat the trip as a sort of seminar in English culture. Every morning in London he’d study the British newspapers. He noticed that they barely ran a word about the NFL or baseball. Instead, they went on about soccer all the time. On romantic strolls with his wife, Beane noticed that in front of almost every pub was a chalkboard with the times of that day’s televised soccer matches. From the A’s junk room he recalls, “I’m a big college football fan here, and it was very similar to how college football is in the South, where you have this passion and you have a large number of massive fans in this small area.”
Back home in California, Beane started studying for his major in soccer. “I literally have read every piece of literature I could ?nd on it,” he says.
But Beane is a jock as well as a nerd, and the other thing that drew him to soccer was the athleticism of the players. It turned out they weren’t little wimps at all. Watching them, Beane saw that “these are the exact same guys who are playing our sports. They just chose this sport. Had they grown up in the States, they would be playing at the highest level at whatever sport they did.” For instance, when other Americans ask him what Barcelona star Lionel Messi is like, Beane will say, “Well, just imagine if you had Barry Sanders—who’s one of the greatest running backs in the history of the NFL—his quickness and his ability to change direction, with the vision of Steve Nash on a basketball court. That’s Lionel Messi.”
Just around the time Beane became interested in soccer, something fortuitous happened: People in soccer became interested in him. Beane got friendly with soccer execs like Arsenal’s Damien Comolli, Bolton Wanderers’ Mike Forde, and a German expat in California named Jürgen Klinsmann. When the legendary striker later became manager of the German national team, he hired more sports scientists than anyone in soccer had ever seen and guided Germany to a surprising third place at the 2006 World Cup. Afterward Klinsmann joined German super-team Bayern Munich and sent Beane a Bayern shirt with billy beane on the back. Beane liked the shirt but admits he is too self-conscious to wear it into the local Starbucks. (In July Klinsmann was named manager of the U.S. national team.)
Beane had become a soccer junkie. However, he still spent his days surrounded by baseball junkies, paid to think and talk about baseball. That couldn’t last. The University of Billy Beane needed a small soccer faculty. One day when the A’s were looking for a new young statistician, Beane interviewed an MIT economics graduate named Farhan Zaidi.
At this point in the conversation, Beane summons Farhan, a cheery, small, round guy with a sense of humor. He’s the kind of person you’d expect to meet late one night after a gig at a bar in a college town, not in a professional sports club. At MIT he specialized in behavioral economics. (“Like that’s real useful,” teases Beane.) But when Farhan came for his job interview, Beane quizzed him on one topic: Oasis, the favorite band of both men. When it then transpired that Farhan was a soccer junkie, too, he was hired. “I tried to direct the conversation in each of those directions,” Farhan admits now.
Farhan had been to the World Cups in 1998 and 2002. When World Cup 2006 in Germany came around, they both reasoned that they really ought to go, even if it happened to fall in the middle of the baseball season. Together with A’s owner Lew Wolff, they played hooky and ?ew over. “We were just like college kids with backpacks, shorts, going to every match we could,” Beane recalls.
After that World Cup, whenever the A’s players teased Beane about soccer, he’d tell them, “The rest of the world can’t be wrong.” The main thing that had struck him in Germany was the emotion of the fans. You didn’t see that so much in American sports. He drew two conclusions: Where there’s emotion, there’s money to be made. And where there’s emotion, people are probably making emotional decisions.
Rational Moneyball thinking might have a place in soccer too.
In 2005 Beane’s best friend in soccer, Damien Comolli, became technical director of Totenham Hotspurr (a.k.a. Spurs) and did his best to turn them into a sort of London version of the A’s. Comolli used the new data becoming available (on numbers of tackles, miles run, shots on target, shots stopped, and so on) to value soccer players.
In 2007 Comolli paid $14 million to bring an unknown 17-year-old left-back named Gareth Bale to the team. It seemed an absurd sum. Bale came from little Southampton and had played
only a couple of internationals for not-very-fashionable Wales. But on the phone to Oakland, Comolli would talk about him with great excitement.
A couple of summers ago, when Spurs visited California, Beane got to see Bale up close. He recognized the type at once: “An 18-, 19-year-old kid, broad-shouldered, lean.” Bale was fast, athletic, and strong—a most unusual combination. Beane says, “If he were in the States, he would never have touched a soccer ball. He’d be playing wide receiver for the New York Jets, he’d be playing center ?eld for a major-league baseball team, or he’d be a shooting guard for an NBA team.” The great athletes, whatever their sports, are each other’s brothers. By the time Bale was 20, it was clear he was a sort of superman.
In October 2010 the news had broken that John Henry, the Red Sox owner, was in England.
He’d flown over to buy Liverpool, one of England’s blue-chip soccer clubs. Beane was enthused by the impending deal. Henry had perfected Moneyball at the Red Sox. Imagine, mused Beane, if he could do something similar in soccer. Beane says, “John understands numbers, and in sports it’s about numbers. John is a very rational person.”
“He tried to hire you,” I say.
“Well, that’s the irrational part of him,” said Beane.
A few weeks after Henry’s purchase, French papers reported that Comolli would leave his then-club, St-Etienne, and predicted that he’d join Liverpool. So it proved. It was clear where John Henry had been getting his advice on potential soccer hires. Henry was indeed planning
a “Moneyball of soccer,” hampered only by his near-total ignorance of the sport.
It must have been useful to ask Mr. Moneyball himself for the right direction.
A lot of calls now ping back and forth between Liverpool and Oakland. In the A’s junk room, Beane says, “Damien, you can call him anytime. He’s up all the time. I’ll e-mail him, and it will be two in the morning there, and he’ll be up and he’ll say, ‘Hey, I’m up watching the A’s game,’ because he watches a lot of A’s games on the computer. The guy never sleeps.” It seems that Beane has become an unpaid consultant to Liverpool’s Moneyball project.
At the end of the interview in the junk room, I give Beane an old baseball card of himself to sign. billy beane: out?eld, it says. It’s from 1987, when he was back in the majors with the Minnesota Twins. The season before, according to the card, he’d batted .213.
Beane takes the card from me and studies it. “I think this is at the old Cleveland Stadium,” he says, even though about the only thing you can see behind the young Beane in the picture is a batting cage. “You know, you take these when you’re 22, and you don’t think you’re going to be immortalized for the rest of your life, and you sure wish you’d shaved that day.” I realize then how much of his life he’s spent being seen through a slightly distorted medium: through baseball cards, through that Greek statue of a body, through Michael Lewis, and now through Brad Pitt.
Beane goes off with the A’s stadium manager to ?nd a sandwich. Then he comes back, and he and Farhan sprawl on the battered sofas and talk soccer, baseball, data, and irrationality off-the-record for half the afternoon.
Saturday, November 13, 2010
Mwahahaha: Plenty of laughs, evil or otherwise
http://www.washingtonpost.com/gog/movies/megamind,1158922/critic-review.html
Megamind
Mwahahaha: Plenty of laughs, evil or otherwise
Michael O'Sullivan
Friday, November 5, 2010
In the eternal struggle between the forces of good and evil, good almost always triumphs - at least in Hollywood: Flash Gordon vs. Ming the Merciless; Superman vs. Lex Luthor; Scott Pilgrim vs. the World. In "Megamind," an animated fable about a similar clash of moral titans, funny reigns victorious.
At the center of this utterly delightful film is its eponymous hero - er, villain - a blue-skinned alien who was sent to Earth as a baby when his home planet exploded. Unlike his superhero nemesis, Metro Man (voice of Brad Pitt), another refugee from a dying world, Megamind (Will Ferrell) did not grow up with "the power of flight, invulnerability and great hair," as he so bitterly puts it. Instead, Megamind has had to learn to get by on the powers that reside within his giant, bald cranium. That, and showmanship.
Unfortunately, like "Despicable Me's" Gru, Megamind is less evil genius than evil underachiever. He's not bad so much as bad-ish. "Imagine the most horrifying, terrifying, evil thing you can think of," he tells one of his victims, "and then multiply it . . . by six." In his tangles with Metro Man, Megamind had gotten used to constantly coming out on the bottom.
When it comes to personality, however, Megamind wins hands down. There's a reason the movie is named after him, and not his rival in white tights. Like other men of steel, Metro Man is a muscle-bound bore.
Megamind, on the other hand, is brought to life with every ounce of Ferrell's comic might in this sharply satiric, deftly written twist on the superhero trope, a tale in which the bad guy is, if not as strong as his adversary, at least a lot more entertaining.
Thankfully, Pitt's Metro Man is dispensed with early in the movie, in an upset victory that surprises even Megamind. Ten minutes into the tale, Megamind finds himself unexpectedly on top for the first time since he and his archenemy came hurtling to Earth in matching escape pods all those years ago.
It's not a situation he's especially comfortable with. Just as good cannot exist without evil - at least theoretically - so too does evil need something to push against. What's the point of world domination when there's no one left to dominate?
Faced with the sudden absence of his longtime adversary, Megamind decides to create a hero from scratch, or at least from Metro Man's DNA, a scrap of which has survived in the form of decidedly un-superheroic dandruff. The lucky recipient? Hal (Jonah Hill), the Jimmy Olsen-esque sidekick - and unrequited suitor - of intrepid TV newswoman and Lois Lane look-alike Roxanne Ritchi (Tina Fey).
Hal, as it turns out, isn't exactly the hero type. He would much rather play the bad guy than the good guy, especially after he learns that Megamind is not just his rival in matters of crime and punishment, but in affairs of the heart.
That's right: Megamind also has a soft spot for Roxanne.
The resulting love triangle is comic gold. Not only does it afford an opportunity for Megamind to woo Roxanne - a crazy couple if ever there was one - but also to do battle with Hal, now known as Tighten and currently wreaking havoc in Metro City.
It also affords the opportunity for Megamind, who up until now has made a pretty lousy villain, to start looking for his inner hero.
Directed by Tom "Madagascar" McGrath, and written by Alan J. Schoolcraft and Brent Simons, "Megamind" is a smart, funny and original treat. Sweet enough to deliver a message about creating your own destiny, but with just enough sour grapes not to cloy, the movie delivers pure pleasure from start to finish. It's also beautifully animated, with great sensitivity to detail. Check out the faintest flush of pink, for instance, in Megamind's oversize ears. For once, the 3-D gimmick seems justified, with eye-popping scenery and action.
"What's the difference between a villain and supervillain?" asks Megamind of Tighten, as our hero - yes, hero - makes one of his rock-star-like entrances. "Presentation!"
The same might be said of the difference between a movie and a super movie. "Megamind" has presentation in spades. But it also has something even rarer than that. It's got heart.
Contains action sequences and mildly crude language.
Megamind
Mwahahaha: Plenty of laughs, evil or otherwise
Michael O'Sullivan
Friday, November 5, 2010
In the eternal struggle between the forces of good and evil, good almost always triumphs - at least in Hollywood: Flash Gordon vs. Ming the Merciless; Superman vs. Lex Luthor; Scott Pilgrim vs. the World. In "Megamind," an animated fable about a similar clash of moral titans, funny reigns victorious.
At the center of this utterly delightful film is its eponymous hero - er, villain - a blue-skinned alien who was sent to Earth as a baby when his home planet exploded. Unlike his superhero nemesis, Metro Man (voice of Brad Pitt), another refugee from a dying world, Megamind (Will Ferrell) did not grow up with "the power of flight, invulnerability and great hair," as he so bitterly puts it. Instead, Megamind has had to learn to get by on the powers that reside within his giant, bald cranium. That, and showmanship.
Unfortunately, like "Despicable Me's" Gru, Megamind is less evil genius than evil underachiever. He's not bad so much as bad-ish. "Imagine the most horrifying, terrifying, evil thing you can think of," he tells one of his victims, "and then multiply it . . . by six." In his tangles with Metro Man, Megamind had gotten used to constantly coming out on the bottom.
When it comes to personality, however, Megamind wins hands down. There's a reason the movie is named after him, and not his rival in white tights. Like other men of steel, Metro Man is a muscle-bound bore.
Megamind, on the other hand, is brought to life with every ounce of Ferrell's comic might in this sharply satiric, deftly written twist on the superhero trope, a tale in which the bad guy is, if not as strong as his adversary, at least a lot more entertaining.
Thankfully, Pitt's Metro Man is dispensed with early in the movie, in an upset victory that surprises even Megamind. Ten minutes into the tale, Megamind finds himself unexpectedly on top for the first time since he and his archenemy came hurtling to Earth in matching escape pods all those years ago.
It's not a situation he's especially comfortable with. Just as good cannot exist without evil - at least theoretically - so too does evil need something to push against. What's the point of world domination when there's no one left to dominate?
Faced with the sudden absence of his longtime adversary, Megamind decides to create a hero from scratch, or at least from Metro Man's DNA, a scrap of which has survived in the form of decidedly un-superheroic dandruff. The lucky recipient? Hal (Jonah Hill), the Jimmy Olsen-esque sidekick - and unrequited suitor - of intrepid TV newswoman and Lois Lane look-alike Roxanne Ritchi (Tina Fey).
Hal, as it turns out, isn't exactly the hero type. He would much rather play the bad guy than the good guy, especially after he learns that Megamind is not just his rival in matters of crime and punishment, but in affairs of the heart.
That's right: Megamind also has a soft spot for Roxanne.
The resulting love triangle is comic gold. Not only does it afford an opportunity for Megamind to woo Roxanne - a crazy couple if ever there was one - but also to do battle with Hal, now known as Tighten and currently wreaking havoc in Metro City.
It also affords the opportunity for Megamind, who up until now has made a pretty lousy villain, to start looking for his inner hero.
Directed by Tom "Madagascar" McGrath, and written by Alan J. Schoolcraft and Brent Simons, "Megamind" is a smart, funny and original treat. Sweet enough to deliver a message about creating your own destiny, but with just enough sour grapes not to cloy, the movie delivers pure pleasure from start to finish. It's also beautifully animated, with great sensitivity to detail. Check out the faintest flush of pink, for instance, in Megamind's oversize ears. For once, the 3-D gimmick seems justified, with eye-popping scenery and action.
"What's the difference between a villain and supervillain?" asks Megamind of Tighten, as our hero - yes, hero - makes one of his rock-star-like entrances. "Presentation!"
The same might be said of the difference between a movie and a super movie. "Megamind" has presentation in spades. But it also has something even rarer than that. It's got heart.
Contains action sequences and mildly crude language.
Thursday, December 10, 2009
Brad Pitt’s Gifts to New Orleans
http://travel.nytimes.com/2009/11/29/travel/29cultured.htmlCultured Traveler
Brad Pitt’s Gifts to New Orleans
By FRED A. BERNSTEIN
November 29, 2009
AL ANDREWS, who lives on Tennessee Street in the Lower Ninth Ward of New Orleans, said he didn’t mind the tour buses coming through his neighborhood, but he wished the visitors “would give some of what they pay to the community.” Mr. Andrews lives in one of the brightly colored, modernist houses rising on a small patch of the Lower Ninth, four years after it was devastated by Hurricane Katrina.
In 2007, frustrated by the slow pace of rebuilding in the Lower Ninth, Brad Pitt set up a foundation called Make It Right; the foundation then commissioned 13 architecture firms to design affordable, green houses. The organization plans to build 150 homes, all for returning Lower Ninth residents. So far, just 15 of them are occupied, but those 15 make a big impression.
Indeed, from the main route into the Lower Ninth, the Claiborne Avenue Bridge, it’s impossible to miss the Brad Pitt Houses, as everyone here calls them. They are sprawling, angular buildings in bold hues not usually seen outside a gelateria. Monuments to the city’s resilience, and to Hollywood’s big heart, they are also New Orleans’s newest tourist attraction.
Tour buses, including those of Cajun Encounters (504-834-1770; www.cajunencounters.com) and Gray Line (504-587-0709; www.graylineneworleans.com), pass by the houses but don’t stop to let passengers walk around. You can also take a taxi the five miles or so from the city’s center to the Lower Ninth; the round-trip fare is under $30. (Virginia Miller, a spokeswoman for Make It Right, said the organization may eventually offer tours, but “right now the priority is getting residents settled.”)
I drove a rental car, following MapQuest directions, to the intersection of Tennessee and North Galvez Streets, near the heart of the new enclave. I found that residents like Mr. Andrews and his neighbor, Gertrude LeBlanc, were happy to converse. “If we don’t talk,” Ms. LeBlanc, a cheerful septuagenarian, said, “how will people know what happened to us?”
During my previous trip to the Lower Ninth four years ago, I mainly saw devastation. Wrecked houses were everywhere. Now much of the debris has been cleared, and acre after acre has gone back to nature, with grass almost as high as the reconstructed levees. The main effect in much of the district is an eerie stillness.
But “Brad Pitt’s neighborhood” is a beehive of activity, with builders and landscapers vastly outnumbering residents. A sign in front of each of the houses gives the name and city of its architect. One, called the Float House, was designed by the Pritzker Prize-winner Thom Mayne of Los Angeles. The main part of the house is built to rise with surging flood waters, on pylons that keep it from coming loose. It’s difficult to see the innovative foundation, but unusual external features are easy to spot, such as a kind of trellis cut into intricate patterns and painted turquoise, set against the raspberry-hued building.
Nearby, an angular house by GRAFT, a multinational architecture firm, features a porch enclosure that looks as though it had been cracked open by a storm, an unfortunate visual resonance. A house by the Japanese architect Shigeru Ban has a private courtyard space between the living room and bedrooms, but none of the detailing that would make it feel like a part of New Orleans.
Indeed, the houses seem better suited to an exhibition of avant-garde architecture than to a neighborhood struggling to recover. A number of designers I talked to, some of whom had visited the neighborhood, lamented the absence of familiar forms that would have comforted returning residents.
James Dart, a Manhattan-based architect who was born and raised in New Orleans, described the houses as “alien, sometimes even insulting,” adding, “the biggest problem is that they are not grounded in the history of New Orleans architecture.” But, like other architects I spoke to, he expressed admiration for Mr. Pitt. “He deserves a great deal of credit,” Mr. Dart said, adding that Mr. Pitt had “done more for New Orleans” than any government agency.
Jennifer Pearl, a broker who has several houses for sale in the Lower Ninth, has a practical view. “Brad has the very best intentions,” she said. “However, had he come here with houses that looked like what had been here before, he probably could have had four times, five times as many houses up by now.”
Another issue with the houses (except for Mr. Mayne’s) is their elevation: to protect them from future floods, they have been built on stilts that turn their front porches into catwalks. The goal of porches is to create a sense of community, and that’s hard to do when neighbors and passersby are literally overshadowed.
“It’s like New York — you know, the skyscrapers,” said Ms. LeBlanc, who lives in a single-story house next to one of the much larger Make It Right creations, like a Mini Cooper boxed in by SUVs. “And there are going to be more,” she added.
To most residents, the construction is simply good news. “It’s hard living here now, but it’s going to be worth it,” said Melba Leggett-Barnes, a cafeteria worker, who is concerned about crime in the neighborhood. The lack of commercial activity is also disappointing. “We used to be able to go to the corner store,” she said. “Now we don’t have a grocery; we don’t have a laundry.”
Ms. Leggett-Barnes, whose house was designed by the Philadelphia firm KieranTimberlake, is — literally — the poster child for Make It Right; her image, plastered on bus-shelter signs around the city, urges former residents to return to the neighborhood.
“There may be people who want to move back,” she said, “but don’t know that it’s possible.”
Some visitors also make a stop at the other end of the Lower Ninth, on Andry Street, where three houses built by Global Green (another Brad Pitt-supported charity) stand bright and inviting — and unoccupied. The houses, by Andrew Kotchen and Matthew Berman of Workshop/APD in New York, are listed for $175,000. (One of them is open to visitors; Monday and Friday, 11 a.m. to 4 p.m.; Saturday, 10 a.m. to 1 p.m.; or call 504-525-2121 for an appointment.)
Unlike the Make It Right houses, which are reserved for returning residents of the Lower Ninth, the Global Greens are available to anyone. “We’d love it if you’d buy one,” Ms. Pearl said, a hopeful lilt in her voice.
Sunday, October 11, 2009
Making the unfunny funny
Film: “Inglourious Basterds”
Making the unfunny funny
But better if you don’t see this as a film about the Holocaust
Aug 27th 2009
From The Economist print edition
IT WAS bold of Quentin Tarantino and his producer, Harvey Weinstein, to pre-screen their brutal, wisecracking, revisionist war film at the Museum of Jewish Heritage in New York. In “Inglourious Basterds” the Jews have the last laugh on Hitler—but so bloodthirstily that one might wonder whether the director is trying to say that anyone who enjoys seeing Nazis die horribly en masse is morally no better than they were.
It is a safe bet that the master of post-modern cinematic irony intended nothing so simplistic as this. But what, then, did he intend?
Technically, this film is at least as good as any that Mr Tarantino has made, and richer than any of them in incongruous humour, cinematic insider references and graphic violence. A hit squad of American Jewish soldiers and a French Jewess living in Paris converge in a pair of outlandish plots to kill the Nazi high command. The camera stays firmly in focus during scenes of extraordinarily explicit bloodletting. Yet this reviewer found it impossible not to enjoy them.
This is partly because the film is, at one level, just a good old revenge fantasy, an echo of the superhero comic-book genre. But it is also because Mr Tarantino, although he kills off goodies as well as baddies, works hard to efface sympathy for all of them. Only once do truly innocent people die, and they do so off-camera. For the rest, his characters are either psychotics, such as the charming and chilling SS colonel (played by the superb Christoph Waltz) and the engaging but equally crazy American officer (Brad Pitt); or cartoon cut-outs such as a suave British agent and a Jewish baseball slugger; or good folk, such as the Jewess and the German who loves her, who are twisted by war into maniacs.
Mr Tarantino may be trying to prove that he, the acknowledged king of detoxified death porn, can make murder fun even in one of the unfunniest chapters in human history. This is a hollow achievement if it depends on keeping the audience entertained but disengaged. Indeed, the nub of many of the negative reviews is that, faced with the Holocaust, Mr Tarantino avoids tricky moral issues.
But perhaps that is to misunderstand this film. Maybe it is not a movie about the Holocaust but a sophisticated piece of self-mockery. The blood-drenched climactic scene, which takes place in a cinema showing another gory war movie, rather supports that view. If it is right “Inglourious Basterds” is a glorious success—just not one worth taking seriously.
Making the unfunny funny
But better if you don’t see this as a film about the Holocaust
Aug 27th 2009
From The Economist print edition
IT WAS bold of Quentin Tarantino and his producer, Harvey Weinstein, to pre-screen their brutal, wisecracking, revisionist war film at the Museum of Jewish Heritage in New York. In “Inglourious Basterds” the Jews have the last laugh on Hitler—but so bloodthirstily that one might wonder whether the director is trying to say that anyone who enjoys seeing Nazis die horribly en masse is morally no better than they were.
It is a safe bet that the master of post-modern cinematic irony intended nothing so simplistic as this. But what, then, did he intend?
Technically, this film is at least as good as any that Mr Tarantino has made, and richer than any of them in incongruous humour, cinematic insider references and graphic violence. A hit squad of American Jewish soldiers and a French Jewess living in Paris converge in a pair of outlandish plots to kill the Nazi high command. The camera stays firmly in focus during scenes of extraordinarily explicit bloodletting. Yet this reviewer found it impossible not to enjoy them.
This is partly because the film is, at one level, just a good old revenge fantasy, an echo of the superhero comic-book genre. But it is also because Mr Tarantino, although he kills off goodies as well as baddies, works hard to efface sympathy for all of them. Only once do truly innocent people die, and they do so off-camera. For the rest, his characters are either psychotics, such as the charming and chilling SS colonel (played by the superb Christoph Waltz) and the engaging but equally crazy American officer (Brad Pitt); or cartoon cut-outs such as a suave British agent and a Jewish baseball slugger; or good folk, such as the Jewess and the German who loves her, who are twisted by war into maniacs.
Mr Tarantino may be trying to prove that he, the acknowledged king of detoxified death porn, can make murder fun even in one of the unfunniest chapters in human history. This is a hollow achievement if it depends on keeping the audience entertained but disengaged. Indeed, the nub of many of the negative reviews is that, faced with the Holocaust, Mr Tarantino avoids tricky moral issues.
But perhaps that is to misunderstand this film. Maybe it is not a movie about the Holocaust but a sophisticated piece of self-mockery. The blood-drenched climactic scene, which takes place in a cinema showing another gory war movie, rather supports that view. If it is right “Inglourious Basterds” is a glorious success—just not one worth taking seriously.
Wednesday, September 2, 2009
Inglourious Basterds
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20090819/REVIEWS/908199995Inglourious Basterds (R)
August 19, 2009
Cast & Credits
Lt. Aldo Raine Brad Pitt
Shosanna Melanie Laurent
Col. Hans Landa Christoph Waltz
Sgt. Donny Donowitz Eli Roth
Lt. Archie Hicox Michael Fassbender
Bridget von Hammersmark Diane Kruger
Fredrick Zoller Daniel Bruhl
Sgt. Hugo Stiglitz Til Schweiger
Cpl. Wilhelm Wicki Gedeon Burkhard
Marcel Jacky Ido
Pfc. Smithson Utivich B.J. Novak
Pfc. Omar Ulmer Omar Doom
Major Hellstrom August Diehl
Perrier Lapadite Denis Menochet
Joseph Goebbels Sylvester Groth
Hitler Martin Wuttke
General Ed Fenech Mike Myers
Francesca Mondino Julie Dreyfus
Sgt. Rachtman Richard Samuel
Master Sgt. Wilhelm/Pola Negri Alexander Fehling
Winston Churchill Rod Taylor
The Weinstein Company presents a film written and directed by Quentin Tarantino. Running time: 152 minutes. MPAA rating: R for strong graphic violence, language and brief sexuality.
by Roger Ebert
Quentin Tarantino’s “Inglourious Basterds” is a big, bold, audacious war movie that will annoy some, startle others and demonstrate once again that he’s the real thing, a director of quixotic delights. For starters (and at this late stage after the premiere in May at Cannes, I don’t believe I’m spoiling anything), he provides World War II with a much-needed alternative ending. For once the basterds get what’s coming to them.
From the title, ripped off from a 1978 B-movie, to the Western sound of the Ennio Morricone opening music to the key location, a movie theater, the film embeds Tarantino’s love of the movies. The deep, rich colors of 35mm film provide tactile pleasure. A character at the beginning and end, not seen in between, brings the story full circle. The “basterds” themselves, savage fighters dropped behind Nazi lines, are an unmistakable nod to the Dirty Dozen.
And above all, there are three iconic characters, drawn broadly and with love: the Hero, the Nazi and the Girl. These three, played by Brad Pitt, Christoph Waltz and Melanie Laurent, are seen with that Tarantino knack of taking a character and making it a Character, definitive, larger than life, approaching satire in its intensity but not — quite — going that far. Let’s say they feel bigger than most of the people we meet in movies.
The story begins in Nazi-occupied France, early in the war, when the cruel, droll Nazi Col. Hans Landa (Waltz) arrives at an isolated dairy farm where he believes the farmer (Denis Menochet) is hiding Jews. He’s right, and a young woman named Shosanna (Melanie Laurent) flees into the woods. It is for this scene, and his performance throughout the movie, that Christoph Waltz deserves an Oscar nomination to go with his best actor award from Cannes. He creates a character unlike any Nazi — indeed, anyone at all — I’ve seen in a movie: evil, sardonic, ironic, mannered, absurd.
The Hero is Brad Pitt, as Lt. Aldo Raine, leader of the Basterds. Tarantino probably wants us to hear “Aldo Ray,” star of countless war films and B pictures. Raine is played by Pitt as a broad caricature of a hard-talking Southern boy who wants each of his men to bring him 100 Nazi scalps. For years, his band improbably survives in France and massacres Nazis, and can turn out in formal eveningwear at a moment’s notice. Pitt’s version of Italian is worthy of a Marx brother.
The Girl is Shosanna, played by Laurent as a curvy siren with red lipstick and, at the film’s end, a slinky red dress. Tarantino photographs her with the absorption of a fetishist, with closeups of shoes, lips, a facial veil and details of body and dress. You can’t tell me he hasn’t seen the work of the Scottish artist Jack Vettriano, and his noir paintings of the cigarette-smoking ladies in red.
Shosanna calculatingly flirts with Frederick Zoller (Daniel Bruhl), a Nazi war hero and now movie star; he persuades Joseph Goebbels to hold the premiere of his new war film in her theater. This sets up a plot that includes Tarantino breaking several rules in order to provide documentary footage about how flammable nitrate film prints are.
A Tarantino film resists categorization. “Inglourious Basterds” is no more about war than “Pulp Fiction” is about — what the hell is it about? Of course nothing in the movie is possible, except that it’s so bloody entertaining. His actors don’t chew the scenery, but they lick it. He’s a master at bringing performances as far as they can go toward iconographic exaggeration.
After I saw “Inglourious Basterds” at Cannes, although I was writing a daily blog, I resisted giving an immediate opinion about it. I knew Tarantino had made a considerable film, but I wanted it to settle, and to see it again. I’m glad I did. Like a lot of real movies, you relish it more the next time. Immediately after “Pulp Fiction” played at Cannes, QT asked me what I thought. “It’s either the best film of the year or the worst film,” I said. I hardly knew what the hell had happened to me. The answer was: the best film. Tarantino films have a way of growing on you. It’s not enough to see them once.
Wednesday, June 3, 2009
Brad Pitt in Tarantino's 'Inglourious Basterds'
http://hollywoodinsider.ew.com/2009/05/cannes-report-2.html
Cannes report: Brad Pitt in Tarantino's 'Inglourious Basterds'
May 20, 2009
by Lisa Schwarzbaum
Categories: Cannes Film Festival 2009, Film
I wish you had been there with me this morning.
Seriously, I wish everyone who ever wants to see Inglourious Basterds, Quentin Tarantino's newest, brash cine-geek homage to genre moviemaking, could have been there waiting for an hour with me at 7:30 on a sparkling sunny weekday morning at the Cannes Film Festival. It would have been so great if you could have joined the mob stamping and twitching and actually buzzing to get into the very first, 8:30 a.m. screening of the very latest, certainly very Brad Pitt-iest movie to arrive on the Croisette from the very oxygenated Palme d'Or winner. Oh, how you would have enjoyed breathing the heady atmosphere for which QT made his creation! Plus, you would have freaked out the squadron of guards!
As it is, the minute the festival tents fold and the movie is eventually released in less glamorous American movie theaters, it's unlikely that this joke-y, boyish, play-acted war-game fantasy (at least half spoken in German and French) can ever be inhaled with quite the right mixture of helium and nitrous oxide required to sustain the anticipatory hullaballoo. The tall-tale premise introduces a small band of primarily Jewish, Nazi-hating "basterds," led by doggone Tennessee mountain drawler Aldo Raine (Pitt), who join forces with one Shoshanna Dreyfus (Melanie Laurent), a French Jewish woman who escaped while her family was murdered, and who now runs a little local movie theater. While the boys scalp Nazis (watch! one of them also specializes in clubbing heads with an American baseball bat!), Shoshanna has plans to topple the Third Reich by killing Hitler and all his biggies assembled at one screening of a Nazi-propaganda war drama in her Cinema Paradiso of a movie hall.
And yet: It's amazing how little Nazis, Hitler, mass murder, or Resistance bravery mean in this action cartoon. Tarantino is a brilliant showman, the smartest, most erudite guy in the movie clubhouse, a master at re-creating old and/or exotic styles (Hong Kong action, blaxploitation) for a new audience -- no argument. Inglourious Basterds pays homage to spaghetti westerns, noirs, WWII war pics, and spy thrillers, and those who adore being in the know about cinema history will feel super satisfied to figure out throw-away allusions to past movie stars, movie makers, movie scenes, and movie costumes.
But how deep can a movie that repurposes recycled material go? Not very. I've never felt that Tarantino has ever been interested in real emotions or real characters, and that's fine, that's not his thing. But the choice is also an Inglourious limitation. So Pitt play acts; that's what's called for. And Jews and movies win the war this time around. But a Nazi steals the picture. I'm talking about Austrian actor Christoph Waltz -- huge in his home country, unknown in ours but about to be famous -- who's memorable long after the credits roll in retro typography. (Ennio Morricone's retro music works hard, too.) Waltz plays icily precise Nazi colonel Hans Landa, known as "the Jew Hunter." And from his very first scene, in which Landa pries information out of a French farmer, spaghetti-western style, he's irresistible, a one-man display of theatrical virtuosity applied to a villain we're meant to love to hate.
Second-best Nazi award, by the way, goes to the celebrated young German actor Daniel Bruhl (The Bourne Ultimatum), while German-born Diane Kruger wins the award as best German undercover agent/actress in high-heeled pumps. Oh, and B.J.Novak from The Office? He's a Jewish Basterd, too. No joke.
Cannes report: Brad Pitt in Tarantino's 'Inglourious Basterds'
May 20, 2009
by Lisa Schwarzbaum
Categories: Cannes Film Festival 2009, Film
I wish you had been there with me this morning.
Seriously, I wish everyone who ever wants to see Inglourious Basterds, Quentin Tarantino's newest, brash cine-geek homage to genre moviemaking, could have been there waiting for an hour with me at 7:30 on a sparkling sunny weekday morning at the Cannes Film Festival. It would have been so great if you could have joined the mob stamping and twitching and actually buzzing to get into the very first, 8:30 a.m. screening of the very latest, certainly very Brad Pitt-iest movie to arrive on the Croisette from the very oxygenated Palme d'Or winner. Oh, how you would have enjoyed breathing the heady atmosphere for which QT made his creation! Plus, you would have freaked out the squadron of guards!
As it is, the minute the festival tents fold and the movie is eventually released in less glamorous American movie theaters, it's unlikely that this joke-y, boyish, play-acted war-game fantasy (at least half spoken in German and French) can ever be inhaled with quite the right mixture of helium and nitrous oxide required to sustain the anticipatory hullaballoo. The tall-tale premise introduces a small band of primarily Jewish, Nazi-hating "basterds," led by doggone Tennessee mountain drawler Aldo Raine (Pitt), who join forces with one Shoshanna Dreyfus (Melanie Laurent), a French Jewish woman who escaped while her family was murdered, and who now runs a little local movie theater. While the boys scalp Nazis (watch! one of them also specializes in clubbing heads with an American baseball bat!), Shoshanna has plans to topple the Third Reich by killing Hitler and all his biggies assembled at one screening of a Nazi-propaganda war drama in her Cinema Paradiso of a movie hall.
And yet: It's amazing how little Nazis, Hitler, mass murder, or Resistance bravery mean in this action cartoon. Tarantino is a brilliant showman, the smartest, most erudite guy in the movie clubhouse, a master at re-creating old and/or exotic styles (Hong Kong action, blaxploitation) for a new audience -- no argument. Inglourious Basterds pays homage to spaghetti westerns, noirs, WWII war pics, and spy thrillers, and those who adore being in the know about cinema history will feel super satisfied to figure out throw-away allusions to past movie stars, movie makers, movie scenes, and movie costumes.
But how deep can a movie that repurposes recycled material go? Not very. I've never felt that Tarantino has ever been interested in real emotions or real characters, and that's fine, that's not his thing. But the choice is also an Inglourious limitation. So Pitt play acts; that's what's called for. And Jews and movies win the war this time around. But a Nazi steals the picture. I'm talking about Austrian actor Christoph Waltz -- huge in his home country, unknown in ours but about to be famous -- who's memorable long after the credits roll in retro typography. (Ennio Morricone's retro music works hard, too.) Waltz plays icily precise Nazi colonel Hans Landa, known as "the Jew Hunter." And from his very first scene, in which Landa pries information out of a French farmer, spaghetti-western style, he's irresistible, a one-man display of theatrical virtuosity applied to a villain we're meant to love to hate.
Second-best Nazi award, by the way, goes to the celebrated young German actor Daniel Bruhl (The Bourne Ultimatum), while German-born Diane Kruger wins the award as best German undercover agent/actress in high-heeled pumps. Oh, and B.J.Novak from The Office? He's a Jewish Basterd, too. No joke.
Sunday, October 12, 2008
The Holocaust, Tarantino-style
http://www.haaretz.com/hasen/spages/1027043.html
07/10/2008
The Holocaust, Tarantino-style: Jews scalping Nazis
By Assaf Uni
Tags: Israel News, Holocaust
BERLIN - For weeks, Germany's tabloids and culture pages have been preoccupied with Quentin Tarantino's film "Inglorious Bastards," slated to start filming next week in Germany.
While the tabloids are drooling over the movie's star, Brad Pitt, who is moving with his wife Angelina Jolie and their children to a villa close to Berlin ("The most beautiful couple in Wannsee," one headline declared), the serious media is focusing on another angle: Is Germany ready for a Tarantino-style treatment of World War II?
An early draft of the script leaked onto the Internet three months ago suggested the film would contain scenes of bloody vengeance exacted by Jews against Nazis. One campaign would be carried out by Jews in the U.S. Army intent on scalping Nazi soldiers on occupied French soil; another would be a Jewish refugee's revenge against the Nazi officer who murdered her parents.
Pitt is to play Jewish-American Lt. Aldo Raine, the leader of a revenge squad known as "The Bastards," who launch a killing spree in which they hang, torture, disembowel and scalp German soldiers and engrave Swastikas on their foreheads, according to the leaked draft.
The film is raising controversy in Germany, where the subjects of World War II and the Holocaust are usually restricted to historical discourse.
"This is pop culture meeting Nazi Germany and the Holocaust with unprecedented force," said the film critic of SuedDeutche Zeitung, Tobias Kniebe. "The effects of this collision are utterly unpredictable."
German film critics blasted last week's decision to grant the film money from the German Film Fund and another local fund, saying that Germany cannot finance a movie that uses Jewish-Nazi relations as entertainment, especially one by Tarantino.
The SuedDeutche Zeitung warned that the film may be no less explosive than the Hollywood film Valkyrie, starring Tom Cruise, about German officers' abortive attempt to assassinate Hitler toward the end of WWII. The movie, filmed in Germany and scheduled to be released in spring 2009, has already drawn fire from German historians.
"All the German historians and critics who were left gasping for breath by Tom Cruise and his worthy attempts to produce a correct image of Stauffenberg will be so shocked by 'Inglorious Bastards' that they will savage it on the spot," writes Kneibe.
Tarantino's film is not supposed to mix history and fiction, but to offer the pure, hyper-violent entertainment that the American director of "Reservoir Dogs," "Pulp Fiction" and "Kill Bill" is known for.
"It is sort of a spaghetti western set in World War II," Tarantino told the German News Agency DPA. "I am not going to call it this, but if it had a subtitle for it, it would be called, 'Once Upon a Time in Nazi-Occupied France.'"
Films that treat the Holocaust period as pure entertainment could be destructive, says Alexander Kluge, a noted film director and author, who has been dealing with the Holocaust and its memory for more than 50 years.
He cites Swiss-Jewish director Dany Levy's comedy "Mein Fuehrer" as a case in point. This film raised a storm in Germany two years ago, when it portrayed for the first time a neurotic, empathy-evoking Hitler. "Such films can obscure the events' true significance," says Kluge.
Tarantino's film received a 300,000 euro grant from the state of Brandenburg, because it will be filmed in Potsdam's Babelsberg studios. Founded in 1911, this is the world's oldest major film studio. Films including Fritz Lang's "Metropolis" and "The Blue Angel" with Marlene Dietrich were filmed there in the 1920s and 1930s, as were numerous Nazi anti-Semitic propaganda films.
Tarantino's film is also expected to receive 20 percent of its budget from the German Film Fund because it is being filmed in Germany. It is scheduled to be released in June 2009.
07/10/2008
The Holocaust, Tarantino-style: Jews scalping Nazis
By Assaf Uni
Tags: Israel News, Holocaust
BERLIN - For weeks, Germany's tabloids and culture pages have been preoccupied with Quentin Tarantino's film "Inglorious Bastards," slated to start filming next week in Germany.
While the tabloids are drooling over the movie's star, Brad Pitt, who is moving with his wife Angelina Jolie and their children to a villa close to Berlin ("The most beautiful couple in Wannsee," one headline declared), the serious media is focusing on another angle: Is Germany ready for a Tarantino-style treatment of World War II?
An early draft of the script leaked onto the Internet three months ago suggested the film would contain scenes of bloody vengeance exacted by Jews against Nazis. One campaign would be carried out by Jews in the U.S. Army intent on scalping Nazi soldiers on occupied French soil; another would be a Jewish refugee's revenge against the Nazi officer who murdered her parents.
Pitt is to play Jewish-American Lt. Aldo Raine, the leader of a revenge squad known as "The Bastards," who launch a killing spree in which they hang, torture, disembowel and scalp German soldiers and engrave Swastikas on their foreheads, according to the leaked draft.
The film is raising controversy in Germany, where the subjects of World War II and the Holocaust are usually restricted to historical discourse.
"This is pop culture meeting Nazi Germany and the Holocaust with unprecedented force," said the film critic of SuedDeutche Zeitung, Tobias Kniebe. "The effects of this collision are utterly unpredictable."
German film critics blasted last week's decision to grant the film money from the German Film Fund and another local fund, saying that Germany cannot finance a movie that uses Jewish-Nazi relations as entertainment, especially one by Tarantino.
The SuedDeutche Zeitung warned that the film may be no less explosive than the Hollywood film Valkyrie, starring Tom Cruise, about German officers' abortive attempt to assassinate Hitler toward the end of WWII. The movie, filmed in Germany and scheduled to be released in spring 2009, has already drawn fire from German historians.
"All the German historians and critics who were left gasping for breath by Tom Cruise and his worthy attempts to produce a correct image of Stauffenberg will be so shocked by 'Inglorious Bastards' that they will savage it on the spot," writes Kneibe.
Tarantino's film is not supposed to mix history and fiction, but to offer the pure, hyper-violent entertainment that the American director of "Reservoir Dogs," "Pulp Fiction" and "Kill Bill" is known for.
"It is sort of a spaghetti western set in World War II," Tarantino told the German News Agency DPA. "I am not going to call it this, but if it had a subtitle for it, it would be called, 'Once Upon a Time in Nazi-Occupied France.'"
Films that treat the Holocaust period as pure entertainment could be destructive, says Alexander Kluge, a noted film director and author, who has been dealing with the Holocaust and its memory for more than 50 years.
He cites Swiss-Jewish director Dany Levy's comedy "Mein Fuehrer" as a case in point. This film raised a storm in Germany two years ago, when it portrayed for the first time a neurotic, empathy-evoking Hitler. "Such films can obscure the events' true significance," says Kluge.
Tarantino's film received a 300,000 euro grant from the state of Brandenburg, because it will be filmed in Potsdam's Babelsberg studios. Founded in 1911, this is the world's oldest major film studio. Films including Fritz Lang's "Metropolis" and "The Blue Angel" with Marlene Dietrich were filmed there in the 1920s and 1930s, as were numerous Nazi anti-Semitic propaganda films.
Tarantino's film is also expected to receive 20 percent of its budget from the German Film Fund because it is being filmed in Germany. It is scheduled to be released in June 2009.
Thursday, August 14, 2008
Brad Pitt Joins Inglorious Bastards
http://www.empireonline.com/news/story.asp?NID=23051
08 August 2008
Brad Pitt Joins Inglorious Bastards
And Simon Pegg's in talks
Source: Variety
The Inglorious Bastards ranks continue to swell with Brad Pitt now officially signed on to play a Tennessee hillbilly who leads a band of eight Jewish-American soldiers to take out some rough justice on the Nazis.
But Pitt is not the only addition to Quentin Tarantino's war movie. Simon Pegg is in talks to play a British Lieutenant; Nastassja Kinski has begun negotiations to play a German movie star; David Krumholtz (who will forever be Mr. Universe from Serenity to us) is likely to join the cast as one of Pitt's lackies.
Now this is starting to sound more like a Tarantino movie cast. You've got the big name (Pitt), the leftfield casting (Pegg) and the resurgent star of yesteryear (Kinski). A couple more A-listers would be nice, and probably someone last seen in a cult horror from the mid-70s, but this is now shaping up nicely.
Variety reports that Tim Roth was in talks to join the cast, but scheduling difficulties prevented it. Interestingly, their article also says that much of the film's dialogue will be in either French or German, with subtitles, although Pitt will speak in English.
Tarantino is set to begin shooting in Germany on October 13 and is still planning to have the film ready for next year's Cannes Film Festival. That sounds like an impossibly tight deadline to us, but, by God, he's got to try.
Olly Richards
08 August 2008
Brad Pitt Joins Inglorious Bastards
And Simon Pegg's in talks
Source: Variety
The Inglorious Bastards ranks continue to swell with Brad Pitt now officially signed on to play a Tennessee hillbilly who leads a band of eight Jewish-American soldiers to take out some rough justice on the Nazis.
But Pitt is not the only addition to Quentin Tarantino's war movie. Simon Pegg is in talks to play a British Lieutenant; Nastassja Kinski has begun negotiations to play a German movie star; David Krumholtz (who will forever be Mr. Universe from Serenity to us) is likely to join the cast as one of Pitt's lackies.
Now this is starting to sound more like a Tarantino movie cast. You've got the big name (Pitt), the leftfield casting (Pegg) and the resurgent star of yesteryear (Kinski). A couple more A-listers would be nice, and probably someone last seen in a cult horror from the mid-70s, but this is now shaping up nicely.
Variety reports that Tim Roth was in talks to join the cast, but scheduling difficulties prevented it. Interestingly, their article also says that much of the film's dialogue will be in either French or German, with subtitles, although Pitt will speak in English.
Tarantino is set to begin shooting in Germany on October 13 and is still planning to have the film ready for next year's Cannes Film Festival. That sounds like an impossibly tight deadline to us, but, by God, he's got to try.
Olly Richards
Friday, March 28, 2008
Obama related to Pitt, Clinton to Jolie
http://news.yahoo.com/s/ap/20080325/ap_on_el_pr/candidates_genealogy
Obama related to Pitt, Clinton to Jolie
By DENISE LAVOIE, Associated Press Writer
3-25-8
This could make for one odd family reunion: Barack Obama is a distant cousin of actor Brad Pitt, and Hillary Rodham Clinton is related to Pitt's girlfriend, Angelina Jolie.
Researchers at the New England Historic Genealogical Society found some remarkable family connections for the three presidential candidates — Democratic rivals Obama and Clinton, and Republican John McCain.
Clinton, who is of French-Canadian descent on her mother's side, is also a distant cousin of singers Madonna, Celine Dion and Alanis Morissette. Obama, the son of a white woman from Kansas and a black man from Kenya, can call six U.S. presidents, including George W. Bush, his cousins. McCain is a sixth cousin of first lady Laura Bush.
Genealogist Christopher Child said that while the candidates often focus on pointing out differences between them, their ancestry shows they are more alike than they think.
"It shows that lots of different people can be related, people you wouldn't necessarily expect," Child said.
Obama has a prolific presidential lineage that features Democrats and Republicans. His distant cousins include President George W. Bush and his father, George H.W. Bush, Gerald Ford, Lyndon Johnson, Harry S. Truman and James Madison. Other Obama cousins include Vice President Dick Cheney, British Prime Minister Sir Winston Churchill and Civil War General Robert E. Lee.
"His kinships are across the political spectrum," Child said.
Child has spent the last three years tracing the candidates' genealogy, along with senior research scholar Gary Boyd Roberts, author of the 1989 book, "Ancestors of American Presidents."
Clinton's distant cousins include beatnik author Jack Kerouac and Camilla Parker-Bowles, wife of Prince Charles of England.
McCain's ancestry was more difficult to trace because records on his relatives were not as complete as records for the families of Obama and Clinton, Child said.
Obama and President Bush are 10th cousins, once removed, linked by Samuel Hinkley of Cape Cod, who died in 1662.
Pitt and Obama are ninth cousins, linked by Edwin Hickman, who died in Virginia in 1769.
Clinton and Jolie are ninth cousins, twice removed, both related to Jean Cusson who died in St. Sulpice, Quebec, in 1718.
The New England Historic Genealogical Society, founded in 1845, is the oldest and largest nonprofit genealogical organization in the country.
Obama related to Pitt, Clinton to Jolie
By DENISE LAVOIE, Associated Press Writer
3-25-8
This could make for one odd family reunion: Barack Obama is a distant cousin of actor Brad Pitt, and Hillary Rodham Clinton is related to Pitt's girlfriend, Angelina Jolie.
Researchers at the New England Historic Genealogical Society found some remarkable family connections for the three presidential candidates — Democratic rivals Obama and Clinton, and Republican John McCain.
Clinton, who is of French-Canadian descent on her mother's side, is also a distant cousin of singers Madonna, Celine Dion and Alanis Morissette. Obama, the son of a white woman from Kansas and a black man from Kenya, can call six U.S. presidents, including George W. Bush, his cousins. McCain is a sixth cousin of first lady Laura Bush.
Genealogist Christopher Child said that while the candidates often focus on pointing out differences between them, their ancestry shows they are more alike than they think.
"It shows that lots of different people can be related, people you wouldn't necessarily expect," Child said.
Obama has a prolific presidential lineage that features Democrats and Republicans. His distant cousins include President George W. Bush and his father, George H.W. Bush, Gerald Ford, Lyndon Johnson, Harry S. Truman and James Madison. Other Obama cousins include Vice President Dick Cheney, British Prime Minister Sir Winston Churchill and Civil War General Robert E. Lee.
"His kinships are across the political spectrum," Child said.
Child has spent the last three years tracing the candidates' genealogy, along with senior research scholar Gary Boyd Roberts, author of the 1989 book, "Ancestors of American Presidents."
Clinton's distant cousins include beatnik author Jack Kerouac and Camilla Parker-Bowles, wife of Prince Charles of England.
McCain's ancestry was more difficult to trace because records on his relatives were not as complete as records for the families of Obama and Clinton, Child said.
Obama and President Bush are 10th cousins, once removed, linked by Samuel Hinkley of Cape Cod, who died in 1662.
Pitt and Obama are ninth cousins, linked by Edwin Hickman, who died in Virginia in 1769.
Clinton and Jolie are ninth cousins, twice removed, both related to Jean Cusson who died in St. Sulpice, Quebec, in 1718.
The New England Historic Genealogical Society, founded in 1845, is the oldest and largest nonprofit genealogical organization in the country.
Sunday, February 3, 2008
Rough-Edged Actor Who Carved An Indelible Image
http://www.washingtonpost.com/wp-dyn/content/article/2008/01/22/AR2008012202890.html
A Rough-Edged Actor Who Carved An Indelible Image
By Hank Stuever
Washington Post Staff Writer
Wednesday, January 23, 2008; C01
A young movie star dies and the mind automatically cues up the clip reel and FFs through the footage, even before it occurs to you to simply turn on the television and just watch the actual, endless loop:
Here is Heath Ledger -- fresh and hunky and unknown -- singing "Can't Take My Eyes Off You" and dancing on the school stadium bleachers in a teen flick adaptation of Shakespeare ("10 Things I Hate About You," a reworking of "The Taming of the Shrew"). Here is Heath Ledger caressing that empty, soiled cowboy shirt kept by his dead lover in "Brokeback Mountain." And Heath Ledger as one of the Bob Dylans in "I'm Not There," in sunglasses and a dour expression, one of the Bob Dylans who were impossible to be around.
A sneak peek of Heath Ledger from this summer's upcoming Batman movie as the Joker, fully unhinged, erasing in a few seconds any ownership Jack Nicholson may have claimed to that role. Working backward now, here is Heath Ledger in period pieces, wooing women or fighting in the Revolution. Heath Ledger in a knighthood fantasy, with swords. Heath Ledger as the unhappy prison guard in "Monster's Ball" who shoots himself in front of his father . . .
Edit that, rewind, start again:
Video suddenly from someone's phone of the curious crowd that gathered in the early evening yesterday, the gawkers and stalkers in all of us, at the SoHo apartment where Ledger was found dead at 28 by the housekeeper and the massage therapist. He was naked in a bed, with prescription sleeping pills reportedly found nearby -- fame's tragic tableau mort. Next we carry him to the gauzy and reverential place we reserve for such men: James Dean in a roadster on the highway, River Phoenix at a nightclub.
There can only be so many articles about a young actor's understatement, about his steeliness and cool. These always go with pictures of him in $400 jeans. Here you had a man who got a decent chance at everything a young actor could hope for, starting from Australian TV and leading to an Academy Award nomination for "Brokeback Mountain" -- a part that, by conventional Hollywood wisdom, had just as much potential to kill a leading man's career.
Had he lived to old age, Ledger would have never stopped hearing "I wish I knew how to quit you" jokes, the line uttered by his co-star Jake Gyllenhaal in "Brokeback Mountain." MTV gave the two of them the "best kiss" prize at its movie awards show. What got lost in all that is how good the movie was, and how good Ledger was as Ennis Del Mar, the pent-up ranch hand with a broken heart. (Really it was a role about not talking, about the unsaid. Easier said than done.)
Some of Ledger's movies worked, and many of them did not, but all along, a viewer could sense that he went about the craft with almost too much seriousness, with pain. In almost every interview he downplayed celebrityhood, tried to deny its meaning and place in his life, shrugged the usual serious-actor shrugs -- often while lighting his cigarette, creating a mood of nonchalance. Just a couple of years ago he and his pretty girlfriend moved to the pretty part of Brooklyn and had a pretty baby girl. People (the magazine, and actual people) followed them everywhere. They broke up, and it seemed like a shame, though what sort of shame you can never quite say: Ours? Theirs?
Despite the initial huzzah and marketing by Ledger's publicists -- the Vanity Fair cover eight years ago and the expert chiseling that goes along with that -- the heartthrob thing never clicked for Ledger. He worked another angle, something that is sometimes called "smoldering" when writers are out of ways to describe it. It looked like it was a chore for him to be cute. "He's handsome, but not in a traditional sort of way," Shekhar Kapur, who directed Ledger in the 2002 drama "Four Feathers," said about the actor to The Washington Post. "He's a bit craggy, but he's very, very sexy."
Craggy sexy. That was it, and perhaps that was all of it. Craggy sexy is not a lot of smiles and fashion spreads. The result of craggy sexy is that a certain niche of fans winds up swooning, writing letters of adulatory praise to Entertainment Weekly, but not as many people who opt for the more mainstream definition of sexy. Those people like Brad Pitt.
In public, Ledger kept dirtying up, dressing down, adding tattoos, chain-smoking, letting his hair get long and greasy. (Message: I don't care about that kind of thing. Message: Only the art matters.)
But like all of them -- all of these craggy sexy serious actors in search of a good part -- he cleaned up good. The lasting photo is of him in a tuxedo, making his way down the red carpet in 2006 with his then-girlfriend, Michelle Williams. They'd met on the set of "Brokeback Mountain." They'd just had the baby a few months before, and named her Matilda. In the carpet moment, Williams is in curry yellow Vera Wang chiffon. The couple do their best to fulfill all the requirements of the carpet, talking optimistically and proudly about his nomination for Best Actor, and also talking about nothing, and looking great.
He didn't win. Hours later, at the Vanity Fair party at Morton's in Beverly Hills, he was drinking with friends. People stood near him and just watched him. It was Ledger, Williams and Jake Gyllenhaal. It was Gyllenhaal's talented sister, Maggie, and her fiance, the un-craggy, heavy-lidded Peter Sarsgaard.
We hovered around them and tried to overhear their conversation. Soon enough they all drew closer and shut everyone out with their body language. They formed an impenetrable circle of young Hollywood cool.
A Rough-Edged Actor Who Carved An Indelible Image
By Hank Stuever
Washington Post Staff Writer
Wednesday, January 23, 2008; C01
A young movie star dies and the mind automatically cues up the clip reel and FFs through the footage, even before it occurs to you to simply turn on the television and just watch the actual, endless loop:
Here is Heath Ledger -- fresh and hunky and unknown -- singing "Can't Take My Eyes Off You" and dancing on the school stadium bleachers in a teen flick adaptation of Shakespeare ("10 Things I Hate About You," a reworking of "The Taming of the Shrew"). Here is Heath Ledger caressing that empty, soiled cowboy shirt kept by his dead lover in "Brokeback Mountain." And Heath Ledger as one of the Bob Dylans in "I'm Not There," in sunglasses and a dour expression, one of the Bob Dylans who were impossible to be around.
A sneak peek of Heath Ledger from this summer's upcoming Batman movie as the Joker, fully unhinged, erasing in a few seconds any ownership Jack Nicholson may have claimed to that role. Working backward now, here is Heath Ledger in period pieces, wooing women or fighting in the Revolution. Heath Ledger in a knighthood fantasy, with swords. Heath Ledger as the unhappy prison guard in "Monster's Ball" who shoots himself in front of his father . . .
Edit that, rewind, start again:
Video suddenly from someone's phone of the curious crowd that gathered in the early evening yesterday, the gawkers and stalkers in all of us, at the SoHo apartment where Ledger was found dead at 28 by the housekeeper and the massage therapist. He was naked in a bed, with prescription sleeping pills reportedly found nearby -- fame's tragic tableau mort. Next we carry him to the gauzy and reverential place we reserve for such men: James Dean in a roadster on the highway, River Phoenix at a nightclub.
There can only be so many articles about a young actor's understatement, about his steeliness and cool. These always go with pictures of him in $400 jeans. Here you had a man who got a decent chance at everything a young actor could hope for, starting from Australian TV and leading to an Academy Award nomination for "Brokeback Mountain" -- a part that, by conventional Hollywood wisdom, had just as much potential to kill a leading man's career.
Had he lived to old age, Ledger would have never stopped hearing "I wish I knew how to quit you" jokes, the line uttered by his co-star Jake Gyllenhaal in "Brokeback Mountain." MTV gave the two of them the "best kiss" prize at its movie awards show. What got lost in all that is how good the movie was, and how good Ledger was as Ennis Del Mar, the pent-up ranch hand with a broken heart. (Really it was a role about not talking, about the unsaid. Easier said than done.)
Some of Ledger's movies worked, and many of them did not, but all along, a viewer could sense that he went about the craft with almost too much seriousness, with pain. In almost every interview he downplayed celebrityhood, tried to deny its meaning and place in his life, shrugged the usual serious-actor shrugs -- often while lighting his cigarette, creating a mood of nonchalance. Just a couple of years ago he and his pretty girlfriend moved to the pretty part of Brooklyn and had a pretty baby girl. People (the magazine, and actual people) followed them everywhere. They broke up, and it seemed like a shame, though what sort of shame you can never quite say: Ours? Theirs?
Despite the initial huzzah and marketing by Ledger's publicists -- the Vanity Fair cover eight years ago and the expert chiseling that goes along with that -- the heartthrob thing never clicked for Ledger. He worked another angle, something that is sometimes called "smoldering" when writers are out of ways to describe it. It looked like it was a chore for him to be cute. "He's handsome, but not in a traditional sort of way," Shekhar Kapur, who directed Ledger in the 2002 drama "Four Feathers," said about the actor to The Washington Post. "He's a bit craggy, but he's very, very sexy."
Craggy sexy. That was it, and perhaps that was all of it. Craggy sexy is not a lot of smiles and fashion spreads. The result of craggy sexy is that a certain niche of fans winds up swooning, writing letters of adulatory praise to Entertainment Weekly, but not as many people who opt for the more mainstream definition of sexy. Those people like Brad Pitt.
In public, Ledger kept dirtying up, dressing down, adding tattoos, chain-smoking, letting his hair get long and greasy. (Message: I don't care about that kind of thing. Message: Only the art matters.)
But like all of them -- all of these craggy sexy serious actors in search of a good part -- he cleaned up good. The lasting photo is of him in a tuxedo, making his way down the red carpet in 2006 with his then-girlfriend, Michelle Williams. They'd met on the set of "Brokeback Mountain." They'd just had the baby a few months before, and named her Matilda. In the carpet moment, Williams is in curry yellow Vera Wang chiffon. The couple do their best to fulfill all the requirements of the carpet, talking optimistically and proudly about his nomination for Best Actor, and also talking about nothing, and looking great.
He didn't win. Hours later, at the Vanity Fair party at Morton's in Beverly Hills, he was drinking with friends. People stood near him and just watched him. It was Ledger, Williams and Jake Gyllenhaal. It was Gyllenhaal's talented sister, Maggie, and her fiance, the un-craggy, heavy-lidded Peter Sarsgaard.
We hovered around them and tried to overhear their conversation. Soon enough they all drew closer and shut everyone out with their body language. They formed an impenetrable circle of young Hollywood cool.
Wednesday, December 5, 2007
Brad Pitt Commissions Designs for New Orleans
http://www.nytimes.com/2007/12/03/arts/design/03pitt.html
December 3, 2007
Brad Pitt Commissions Designs for New Orleans
By ROBIN POGREBIN
Thom Mayne of Morphosis in Los Angeles designed a house that would float if the city floods. James Timberlake of KieranTimberlake Associates in Philadelphia created a house with native vines climbing up the side walls to provide shade and coolness. Steven B. Bingler of Concordia in New Orleans envisioned a house with wide front steps ideal for a traditional crawfish boil.
Those are three of the designs by 13 architecture firms commissioned by the actor Brad Pitt to help rebuild New Orleans’s impoverished Lower Ninth Ward, one of the neighborhoods hit hardest by Hurricane Katrina in 2005.
The project, called Make It Right, calls for building 150 affordable, environmentally sound houses over the next two years. In a telephone interview from New Orleans, where he plans to present the designs today, Mr. Pitt said the residents of the neighborhood had been homeless long enough. “They’re coming up on their third Christmas,” he said.
Mr. Pitt said he had been attached to New Orleans for more than a decade. “I’ve always had a fondness for this place — it’s like no other,” he said. “Seeing the frustration firsthand made me want to return the kindness this city has shown me.”
Rather than bemoan the slow pace of redevelopment in the Ninth Ward, Mr. Pitt said he decided to address the problem directly by teaming with William McDonough, the green design expert; Graft, a Los Angeles architecture firm; and Cherokee, an investment firm based in Raleigh, N.C., that specializes in sustainable redevelopment. John Williams of New Orleans is the executive architect for the project.
“If you have this blank slate and this great technology out there, what better test than low-income housing?” Mr. Pitt said. “It’s got to work at all levels to really be viable.”
When Make It Right was announced at the meeting of the Clinton Global Initiative in September, Mr. Pitt pledged to match $5 million in contributions to the project, as did Steve Bing, the philanthropist. Nine other firms — all of whom donated their services — are involved, including Adjaye Associates; Billes Architecture; BNIM Architects; Constructs; Eskew & Dumez & Ripple; MVRDV; Pugh and Scarpa Architecture; Shigeru Ban Architects; and Trahan Architects. “We wanted to have a mixture of voices,” Mr. Pitt said.
Beyond serving a public need, Mr. Pitt — who has a longstanding interest in architecture — was eager to see what the designers came up with. “I was most curious about advancing the discussion further,” he said. “That was certainly one of the benefits of this exercise. There is no other reason to call on these great minds if you’re just going to shackle them.”
The green building elements will reduce upkeep costs by at least 75 percent, Mr. Pitt said, and reduce some of the problems that devastated the Lower Ninth Ward during Katrina, when multiple levee breaks forced thousands of people from their homes.
The architects were each asked to design a 1,200-square-foot house for about $150,000, with Make It Right to help with the financing. The houses had to be built five to eight feet off the ground, with a front porch and three bedrooms.
Mr. Mayne of Morphosis opted for a lightweight concrete foundation anchored by two pylons, like a pier, which would buoy the house if floodwaters rise. “It’s a boat,” Mr. Mayne said.
“The population doesn’t want to live on stilts — and it’s expensive,” he added. “These are simple houses for low-income people.”
Mr. Bingler of Concordia said his design called for homes “that would respond to the culture of the Lower Ninth Ward.” He said residents had asked him for “a house where the baby can be sleeping in the back, the mama making red beans in the kitchen and the grandpa can be on the front porch entertaining neighbors.”
Mr. Pitt is asking foundations, corporations and individuals to contribute to the project by adopting one house, several houses or a portion of a house through the project Web site, makeitrightnola.org. “You can adopt a tankless water heater or a solar panel or a tree or a low-flush toilet,” Mr. Pitt said. “You can give it to someone for Christmas,” he said — instead of another sweater.
Responding to critics who question the wisdom of rebuilding at all in an area likely to get hit again, Mr. Pitt said: “My first answer to that is, talk to the people who’ve lived there and have raised their kids there. People are needing to get back in their homes.”
December 3, 2007
Brad Pitt Commissions Designs for New Orleans
By ROBIN POGREBIN
Thom Mayne of Morphosis in Los Angeles designed a house that would float if the city floods. James Timberlake of KieranTimberlake Associates in Philadelphia created a house with native vines climbing up the side walls to provide shade and coolness. Steven B. Bingler of Concordia in New Orleans envisioned a house with wide front steps ideal for a traditional crawfish boil.
Those are three of the designs by 13 architecture firms commissioned by the actor Brad Pitt to help rebuild New Orleans’s impoverished Lower Ninth Ward, one of the neighborhoods hit hardest by Hurricane Katrina in 2005.
The project, called Make It Right, calls for building 150 affordable, environmentally sound houses over the next two years. In a telephone interview from New Orleans, where he plans to present the designs today, Mr. Pitt said the residents of the neighborhood had been homeless long enough. “They’re coming up on their third Christmas,” he said.
Mr. Pitt said he had been attached to New Orleans for more than a decade. “I’ve always had a fondness for this place — it’s like no other,” he said. “Seeing the frustration firsthand made me want to return the kindness this city has shown me.”
Rather than bemoan the slow pace of redevelopment in the Ninth Ward, Mr. Pitt said he decided to address the problem directly by teaming with William McDonough, the green design expert; Graft, a Los Angeles architecture firm; and Cherokee, an investment firm based in Raleigh, N.C., that specializes in sustainable redevelopment. John Williams of New Orleans is the executive architect for the project.
“If you have this blank slate and this great technology out there, what better test than low-income housing?” Mr. Pitt said. “It’s got to work at all levels to really be viable.”
When Make It Right was announced at the meeting of the Clinton Global Initiative in September, Mr. Pitt pledged to match $5 million in contributions to the project, as did Steve Bing, the philanthropist. Nine other firms — all of whom donated their services — are involved, including Adjaye Associates; Billes Architecture; BNIM Architects; Constructs; Eskew & Dumez & Ripple; MVRDV; Pugh and Scarpa Architecture; Shigeru Ban Architects; and Trahan Architects. “We wanted to have a mixture of voices,” Mr. Pitt said.
Beyond serving a public need, Mr. Pitt — who has a longstanding interest in architecture — was eager to see what the designers came up with. “I was most curious about advancing the discussion further,” he said. “That was certainly one of the benefits of this exercise. There is no other reason to call on these great minds if you’re just going to shackle them.”
The green building elements will reduce upkeep costs by at least 75 percent, Mr. Pitt said, and reduce some of the problems that devastated the Lower Ninth Ward during Katrina, when multiple levee breaks forced thousands of people from their homes.
The architects were each asked to design a 1,200-square-foot house for about $150,000, with Make It Right to help with the financing. The houses had to be built five to eight feet off the ground, with a front porch and three bedrooms.
Mr. Mayne of Morphosis opted for a lightweight concrete foundation anchored by two pylons, like a pier, which would buoy the house if floodwaters rise. “It’s a boat,” Mr. Mayne said.
“The population doesn’t want to live on stilts — and it’s expensive,” he added. “These are simple houses for low-income people.”
Mr. Bingler of Concordia said his design called for homes “that would respond to the culture of the Lower Ninth Ward.” He said residents had asked him for “a house where the baby can be sleeping in the back, the mama making red beans in the kitchen and the grandpa can be on the front porch entertaining neighbors.”
Mr. Pitt is asking foundations, corporations and individuals to contribute to the project by adopting one house, several houses or a portion of a house through the project Web site, makeitrightnola.org. “You can adopt a tankless water heater or a solar panel or a tree or a low-flush toilet,” Mr. Pitt said. “You can give it to someone for Christmas,” he said — instead of another sweater.
Responding to critics who question the wisdom of rebuilding at all in an area likely to get hit again, Mr. Pitt said: “My first answer to that is, talk to the people who’ve lived there and have raised their kids there. People are needing to get back in their homes.”
Wednesday, August 8, 2007
Forbes: Damon's a `Bourne' moneymaker
http://news.yahoo.com/s/ap/20070806/ap_en_mo/forbes_star_payback
Forbes: Damon's a `Bourne' moneymaker
Mon Aug 6, 2007
Matt Damon is Hollywood's best investment, says Forbes.com.
For every dollar he was paid for his last three roles, Damon brought in $29 of gross income, the site calculated.
That put the 36-year-old "Bourne" star atop a Forbes list of 22 film heavyweights, ranked by the same financial formula.
The first two "Bourne" movies grossed an estimated $850 million at the box office and in DVD sales, Forbes said. The third installment, "The Bourne Ultimatum," opened last weekend and raked in $70.2 million at the box office. It was the biggest August film opening ever.
Brad Pitt took second place on the list, with a gross income return of $24 for each dollar of his pay, and Vince Vaughn tied with Johnny Depp for third with $21.
Pitt's ex-wife, Jennifer Aniston, is the most profitable actress with a gross income return of $17. Pitt's current significant other, Angelina Jolie, ranked sixth with $15.
"The biggest stars in Hollywood are not the actors that deliver the biggest returns," Forbes senior editor Michael Ozanian said in a statement Monday.
Russell Crowe is at the bottom of the list. His last three films — "A Good Year," "Cinderella Man" and "Master and Commander" — averaged just $5 in gross income for every dollar spent on the Oscar winner, Forbes said.
Movies starring the two Toms — Hanks and Cruise — averaged $12 and $11 of gross income, respectively. Will Smith and Denzel Washington each brought in $10.
On the comedic front, Adam Sandler brought in $9 per dollar earned, Will Ferrell and Jim Carrey $8 each).
Forbes.com calculated the net revenue for a film by adding the worldwide box office and revenues from U.S. DVD and video rentals and then subtracting its budget. The net revenue was divided by the actor's total compensation to derive gross income. The average gross income of an actor's last three films produced their box-office return.
The "Ultimate Star Payback" list was posted Monday.
___
On the Net:
Forbes:
http://www.forbes.com/
Forbes: Damon's a `Bourne' moneymaker
Mon Aug 6, 2007
Matt Damon is Hollywood's best investment, says Forbes.com.
For every dollar he was paid for his last three roles, Damon brought in $29 of gross income, the site calculated.
That put the 36-year-old "Bourne" star atop a Forbes list of 22 film heavyweights, ranked by the same financial formula.
The first two "Bourne" movies grossed an estimated $850 million at the box office and in DVD sales, Forbes said. The third installment, "The Bourne Ultimatum," opened last weekend and raked in $70.2 million at the box office. It was the biggest August film opening ever.
Brad Pitt took second place on the list, with a gross income return of $24 for each dollar of his pay, and Vince Vaughn tied with Johnny Depp for third with $21.
Pitt's ex-wife, Jennifer Aniston, is the most profitable actress with a gross income return of $17. Pitt's current significant other, Angelina Jolie, ranked sixth with $15.
"The biggest stars in Hollywood are not the actors that deliver the biggest returns," Forbes senior editor Michael Ozanian said in a statement Monday.
Russell Crowe is at the bottom of the list. His last three films — "A Good Year," "Cinderella Man" and "Master and Commander" — averaged just $5 in gross income for every dollar spent on the Oscar winner, Forbes said.
Movies starring the two Toms — Hanks and Cruise — averaged $12 and $11 of gross income, respectively. Will Smith and Denzel Washington each brought in $10.
On the comedic front, Adam Sandler brought in $9 per dollar earned, Will Ferrell and Jim Carrey $8 each).
Forbes.com calculated the net revenue for a film by adding the worldwide box office and revenues from U.S. DVD and video rentals and then subtracting its budget. The net revenue was divided by the actor's total compensation to derive gross income. The average gross income of an actor's last three films produced their box-office return.
The "Ultimate Star Payback" list was posted Monday.
___
On the Net:
Forbes:
http://www.forbes.com/
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