Tuesday, October 13, 2009

Wes Anderson: Absentee Director

Saturday, July 18, 2009

'And That's The Way It Is'

Walter Cronkite, the iconic face and voice of television news for generations, died yesterday from complications of dementia. He was 92.

Like many people my age for whom television was no longer a novelty but a fixture, 'Uncle Walter' was a news anchor in the truest sense of the word - he simply was the evening news. He was called 'The most trusted man in America', and that was certainly true for me.

The office of president was called into question when I was nine years old, but in my eyes Walter Cronkite's integrity and professionalism were ironclad throughout his entire life. For him, a breach of etiquette meant a break in his voice when he announced that President Kennedy had been shot.

He has been called one of the first celebrity anchormen, and while he certainly was one of (if not the) most recognizable and beloved figures on television, it was clear that there was years of news reporting behind his objective presence.

His oft-mimicked delivery was as iconic as those of Walter Winchell or Edward R. Murrow. His reassuring presence was a sincere comfort in troubled times, and when he retired in 1981, television was never quite the same for me. I'm grateful that I was able to experience some old-school news anchoring - and reporting - at its best.

"... And that's the way it is... July eighteenth, two thousand nine."

So long, Uncle Walter. You'll be missed.

Photo: ©CBS Photo Archive/Getty Images. Painfully cropped by me.
For the NY Times obituary, click here.
For the LA Times obituary, click here.

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Sunday, July 20, 2008

Barbie's Best Accessory: Bright Pink Lawyers

Matty Mattel may pick up quite an entourage soon:

"In the battle
of the doll makers, the house that Barbie built won a sweeping court victory Thursday, accessories and all.

A federal jury found that a Mattel Inc. designer created the lucrative Bratz doll concept while he worked at Mattel under an exclusivity contract.

It was a scathing defeat for MGA Entertainment Inc., which introduced the dolls -- known for big heads, pouty lips and bare-midriff outfits -- in 2001."

To read the rest of David Colker's LA Times article, click here.

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Thursday, July 17, 2008

Barbie Takes Bratz To Court

Apparently, the originator of the wildly successful Bratz doll line was still under contract with Mattel when Barbie's controversial rival was created. Naturally, with so much at stake, the claim is going to court:

"The tiny, fake fur was flying as the Barbie-Bratz court battle wrapped up Thursday, with toy industry giant Mattel Inc. and upstart MGA Entertainment Inc. both claiming ownership of the hugely successful Bratz line of dolls.

MGA, which seven years ago debuted the saucy Bratz doll, has maintained from the May 27 start of the trial that Mattel was trying to unfairly stomp out competition to its faltering Barbie empire.

"For 40 years Barbie was the only doll in town," Tom Nolan, lawyer for Van Nuys-based MGA, said in his closing argument. "And then Bratz came in and knocked her off her pedestal."

Mattel, headquartered in El Segundo, sued in 2004, claiming that Bratz -- known for hip-hugging outfits and bare midriffs that have given some parents fits -- were secretly created by one of its own Barbie designers, Carter Bryant, even though he had an exclusivity contract with the company."

Read the rest of David Colker's LA Times article here.

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Monday, May 26, 2008

In Memoriam

flag at half mast

Soldiers who lost their lives in Iraq and Afghanistan in 2008.

Name * Rank * Date of death * Age * Home


Alicea, Rivera Rafael Angel * Ssg, Army * 02-05 * 30 * Bayamon, PR

Allmon, William Elliott * Sgt, Army * 04-12 * 25 * Ardmore, OK

Alvarez, Conrad * Sgt, Army * 02-20 * 22 * Big Spring, TX

Anderson, Joshua Roland * Spc, Army * 01-03 * 24 * Jordan, MN

Anderson, Phillip Reid * Sgt, Army * 03-10 * 28 * Everett, WA

Ault, Jesse Adam * Ssg, Army * 04-09 * 28 * Dublin, VA

Baez, Miguel Angel III * Cpl, Army * 02-05 * 32 * Bonaire, GA

Barrett, Chad Alan * Ssg, Army * 02-02 * 35 * Saltville, VA

Bennett, Durrell Lavoy * Cpl, Army * 03-29 * 22 * Spanaway, WA

Birkman, Tracy Renee * Sgt, Army * 01-25 * 41 * New Castle, VA

Bishop, John Thomas * Pfc, Army * 04-23 * 22 * Gaylord, MI

Bitton, Albert * Cpl, Army * 02-20 * 20 * Chicago, IL

Blystone, Ronald Carl * Ssg, Army * 04-23 * 34 * Springfield, MO

Bolander, Bryan Eugene * Ssg, Army * 04-29 * 26 * Bakersfield, CA

Bradley, Juantrea Tyrone * Ssg, Army * 03-12 * 28 * Greenville, NC

Brosh, Benjamin Keith * Cpl, Army * 04-18 * 22 * Colorado Springs, CO

Brown, Jason Logan * Ssg, Army * 04-17 * 29 * Magnolia, TX

Brown, Lerando Junior * Sgt, Army * 03-15 * 27 * Gulfport, MS

To see the full list, click here.

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Tuesday, March 25, 2008

Where Is John Hughes?

"JOHN HUGHES hasn't set foot in Hollywood for years, but his influence has never been more potent. The king of 1980s comedy, Hughes now qualifies as something of a Howard Hughes-style recluse -- he doesn't have an agent, doesn't give interviews and lives far away, somewhere in Chicago's sprawling North Shore suburbs where most of his films were set."
I'm not the biggest fan of his films, but this is an interesting article. Read the rest of it here.

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Saturday, January 05, 2008

Parade Of The Three-Wheelers

LA TIMES: Three-wheelers have designs on sportiness, safety
Three-wheelers draw more and more interest. These new models demonstrate why.
By SUSAN CARPENTER, THROTTLE JOCKEY - January 2, 2008

Used to be that a three-wheeled motorcycle, or trike, meant one wheel in front, two in back. Then Can-Am sped onto the market with its snowmobile-esque Spyder, a three-wheeler that gave the segment a sporty makeover by putting the two wheels out front. In the year since the Spyder's unveiling, the three-wheeled segment is growing faster than a center fielder on steroids, with a number of new models coming to market throughout 2008. We take a sneak peek at the year's three-wheeled future.

Aptera Typ-1
Available: late 2008

The Aptera Typ-1 isn't easy to classify. It has three wheels, so it's registered as a motorcycle, but it has a steering wheel and seats two, so it feels more like a car. It's also electric. And did we mention it looks something like a dolphin?

The goal for this Carlsbad start-up was to make a passenger vehicle that has the same drivability, stability and safety characteristics as an automobile, only with higher energy efficiency, lower weight and fewer governmental hurdles than a company would encounter as a small-scale manufacturer of four-wheel vehicles.

The result is a future-is-now vehicle that's spacious, stylish, comfortable, eco-conscious, high-tech and so unusual looking that at one point during my time with the Typ-1, all the cars and pedestrians within a one-block radius were staring and/or snapping pictures.

Because the Typ-1 is a prototype, I wasn't able to drive it myself, but I did take a ride in the passenger seat. I just opened the DeLorean-type door, slid into the mod, green-and-white interior, closed the door behind me and strapped on my seat belt. Aptera Chief Executive and co-founder Steve Fambro turned the key to fire up the electric motor, pressed the pedal with the plus sign on the floor to accelerate, and we were off.

According to Fambro, the Typ-1 is capable of 80 mph and could travel up to 70 miles on a single charge while sustaining that speed, but he never took it up that fast and we didn't travel anywhere near that far as we cruised SoCal suburbia. The fastest we went was probably 45 mph, at which it felt stable. Taking corners, we went even slower, so I couldn't tell how it handled, but Fambro says the Typ-1 has been "designed for natural stability" and incorporates a traction control system that, in theory, can handle a 1G circle on par with a Honda Civic.

Riding in the Typ-1 is sort of like being in a high-tech fishbowl. There's incredible visibility from all sides except the back, which is equipped with a rear-view camera that displays whatever's happening behind the vehicle on a trio of computer screens.

The center of each of those three screens also displays the vehicle's speed, voltage and power, while a touch screen at the center of the dash controls the navigation system, stereo and other gauges, such as the odometer and temperature reading.

The Typ-1 is unusual for any number of reasons, the most notable being the body. Its water-worthy shape is formed from high-tech fiberglass that isn't just lighter than steel but 10 times stronger, according to Fambro. The Typ-1 has yet to be crash tested, but Fambro says the crumple zone on the Typ-1 is longer than that of a typical car, and the crush strength of the roof and side doors is stronger than what's been mandated for a regular passenger vehicle.

Can-Am Spyder
Available: July

If the manual-transmission Can-Am Spyder is a reentry bike for aging motorcyclists, the Canadian company's semiautomatic version may be more of a bridge vehicle for drivers of cars. The no-lean suspension on this groundbreaking three-wheeler already removed one barrier to entry for a vehicle you throw a leg over. Taking away the clutch and foot shifter removes another.

I was riding the first prototype of the Spyder with the SE5, or sequential electronic five-speed, transmission. With the exception of the thumb-operated shifter under the left grip, this version of the Spyder is otherwise exactly the same as the original SM5, or sequential manual five-speed, version that came out last year.

Considering the prototype was the first of three iterations before the SE5 Spyder goes into production, it was already highly evolved and well-functioning. In place of the foot shifter and clutch, there's a little black button that I pushed forward to upshift. I didn't need to roll off the throttle as I shifted. I just pushed the button and the transmission smoothly kicked it up a notch without bucking me like a bronco as it attempted to mesh gears; the sensation was similar to the seamless, continuously variable transmission of a car.

Downshifting, I had two options. I could push the button toward me, which required an act of finger contortion, or simply let the SE5 adjust to my slowing speed and downshift for me, which was my preference.

That made me wonder: Why didn't Can-Am just make the thing fully automatic on the upshift also? Mostly it was a matter of cost and efficiency. To make a fully automatic, CVT-type transmission would have required Can-Am to develop an entirely new transmission, instead of just modifying the one it was already using. That in turn would have upped the cost on the SE5 version, which already comes at a $1,500 premium.

Piaggio MP3 500
Available: February

Piaggio's groundbreaking MP3 250 hasn't even been on the market for a year, and already it's the bestselling scooter in the Piaggio brand lineup. So what's a manufacturer to do? Capitalize on that success with a one-two punch: a pair of 400-cc and 500-cc maxi-scooters that use the same twinned wheels and articulated front end to increase the bike's stability and riders' sense of calm.

While the profiles of the new maxis are bigger and more brutish, their dynamics are the same as the 250. The two front wheels, set 16.5 inches apart, lean in tandem, allowing riders to tilt the bike by as much as 40 degrees. Riders who are afraid to put a foot down can even lock the front suspension as they slow to 3 mph, allowing them to rest their feet on the textured metal floorboards instead of planet Earth. The bike also comes with a center stand, but it's redundant. The suspension lock and parking brake make the trike stable as a tripod when stopped.

The idea is that two wheels out front are better than just one because:

1) they provide a greater contact patch through turns and 2) they provide more stability on takeoffs, landings and at high speeds.

If the 12-inch front wheels hadn't been twinned, I wouldn't have been tempted to risk my life in pursuit of the bike's 89 mph max or to take it for 100-mile stints on the freeway, but I did. I even felt comfortable as I zipped along in the carpool lane, returning the many smiles and stares I was getting with a wave.

It's safe to say it was the three wheels that caused drivers to take their eyes off the road, but it could have been the style that prompted more than a few to accidentally veer into my lane. With its 500-cc version, Piaggio's showing its Italian heritage with a cutting-edge style designed to squelch any ideas that scooters can't be cool. Its matte black bodywork, tubular grill and fenced-in front lights are pure Mafia don. With its MP3 500, Piaggio is likely to have another hit on its hands.

TriRod F3 Adrenaline
Available: July

Unlike the rest of the three-wheeled field, which looks at the third wheel as a safety feature, TriRod Motorcycles sees it as a performance enhancement. The San Diego shop hasn't just added an extra wheel to the front of its F3 Adrenaline. It's upgraded the tires to automotive Pirellis and widened the spread of its twin wheels, so the F3 can carry more speed more aggressively through corners without running the risk of tipping over.

In the process, TriRod seems to have developed a new three-wheeling stunt: the side-sliding doughnut.

Like the Spyder, the F3 doesn't lean in turns. It's designed to ride like a three-wheeled Formula 1 race car with a sit-on versus sit-in design. The center of gravity is low for less body roll when cornering and the seat height is an exceptionally squat 17 inches. The front suspension is a pull-rod and crank-bell design that lessens unsprung weight for more responsive handling, while the double A-arms are unequal and not parallel for better grip on the ground.

Add a 120-cubic-inch, JIMS V-twin motor, and you've got yourself a three-wheeled missile.

I didn't get to ride the F3 Adrenaline because it's a prototype, but I did see it in action, so I will say this: TriRod isn't false billing.

It is, however, making itself into the Confederate Motor Co. of three-wheelers with a triumvirate of characteristics to match: high design, high performance and a high price: $55,000.

Vectrix V3
Available: late 2008

For its follow-up to the electric scooter it debuted last year, the Rhode Island manufacturer has gone the way of Piaggio. Literally. In order to make an electric version of a three-wheeled scooter, Vectrix had to license the right from the Italian manufacturer, which holds the patent.

While the V3 uses the same sort of independent, wheel-action suspension as the Piaggio MP3, allowing each front wheel to move independently but also lean in tandem and lock when stopped, Vectrix's front suspension is its own proprietary design.

I was able to ride a barely ridden prototype of the bike for the duration of a single charge, which, according to the digital dash, was about 45 miles. That is, if I'd ridden it the way I'd been asked -- on streets. But the Vectrix is capable of 62 mph and I wanted to see how it fared on the freeway, so that's where I took it.

Like all electrics, torque is constant on the V3, so it had amazing pickup as I got on the ramp and joined traffic. The production model should be even better because Vectrix will be upgrading its batteries. Instead of the Nickel Metal Hydride variety it used on its debut product, the Maxi, the V3's 125-volt battery pack will be lithium, which is quicker off the line. Vectrix anticipates the lithium-powered V3 will accelerate from 0 to 50 in a scant 5.2 seconds

On the freeway, the Vectrix did as well as I expected. It got up to its anticipated speed, but keeping it there reduced its range by about one-third. Anyone hoping to use the V3 as a freeway commuter would need to live fairly close to work or risk being stranded for a recharge.

Returning to city streets, I put the front end through its paces. At slow speeds and in turns, it didn't do as well as I'd wanted. It felt a little clunky and tin can-ish as I intentionally ran it over potholes and lumpy pavement. It's a good first effort for a fledgling manufacturer attempting a tricky front-end design, but it wasn't as fluid as its alpha-numerical competitor from across the pond.

susan.carpenter@latimes.com

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Thursday, January 03, 2008

Are Movie Studios Making Themselves More Irrelevant?

LA TIMES: A sequel with the same ending
As they did in the '88 writers strike, the studios are pushing themselves out of the picture. By Thom Taylor - January 3, 2008
The writers guild keeps saying that its strike against the studios is about the future, but one need only look back to the 1988 strike to see that in key ways it is a repeat of the past. Nearly 20 years ago, when the writers asked for a bigger slice of the pie, the studios shrugged and Hollywood sank into a malaise. But out of that emerged new ways of doing business, a scenario that's happening again.

During the 1988 strike, writers worked independently on "spec scripts" (written on the speculation that they would eventually sell them) and a pipeline-dry studio system snapped them up. TV producers also sought alternatives to traditional, high-cost scripted series. The strike resulted in the 1990s' spec script boom and reality television -- two new business models.

It's not strikers' demands but the work stoppage itself that creates a new paradigm. By fighting the writers over the new-media issues today, the studios are effectively creating what they fear most: a major tectonic shift in the entertainment business that will reduce the role of the studios even further.

Generally speaking, before 1988, movie studios -- which then housed genuinely creative executives -- used to "develop" movies starting from source material such as a book, play, life story or pitch and hire a writer to nurture it into a screenplay. They would pay the writer usually a five-figure sum, maybe more, and both sides would see the project through to completion.

In the decade after the '88 strike, studios more often bought fully written "specs," and millions of dollars were thrown at ready-to-shoot scripts. The role of the executive was less creative and more business. The prices for specs escalated to obscene amounts even as studios, in essence, discovered that they were buying only "an idea" and then hiring even more writers to revise, rework and polish it. The process was often financially wasteful and ushered in concept-driven, amusement-park-ride movies. The money's been good, but studios largely relinquished the creation of heartfelt, character-driven films to the independent art-house world.

Flash forward to the current debate, in which studios claim that digital media are too new for them to commit to a particular payment structure. Their response is based on a fear that's haunted them since the arrival of the Internet: "disintermediation." This is cyber-speak for cutting out the middleman. In such an environment, the studios' role (as managers of content) is reduced to nonexistence. Sound a bit like what's been happening to the music industry?

The studios balked at writers' request for a 2.5% sliver of the digital media revenues, and the current strike began. Immediately, many writers emigrated to the Internet, at first generating short videos to virally market their labor messages and now to give creative outlet to their talent. The studios have maintained a misguided "talk to the hand" strategy, so the writers have sensibly picked up their toys and gone to play somewhere else.

The transition to making money from the new paradigm will naturally take time. Right now, anybody with a computer connection can create an overnight sensation on YouTube -- but that's not enough to quit your day job. Yet the Internet is on its way to becoming the public's preferred mass distribution system -- and that means Google, Microsoft, Yahoo, Apple and telephone companies will compete with traditional networks by piping broadband content into home theaters. This sea change has the potential to turn the studios as we know them on their heads.

This evolution is progressing with the creation of every Break, Heavy, FunnyOrDie and MyDamnChannel: sites that give writers total creative control and up to 50% of revenue. Of course, these outlets are tiny compared with the networks' reach -- and nobody thinks the studios will disappear -- but they represent the first step toward the new paradigm that the studios fear.

Even before the strike began, many writers were wondering, "Why are we fighting for only 2.5% of a studio process that's so invariably inefficient?" And now the creative genie is out of the bottle. The longer the strike lasts, the more accelerated the disruptive technology becomes.

The companies will likely make a deal with the WGA in the coming months because all reality, all the time is a losing proposition. (Remember when ABC ran "Who Wants to Be a Millionaire?" every night and destroyed its prime-time viewership?) If the deal is as bad for writers as the studios' original proposal, the companies will feel that they have won the war. But the writers will have effectively won the most important battle: Their role as the creative center of the new entertainment business model has been confirmed.

The studios could have learned a lesson from the U.S. auto industry, which didn't adapt when it faced more efficient Japanese competitors. The car companies forgot that it all starts with innovation. Somehow the studios have forgotten that it all starts with the word.

Thom Taylor wrote "The Big Deal: Hollywood's Million-Dollar Script Market" about how the 1988 strike altered the movie business. He works at a global investment bank.

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Makes sense to me. It seems that at a certain point, many companies expend so much effort to keep things the way they are, they wind up getting hurt by change instead of embracing (and benefitting from) it. I wish big companies could get government protection for risk and progress, rather than being bailed out for clinging to the past.

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Monday, December 24, 2007

The Richter Scales Go Viral

LA TIMES: Bursting Silicon Valley's bubble through song
The Richter Scales have an online hit with a musical video parody.
By Jessica Guynn, Los Angeles Times Staff Writer - December 24, 2007

SAN FRANCISCO -- An offbeat a cappella group composed mostly of computer geeks, the Richter Scales have performed original ditties and pop parodies in relative obscurity for seven years.

That is, until three weeks ago, when they released an online video that mocks the latest Internet frenzy sweeping Silicon Valley. "Here Comes Another Bubble," an original arrangement of Billy Joel's "We Didn't Start the Fire," pokes fun at the "monster rally all around the valley." In staccato bursts of words and images, it lampoons the Web industry's silly buzzwords and business names, pizza-and-beer-fueled engineers, male-dominated launch parties, billion-dollar valuations and mass-scale ego trips.

The musical romp opens with Facebook Inc. investor and board member Peter Thiel declaring, with a straight face, "There's absolutely no bubble in technology." Its final lines, "And when we are gone/This will still go on and on and on and on and on and on and on" are interrupted by a loud popping sound.

The clever commentary on the cult of the Silicon Valley start-up was an instant hit, passed along via e-mail and blogged by venture capitalists, entrepreneurs, coders and marketers. It climbed the charts to become YouTube's top-rated video in its first week with more than 1 million views.

"It's about the gold-rush spirit of thousands of entrepreneurs who want to try their hand at being the next Larry Page or Sergey Brin," said Matt Hempey, the 33-year-old PayPal Inc. product manager who wrote the lyrics and arranged the song.

Even those lampooned got a kick out of it. Technology blogger Robert Scoble said he laughed so hard that he sprayed Diet Coke out of his nose. TechCrunch founder Michael Arrington called it an honor to have his cigar-puffing mug gracing the video's display image.

Not everyone was amused. The video was yanked from the Web after Bay Area photographer Lane Hartwell complained that one of her images was used without credit, sparking a spirited online debate about fair use of copyrighted material. The Richter Scales last week cut a version without her image and listed credits for images they used.

That didn't appease Hartwell, nor some of the other photographers whose images briefly appear in the video. But so far the new version remains on YouTube and www.richterscales.com.

Hempey, who solos on "Here Comes Another Bubble," said the half-baked business plans, copycat companies and flowing venture capital dollars inspired him to set music to the debate that has flared in the industry: Are we in another high-tech bubble?

He says he sees so many people trying to spin fortunes on broadband and a prayer that it's deja vu for Silicon Valley.

The 15 members of the Richter Scales belong to a generation shaped by the Internet bust. Seven work for start-ups, four more are at technology companies such as Apple Inc. and Google Inc.

Curtis Chen, a 34-year-old bass singer and Web applications engineer at Google, said it didn't take long for his co-workers to become fans of the video.

"They really identified with it," he said. "There are a fair number of people here who worked at start-ups that failed, myself included. They are familiar with what happened the last time around and they can see it happening again, as the video says."

It was in 2000, during the Internet crash, that the Richter Scales banded together, a group of guys looking to stretch their vocal chords and rekindle the camaraderie of collegiate a cappella. They practiced Thursday nights in the empty offices of one member's start-up, located in a seedy San Francisco neighborhood next door to a strip club whose motto was "Feel the beauty, touch the magic."

The group's experimental, self-directed vibe appealed to its members' entrepreneurial natures.

A cappella means "in the style of the church" in Italian and is sung without the accompaniment of instruments. But nothing is sacred where the Richter Scales are concerned. They send up Christmas music and Gregorian chants alike with satire and slapstick, performing every six weeks, with two main shows a year. Ranging in age from 25 to 40, the guys bond at weekend retreats, spending as much time talking about their lives as they do writing songs.

They first put their voices to video this summer with a spoof of the sub-prime lending collapse, "Fine Line: Sub-Prime Decline," which was viewed more than 39,000 times and was mentioned on a handful of blogs. But the viral success of "Here Comes Another Bubble" surprised them.

Heretofore their highlights were singing the national anthem at a San Francisco Giants game, serenading guests at mayoral fundraisers and their own weddings and belting out a few tunes on street corners or in restaurants. (Their second gig was a lively rendition of "I Left My Heart in San Francisco" in the back of a Japanese tourist bus.)

"We perform at all sorts of kooky things where people are not listening to us," said James Currier, a 40-year-old San Francisco entrepreneur who co-founded the Richter Scales.

But about 200 people recently packed a rented San Francisco church to listen to the group's annual holiday medley. The Richter Scales, wearing black shirts, blue jeans and Santa hats, joked they were thrilled to see so many "unique visitors" show up for their "user-generated content."

They performed geek-friendly songs including Brian Rosen's ode to spam "I Got Mail" ("Now I've got new hair, a new physique/I lost twelve pounds in just one week/Yeah I got mail and I got it made"), and Jason Hunter's digital ballad "E-mail Me Your Love" ("Nothing turns me on like a well-placed emoticon"). Rosen, 36, is a senior software engineer at Pixar Animation Studios and Hunter, 28, is a senior content manager at EBay Inc.

"Seeing as we are a bunch of tech guys, we write what we know," said Rosen, the Richter Scales' musical director.

Their first live performance of "Here Comes Another Bubble" brought down the house.

Still, like any bubble-era start-up worth its weight in venture capital funding, the Richter Scales lost money on the gig, as they have on every one since inception.

The much-aired bubble video hasn't exactly lined their pockets either. They offer it free online, and they've sold only eight of their "We Hate A Cappella" CDs as a result of the publicity -- about one for every 125,000 viewers. That means 3.5 million people will have to view the video before they recoup the $355 it cost to make it.But they say they were never in it for the fame or fortune.

"I've really enjoyed making the valley laugh about something I am intimately familiar with," said Hempey, who survived a start-up failure or two. "It was a great idea at the right time."

jessica.guynn@latimes.com

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Here's hoping that the Scales' online bubble isn't a fluke. Go Brian!

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Tuesday, December 18, 2007

David Gonzales: Beyond The Homies

LA TIMES: 'Homies' are where his art is
The barrio figurines left their creator rich but unfulfilled. Then he cast his brother as a model of mutual redemption.
By Hector Becerra, Los Angeles Times Staff Writer - December 18, 2007

HERCULES, CALIF. -- Ten years ago, David Gonzales created a hit with "The Homies," 2-inch plastic figurines depicting characters from the barrio, complete with bandannas and baggy pants. Inspired by the homeboys he grew up with, they were sold, quarter by quarter, in gum ball machines in mostly Latino neighborhoods.

Gonzales was lambasted by police and prosecutors, who said the impish images exploited gang life for profit. Naturally, they then sold better than ever: more than 120 million to date.

The 47-year-old Gonzales, now a father of three children in college, lives in an elegant two-story Spanish-style house overlooking San Francisco Bay, just down the road from the flinty central Richmond neighborhood where he grew up.

"I call this house 'the house that the Homies built,' " he said.

Gonzales has been featured in national magazines, including Rolling Stone, and rubbed shoulders with celebrities. His characters have adorned back-to-school folders, lunchboxes, breath mints and beach towels. The Pasadena Museum of California Art is hosting an exhibit on his Homies, and Nintendo will soon release a Homies video game.

Yet there has been a gnawing feeling of unfulfilled goals and unmet expectations. He wanted to hit the big time with an animated TV show -- something that would really leave his imprint. Oil paintings by Gonzales, often with religious themes, hang on the walls of his home -- a reminder that the artist created the toy maker, not the other way around.

He felt harried by a sense that time was slipping away, sounding curiously like someone stuck in his own plastic bubble. Sometimes, he bared his soul to a priest.

But not just any priest.

Gonzales, one of five boys in a family scraping by in a tough neighborhood, grew up intense, artistic and studious. He asked his parents to take him out of a Roman Catholic school and enroll him in a public school because the latter had an art program.

"I knew David was going to be an artist," said his mother, Agnes.

His brother Robert, younger by a year, hung out with a rougher crowd. He got into fights, burglarized homes with his friends and landed in jail. He dropped out of high school.

The brothers were close, but their paths kept diverging. David enrolled at California College of the Arts in Oakland. He drew a comic strip for Lowrider magazine with characters familiar -- for better or worse -- to just about anyone growing up in Mexican American barrios. Robert moved to Nevada to work in the Job Corps.

One day in 1980, David got an urgent call from a hospital in Reno.

Robert and some friends had scuffled with a group of young men on the side of a desert road. Someone had hopped into a car and gunned it in Robert's direction, pinning him between two cars. His right leg had to be amputated below the knee.

When David and their mother reached the hospital, a priest told her that Robert must have been pulled from the grave by a guardian angel. The priest also remarked that Robert was highly spiritual, a comment that surprised his family.

David went back to college and Robert returned to his parents in Richmond. But even in a wheelchair he was rebellious, blowing insurance money on a lowrider and partying harder than ever. He moved out but soon felt lonely, isolated and miserable. He drank a lot.

One day, Robert returned to Richmond and found David in their parents' garage. If anyone could understand him, Robert figured, it would be David.

Robert wept. He told his brother he wanted to come back home. But he felt ashamed. What Robert really seemed to crave, David thought, was forgiveness -- penance.

"The prodigal son spends his riches and comes home. He rejects his parents' love and direction," David said, recalling what he learned in church and Catholic school. "A lot of people screw up in their lives and leave, and their parents slam the door in their face when they come back."

But David knew that would not happen to Robert, even if his brother had doubts. "Just speak to Mom and Dad," he told him. "They'll understand."

So Robert spoke to them.And they welcomed him back.

In the ensuing years, David made money designing T-shirts and selling them at flea markets and liquor stores. One of his first bestsellers featured Barturo, a barrio version of Bart Simpson who asked: "¿Qué pasa, dude?" Another successful shirt featured the Virgin of Guadalupe.

He took a job as an artist with the Postal Service in Oakland to support his wife and children. He painted a huge mural titled "Journey of a Letter" in a post office lobby in Fremont but eventually quit so he could pursue the T-shirt business full time, refining his barrio creations.

Then a manufacturer called him about making plastic figurines of his comic strip characters.

Meanwhile, after his garage chat with David, Robert patched up things with his parents, enrolled in vocational school, graduated with honors and took a job at a savings and loan. But, as David would feel years later, Robert sensed something was missing in his life. There had to be, he decided, a reason he survived the attack. One day, he called his parents into the living room and announced that, at age 24, he wanted to become a priest.

"He was the last person I expected to be a priest," his mother said. "When you think of a priest, you think quiet and studious. Robert was so rebellious."

In 1989, the year the Homies figurines made their debut, Robert took his religious vows and a new name, Masseo, after one of St. Francis' followers. When Robert was ordained as a Franciscan priest seven years later, David read a speech.

"Knowing Father Masseo . . . I'm sure he'll be dealing with a lot of problems facing young people, such as drugs, gangs and teen pregnancy," David said. "He'll be an important part of a lot of baptisms, first communions and confirmations. Those will be his children."

Soon enough, David would need Masseo for his own talk-in-the garage moment.

He was making lots of money. By most accounts, Homies were the best-selling character brand in vending-machine history. But police and prosecutor complaints were wearing on him. Many stores stopped selling Homies, and lots of people thought he was glorifying gangbangers and profiting from it.

The Homies, with names such as Chuco, Joker and Poco Loco, were just his humorous tribute to a subculture of Latino life, he said. "I'm not going to stop gangs, and I didn't create them," David said, sounding slightly exasperated. "They exist. Just like they exist in the regular Hispanic community, they exist in the Homie world."

David fired off a frustrated e-mail to his brother, saying that he was thinking of going back to the Postal Service. He found it hard, David said, to accept that "God blessed me with all this . . . artistic talent for that job in life."

"God didn't give you this talent for nothing," his brother replied.

The priest also reminded him that even a toy maker had a larger responsibility. Not every Homie had to be vato, a dude in the barrio.

So David kept at it. He created El Paletero (the ice cream vendor), who works to bring his grandchildren from Mexico. And Officer Placa, a rotund, doughnut-loving cop who "worked the barrio for about 20 years and knows all the Homies by name."

Robert suggested he create a figurine of a homeboy in a wheelchair -- a common sight in gang-afflicted neighborhoods. Willy G. became the most popular Homie ever. Soon, David got calls from the Special Olympics and from people who coached youngsters with disabilities.

He also created a homeless man, a young student and an activist. But no character would have a life of its own, and bind the two brothers, so much as El Padrecito ("the little father") -- a Franciscan priest with robes, sandals and stylish sunglasses who "acts like a second father to many of the Homies" and looks a bit like Robert.

The Padrecito turned out to be more than just a figurine. Masseo adopted him as his personal logo and found that the Homie helped him reach young people in need. Robert created El Padrecito's Online Church, where he fields questions, offers upbeat advice, counsels the troubled and sometimes delivers a religious message in rap.

"My life would probably be a lot more boring without the Homies," the priest said.

Robert talks optimistically about his dream of opening a monastery in the town of Guadalupe and reaching ever more people through the cyber-church.

To help Robert along, David sold him the rights to El Padrecito for $1 and gave him permission to use all of the Homies in his religious efforts. And last year David created Santos, a line of figurines of saints and religious figures, such as Pope John Paul II. David also donated $20,000 to his brother's growing cyber-church.

Last year, a young woman from Houston e-mailed El Padrecito to say she was about to earn her college degree. She wanted to thank the father for helping her cope with the execution of a family member on death row years before.

"Crazy as it sounds," she wrote, "if I hadn't written to you so long ago, my life may have turned out differently and I could have been just another statistic, just another face on the welfare line."

Could the priest have reached out to the young woman without El Padrecito? Probably, but the Homies certainly made it easier, Robert said. And the priest brought the artist a measure of redemption as well. "He helped the Homie family stay on the right path," David said. "It was reaffirming for me, and it let me know that I had not gone too bad."

And who would have ever expected that from the creator of Chuco, Joker and Poco Loco?

hector.becerra@latimes.com

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Friday, November 09, 2007

Don Rickles - Still Going Strong In 'Mr. Warmth'

LA TIMES: Don Rickles is still in your face
A new documentary captures the myriad sides of insult comic Don Rickles. - November 8, 2007
By Paul Brownfield, LA Times Staff Writer - Photo by Anne Cusack

THERE are various ways to gauge the longevity of Don Rickles. His longtime publicist, Paul Shefrin, is the son of Rickles' previous publicist, Gene Shefrin, just as Rickles' longtime business manager, Bill Braunstein, is the son of Rickles' previous business manager, Jerry Braunstein.

"There was no voting, they were just given the jobs," Rickles said of the sons.

Rickles is 81 and enjoying a little bit of a renaissance, as it happens, with a memoir, "Rickles' Book," and now "Mr. Warmth: The Don Rickles Project," a feature-length documentary directed by John Landis, of "Animal House" and "The Blues Brothers" movie fame. The film screens at the AFI Film Festival Friday night and debuts on HBO Dec. 2.

The Rickles vault will always contain vintage "Tonight Show" clips and his appearances on Dean Martin celebrity roasts, Rickles brandishing his malice in a way that somewhere came back around to him as an ambassador of goodwill.

Today, when it comes to the art of the insult, the air is thicker but the skin is thinner (see Chris Rock versus Sean Penn at the Academy Awards in 2005). Maybe that's why Rickles holds up; he is, finally, still better than anyone at making ridicule seem cathartic. Despite this fact, no one had ever captured his live act on film, largely because Rickles himself never wanted to participate.

"Mr. Warmth" offers generous portions of Rickles performing last November at the Stardust in Las Vegas, before that hotel and casino was imploded. (Rickles said he just signed up for dates at the Orleans.)

According to Shefrin, Rickles does his act approximately 75 times a year. Occasionally, Rickles said, he can get the Indian casinos he plays to send him a private plane, but there's no mistaking his stunning endurance, and the mental acuity it takes to work a room, firing off insults at various customers who've paid for this very privilege.

Landis, who figures he's seen Rickles perform 50 times, says 65% to 70% of the act doesn't much change (ribbing the band; interludes of singing; assaulting the guy in the front row with: "That your wife?").

"But then there's always that 30 to 40% you've never heard before," Landis said. "The truth is he's a performance artist. I always thought so. He tells no jokes. There are no Don Rickles impersonators."

And yet "Mr. Warmth" is more than a concert film; it's a march through the history of Rickles' life, full of grace notes. Son of an Eastern European-Jewish immigrant father and a strong-willed mother, Rickles never went to college and served in the Philippines in World War II, later attending the American Academy of Dramatic Arts before moving to L.A., where, deep into his 20s, he continued to live with his mother Etta (in a high-rise then called Park Sunset, mother and son's living quarters separated by a curtain) while going onstage at a club called the Slate Brothers, where one night, as legend has it (though the venue changes according to the source), Rickles befriended Frank Sinatra by calling out: "Make yourself at home, Frank. Hit somebody."

Fraught silence, then a release of laughter. At L'Ermitage Hotel in Beverly Hills this week, munching on peanuts, Rickles told a similarly themed story from his days working the lounge at the Sahara, back when Vegas was run by the mob. Rickles performed on a stage over the bar ("There was a small stage and in between was a pit, where the bartenders walked, and the bar," he said). He did several shows nightly with Louis Prima -- midnight, 2 and then 5 a.m. for the breakfast crowd.

"I used to go out in the casino and go, 'Hold it! . . . hold it!' Really loudly. 'I'm performing in there, and the . . . noise is too much, I want it stopped! You understand that? Stopped!'

"They all stopped, froze," Rickles said, "then they laughed their asses off."

"MR. Warmth" begins with actor Harry Dean Stanton sitting in a booth at Dan Tana's in West Hollywood, blowing on a harmonica. For Landis, it's a self-referential prelude: The director met Rickles in the hillsides of Tito's Yugoslavia, where Landis was an 18-year-old gofer making 60 bucks a week on the set of "Kelly's Heroes," the 1970 movie starring Clint Eastwood, Telly Savalas, Stanton, Rickles and Donald Sutherland as soldiers who go behind German lines to seize $16 million in gold bullion. (Rickles likes to poor-mouth his film career, but Landis isn't buying it. "He was in 'Run Silent, Run Deep!' ")

In "Kelly's Heroes," Rickles played a character called Crapgame. At the end of the shoot, Rickles gave Landis a $50 tip, and a friendship was born.

"Mr. Warmth" has four producers, including Rickles' son, Larry, and Mike Richardson, publisher of Darkhorse Comics and producer of the "Hellboy" movies, who gave Landis the initial money to shoot Rickles at the Stardust.

Like many documentaries about comedians, "Mr. Warmth" gingerly attempts to explain Rickles' appeal without spoiling the joy that his slurs paradoxically bring (Robert De Niro is interviewed, as is Rock, Martin Scorsese, Bob Newhart, Sarah Silverman and Sidney Poitier, though you mostly keep wanting the film to return to Rickles onstage at the Stardust).

At first, you see him backstage, sipping coffee in a robe, putting on his tux and shambling to his position backstage, accompanied by his longtime tour manager, Anthony "Tony O" Oppedisano.

Watching Rickles before he goes out, it's hard to conjure what happens next. Which is why Landis wanted to show the transformation. "Don's an 81-year-old man who has an 81-year-old man's body," he said. But then the horn sounds and the spotlight hits, and it's Rickles. All over again.

"You like that, huh, you Nazi . . . ?" he barks at a customer in the front row, after dangling the microphone to imitate old Jewish men in the steam in Florida.

These jokes are impossibly vintage. And yet what is contemporary about Rickles is his command, the way in which he can make himself seem dangerous again, even now -- or maybe especially now. Things at the Stardust, for instance, get momentarily iffy when Rickles starts working a Japanese customer in the house and mis-hears the guy's last name ("No need to get [upset], Joe. Just asking your name").

There is a scene in "Mr. Warmth" where Rickles, sitting at home surrounded by photos of his show business pals, goes down one wall and says: "Dead. Dead. Cancer. Dead. Hanging on the ropes. Very bad. Very sick. Almost dead. And dying."

Rickles toured with Sinatra when the singer was having to read lyrics off a teleprompter.

"He was really struggling too," Rickles said. "I remember. . . . If I lose that, it won't be Don Rickles anymore."

Joey Bishop, the last Rat Pack member, died last month. Red Buttons died a day before Landis was to interview him for "Mr. Warmth," the director said. Rickles has diabetes and is more hunched over these days; he says he gave up tennis and golf because of back issues, and a few weeks ago, in New York for the screening of "Mr. Warmth" at the New York Film Festival, he cracked a rib riding his exercise bike.

He's better now, though the rib injury has prevented him from performing until after Thanksgiving.

"The audience won't know," he said of his return, "but maybe my trigger will be slightly slower. Slightly. Until it gets going, anyway."

paul.brownfield@latimes.com

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Saturday, May 12, 2007

Marvel Keeps Panning For Box-Office Gold

LA TIMES: More Marvel-ous movies?
With its top-tier heroes all spoken for, the comic book icon looks to its bench for box-office hits.
By Tom Spurgeon (comicsreporter.com) - May 12, 2007

AS "SPIDER-MAN 3" swings high above the May box office, Marvel Entertainment Inc. is closing in on a decade at the top of the global entertainment market, superhero division.

From the moment in 1998 that Wesley Snipes slipped into Kevlar and fake fangs to play vampire hunter Blade, Marvel has experienced its own startling transformation. A king of the comic book stores so flustered by Hollywood that its best movie deals once involved a talking duck (1986's "Howard the Duck") and Dolph Lundgren (1989's "The Punisher"), Marvel turned around with a string of punching-and-pathos popcorn pictures (including the "X-Men" franchise and "Ghost Rider") that have so far grossed more than $2.3 billion. But the company's next move — a mopping-up operation run mainly by second-tier players — is the kind of no-guarantees cliffhanger that could make Stan Lee, Marvel chairman emeritus, exclaim, "Read on, MacDuff!"

After nine years of providing the market with quirky and different super-hero films, Marvel is down to offering later-series sequels of familiar winners ("Fantastic Four: The Rise of the Silver Surfer" will join "Spider-Man 3" in theaters in June.) Other brand managers have been reimagining sturdy veterans ("Casino Royale") or looking for the next big thing (New Line's Philip Pullman debut, "The Golden Compass," with an estimated $150-million budget), but Marvel's solution to its looming blockbuster shortage may be unique in the history of film: more of the same, only less so.

In the late 1990s, Marvel, wobbly from an earlier bankruptcy and uncertain of its long-term future, used the long battle for Spider-Man movie rights as an opportunity to drum up interest in its other characters.

Marvel currently has its hand in more than a dozen productions, featuring lesser lights in terms of comic book sales and general fame — like Nick Fury and Thor. This includes movies the now-healthier company can make on its own, such as the Jon Favreau-directed, Robert Downey Jr.-starring "Iron Man," in production and scheduled to open in May 2008.

The contrasts between the big names and the others can be stark. "Spider-Man" was a youth-oriented comic book bestseller featuring an appealing teenage hero and an important life lesson: "With great power comes great responsibility." "Iron Man" has been a mostly second-tier comic starring a 40-something munitions dealer and featuring an alcoholism subplot that suggests a less teen-friendly message: "Our lives have become unmanageable."

Yet while it seems ridiculous to suggest that potential headliners like Sub-Mariner, Cloak and Dagger and Luke Cage will enjoy as much success as established Marvel characters like Spider-Man or the Incredible Hulk, Marvel has a better chance of success than its critics suggest.

It's easy to forget that until May 2002, "Spider-Man" wasn't "Spider-Man" the unstoppable box-office juggernaut. Outside the comic shop, "Spider-Man" was half a dozen uninspired animated TV series, an educational segment on "The Electric Company," an execrable live-action television show starring former child actor Nicholas Hammond, a sometimes inane and mostly forgettable newspaper comic strip, a handful of undistinguished paperback prose books and the music album "Spider-Man: Rock Reflections of a Super-Hero," about which the less said the better. "Spider-Man" became a first-class media property when Sony Pictures treated it like one.

Marvel's Hulk teaches another lesson: People enjoyed the 1970s TV show (you may remember those long shots of a forlorn Bill Bixby in his Member's Only jacket interspersed with too-brief segments of Lou Ferrigno flexing, growling, throwing someone through the air and then running away); but when Ang Lee brought "The Hulk" to the big screen, the movie was a financial and critical disappointment.

In other words, the movie's the thing. Comic book fans love their source material, but when it comes to putting people in seats, it's filmmakers like Sam Raimi and Bryan Singer and Alvin Sargent who are important, not comic creators like Stan Lee and Jack Kirby and Steve Ditko. Ant-Man may never be Wolverine's equal, but he and his fellow Marvel movie newcomers will provide the right director a chance to lure audiences with a big-effects film that doesn't sport a number after the title.

Marvel will continue to make those too, but it's the second-tier mission that should prove more important to its bottom line and inspire (or sour) the next chapter in Hollywood's love affair with the comic book blockbuster. Luckily, Marvel's next generation will have the best sidekick any superhero could hope for: reduced expectations.

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Tuesday, May 08, 2007

On Filmmakers And Sequels

LA TIMES: THE BIG PICTURE | PATRICK GOLDSTEIN
Cue the sequel, and the safe, boring route
May 8, 2007

IS there anyone besides me who is depressed by the news that Steven Spielberg, a great filmmaker with the clout to get any project he wants off the ground, is going off to make … "Indiana Jones 4"?

Due to start filming in mid-June, the latest installment in the long-dormant "Raiders" series is simply the latest example of the movie industry's maniacal devotion to sequels. With "Spider-Man 3" leading the way last weekend, making $151 million in domestic box office, this summer boasts an average of nearly one sequel a week. According to figures from Media by Numbers, there are 14 summer-release sequels in all, up from seven last year and three in 2005. The inflation is striking — there were only 14 summer sequels made from 1998 through 2001.

Hollywood makes sequels for one good reason: They make money. The biggest summer hits of the last three years were all sequels. After its record-setting weekend, Sony Pictures chief Michael Lynton boasted to the BBC that the "Spider-Man" series may continue ad infinitum, saying. "Everybody has every intention of making a fourth, a fifth and a sixth and on and on." Geez, is that a promise or a threat?

The blind urge to make money might let studios off the hook, since there are few people left in Hollywood who expect great films to emerge from the primeval ooze of studio development. Studio chiefs are at least up-front, if you read their interviews about their desire to manage risk, create multiplatform franchises and generally treat movies as a form of brand advertising.

That leaves two culprits: the filmmakers who sign on to make the movies and the millions of filmgoers who line up to see the latest extension of the brand. I'm not a lunatic idealist. I have no beef with a journeyman taking a gig, like TV actor turned director Fred Savage doing a sequel like "Daddy Day Camp." What I find demoralizing is that so many of our most gifted filmmakers are behaving as much like careerists as anyone running a studio.

There's a list — a short one, but still an impressive one — of filmmakers who refuse to turn themselves into brand managers: Martin Scorsese, Michael Mann, Baz Luhrmann, Danny Boyle, Paul Thomas Anderson, Alexander Payne, David Fincher and M. Night Shyamalan, to name a few.

Then look at the great talent who's on the sequel beat: Steven Soderbergh has done two "Ocean's" sequels. Bryan Singer, the wunderkind behind "The Usual Suspects," has done "X-Men 2" and is at work on a sequel to "Superman Returns." Christopher Nolan has left behind the raw originality of "Memento" to do "Batman" movies. Robert Rodriguez, who burst on the scene with "El Mariachi," has done two sequels for "Spy Kids," with a "Sin City" sequel on its way. After making "Darkman" and "A Simple Plan," Sam Raimi seemed poised to be our generation's dark prince of meaty thrillers but has turned himself into an impersonal "Spider-Man" ringmaster instead.

Sequels are not automatically crass or derivative — just ask anyone who's seen "28 Weeks Later," the new sequel to "28 Days Later" directed by the gifted Spanish filmmaker Juan Carlos Fresnadillo. But that's an exception. Francis Ford Coppola may have struck gold with "Godfather II," but you can't use that as a fig leaf when you're doing "Hostel 2" or "Alien vs. Predator 2."

So why spend the best years of your creative life doing something that's already been done? Some filmmakers truly have a sense of artistic proprietary: Once they've started a franchise, they don't want the material slipping into someone else's hands. Others are clearly eager for a paycheck. "But it's not always about the money," says Brett Ratner, who's finishing "Rush Hour 3," one of this summer's many sequels. "I get the same fee for directing an original script as I do for this."

Ratner, who also did the last "X-Men" sequel and "Red Dragon," an installment in the Hannibal Lecter series, admits that franchises aren't creative high points. "I know that Soderbergh's great film isn't going to be one of the 'Ocean's' sequels," he says. "But I don't feel like I'm slumming. If Ridley Scott could do a sequel ["Hannibal"] to a movie than won an Oscar for best picture and hold his head up high, then why couldn't I?"

Ratner insists that sequels are challenges. "You have to make the film feel fresh and keep the audience's expectations satisfied, all at the same time. Trust me, it isn't easy."

But other filmmakers are leery of sequels. "It's kind of sad," says Wayne Kramer, who has directed several critically praised thrillers, including "The Cooler." "It's one thing for studios to not want to make personal films, but now it's some of our best directors too. I thought Sam Raimi did an amazing job with 'Spider-Man,' but I can't imagine why someone that talented would still want to be involved with a third film. I thought he would've gotten it out of his system after No. 2."

Kramer says he keeps turning down sequel offers, preferring to work on something original. "I just don't want to be someone's sequel bitch," he says. "It's very seductive because you know the material is financed, you'll get a big payday and you'll have all the movie toys and extra shooting days that come with it. But why would you want to spend all that time on someone else's story? I want to speak with my own voice."

So why would Spielberg, who sees every great script, want to go back to the "Indy" well? It obviously isn't for the money, since Spielberg and "Indy" producer George Lucas have enough loot to last a hundred lifetimes. According to DreamWorks Co-Chairman Stacey Snider, David Koepp's "Indy" script made all the difference.

"It was the best script we saw all year — by far," she says. "To me, it's not so much a sequel as an affectionate reprise of a beloved character and his story. It has much more in common with the feeling you had when the 'Star Wars' movies were coming back than what you feel about a lot of sequels, which is, 'How do I wring one more dollar out of the franchise?' "

Other Spielberg watchers say that the idea of bringing "Indy" back to life one more time — with soon-to-be 65-year-old Harrison Ford as the aging hero — must have an emotional resonance for Spielberg, who is 60 himself. Spielberg has never apologized for being an entertainer — he directed the sequel to "Jurassic Park" himself. But he also aspires to greatness. And the directors who had the best careers after turning 60, be it Robert Altman, John Huston or Akira Kurosawa, were all mavericks who refused to repeat themselves, preferring to explore the unknown rather than revisit past triumphs.

On the other hand, if there is anything that Spielberg understands, it's what audiences want. And people today have made it clear that when it comes to pop culture, they have a craving for comfort food. Surely it is no coincidence that music fans are being deluged with almost as many rock band reunions as moviegoers are with sequels. This year the list of groups either touring or making a new record include the Police, Genesis, Squeeze, the Stooges, Van Halen, Smashing Pumpkins and Rage Against the Machine.

Once again, the motivation is complicated, but as with sequels, money is clearly a major factor. The Wall Street Journal reported that a Van Halen tour would be a blockbuster, generating sales of up to $34 million. But something else is at work. We seem to have a need to relive the same thrills over and over, as if our culture has become a real-life version of "Groundhog Day." Filmmakers often say they do sequels to earn capital to make more original films. But in their eagerness to reach as large an audience as possible, it's hard to tell where artistic aspirations end and mercenary territory begins.

From "Spider-Man" to "Shrek" to whatever Spielberg has in store for Indiana Jones next summer, mass appeal has become synonymous with cozy and reassuring. Maybe I'm missing a nostalgia gene, but coziness gets old pretty fast. When it comes to entertainment, I'll take excitement and unpredictability over familiarity every time.


"The Big Picture" appears Tuesdays in Calendar. Questions or criticism can be e-mailed to patrick.goldstein@latimes.com.

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Friday, May 04, 2007

Like Many Industry Jobs, Credit Is Slippery In Car Design

LA TIMES: Star cars set off alarms
Universal's cease and desist order against George Barris highlights the problem of accurate credit for famous movie vehicles.
By Bob Pool, Times Staff Writer
May 4, 2007

If he could go back to the future, maybe famed movie car icon George Barris wouldn't have had that gadget-filled DeLorean parked in front of his North Hollywood customizing shop during his big ceremony.

The "Back to the Future" DeLorean sat near the Batmobile, the Monkeemobile, the General Lee from the "Dukes of Hazzard" TV show, K.I.T.T. from the "Knight Rider" series and other automobiles symbolizing Barris' car-customizing skills on March 23 as city officials commemorated his six-decade Hollywood career.

Barris and City Councilman Tom LaBonge unveiled a street sign designating Riverside Drive and Riverton Avenue as "George Barris Place" while hundreds of fans clustered around the glitzy cars applauded and cheered.

There was no cheering from nearby Universal Studios, however. Or from some of Hollywood's other movie car customizers.

Studio officials responded with a cease and desist order demanding that Barris never again make "misrepresentations regarding any involvement with the 'Back to the Future' films." They called upon Barris to remove images of the flying DeLorean from his company's website and restrict his display of replicas of the gull-winged car used by Michael J. Fox to time travel in the popular 1985 movie and its sequels.

Others, meanwhile, complained that film cars such as the K.I.T.T., the General Lee and the Monkeemobile were not originally designed and built by Barris, either.

The dust-up illustrates the confusion that often exists among car buffs over "picture cars," which can come in different versions. "Hero cars" are the nicest and actors are photographed in those; "stunt cars" are less perfect and are used for chases and crashes; "promotional cars" are displayed for publicity and do not actually appear on film; and "replica cars" are privately built copies of the real thing.

That explains why there are multiple Batmobiles — countless fiberglass knockoffs owned by "Batman" movie fans as well as the original Barris-built version. And why more than 300 General Lees were said to have been jumped, crunched and crashed in the filming of the "Dukes" series — while hundreds of more orange-painted 1969 Dodge Chargers were customized by fans.

A replica of the "Back to the Future" DeLorean is what attracted the attention of Universal Studios during Barris' street-naming ceremony.

"George Barris had absolutely nothing to do with the design or construction of the DeLorean time travel vehicle," said Bob Gale, who was a writer and producer on the film. "The DeLorean was designed on paper by Ron Cobb and Andrew Probert, and it was built under the supervision of special effects supervisor Kevin Pike and construction coordinator Michael Scheffe."

Barris acknowledged that the DeLorean displayed at the ceremony was never used in any of the "Back to the Future" films. It is a replica car that was brought to the event by its owner.

According to Barris, an animated gallery of movie cars displayed on his website included the DeLorean because he once customized one for a Universal-licensed collector who wanted to display it. He said Universal also asked him to "clean up" a DeLorean stunt car that had been built on a Volkswagen chassis so it could be used for promotional work.

"I didn't work on the show and I've never said I did," said Barris, who is in his mid-80s.

Barris was responsible for creating the 1966 Batmobile, which he famously constructed from a 1955 Lincoln Futura concept car. But he played only a supporting role on the General Lee, the Ecto-1 and other movie cars, according to entertainment industry experts.

Credits for "Dukes of Hazzard" list Ken Fritz, Tom Sarmento, Rich Sephton, A.J. Thrasher, Andre Veluzat and Renaud Veluzat as car builders. Barris is credited for "car modifications."

For the 1982 "Knight Rider" movie and its 84-episode TV series, Scheffe designed and built the computer-crammed K.I.T.T. car used by David Hasselhoff. Barris was hired to build an upgraded version of the car for the show's third season with concept sketches from Scheffe.

But Barris "kind of makes it sound like he came up with the original concept," said movie car fan Nate Truman, a TV graphics operator who lives in Gardena and owns a replica Batmobile.

"Ghostbusters" credits do not list a designer for Ecto-1, the 1959 Cadillac ambulance that carried the ghost-busting team and its gear. But actor-writer Dan Aykroyd is usually given the nod for suggesting an Ectomobile in early versions of the script.

Barris, however, converted another Cadillac vehicle into a replica Ecto-1 that was displayed in an Illinois car museum. He shows the Ecto-1 on his website. "All we did was the promotional car, for publicity for the film," he said.

Cahuenga Boulevard cinema car customizer Dean Jeffries is credited with building the Monkeemobile for the 1960s sitcom "The Monkees." He built two of them — one for use in the show and one for display at car shows and other promotions — from a pair of 1966 Pontiac GTO convertibles.

Barris said he now owns the Monkeemobile show car. He displays it at his Riverside Drive shop.

"Dean Jeffries designed it and Dick Dean built it. We finished it and we bought it" and now includes it in his own collection of star cars, Barris said. "I always credit Dean Jeffries for doing it."

Jeffries said he has grown weary of Barris taking improper credit for work — including the painting of the words "Little Bastard" on the Porsche that actor James Dean was driving when he was fatally injured in a 1955 crash.

But the credit line is sometimes confusing.

Barris often autographs movie cars in his own collection that were actually designed and customized by others. That's how car collector Christopher Ingrassia of East Dundee, Ill., came to own a car from the film "Taxi" that bears Barris' signature on its hood when, in fact, it was built by film-car customizer Eddie Paul.

"It leads somebody to believe that he did the original car, and he didn't do it," said Ingrassia, who plans to buff off Barris' name. "I don't want to diminish George. I just want the record straight."

Paul, an El Segundo customizer who created cars for "Grease," said he now photographically documents all of the vehicles he makes for movies.

"The car guys want to get the story out while George Barris is still alive and can be confronted," Paul said. "I don't personally dislike him. But he's messing up the industry by misrepresenting history."

K.I.T.T. creator Scheffe, a Mar Vista resident who now is an art director for Sony Pictures Imageworks, agreed.

"George is an institution. He's done amazing things. I don't want to step on anyone's toes. But it's good for the people who did the work to get credit for it."

For his part, Barris said his references in interviews to "our cars" and "my stunt crew" reflect his allegiance to the Hollywood car community as a whole. Over the course of a lengthy TV series' production, picture car construction can be "a group effort," he said.

He signs other craftsmen's cars "if they're in my Barris Star Cars Collection. It doesn't mean I built it," he said.

"I promote and encourage the car industry. That's what I've always done."

bob.pool@latimes.com

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Saturday, March 31, 2007

The Story Of Vincenzo Riccardi

LA TIMES: He died in vast isolation
By Erika Hayasaki, Times Staff Writer
March 31, 2007

Southampton, N.Y. — THE blind man died alone in front of his television in a lounge chair, near a table covered with medicine bottles wrapped in rubber bands and a cereal box stuffed with mail. Each rubber band marked a prescription he recognized by touch. Each envelope contained information he could not read. He never received letters, only bills.

A neighbor called police after she noticed a pipe had burst at his house. His double-door garage was cloaked in a frozen waterfall. Police discovered the man inside, still as the icy water. His television still buzzing, his living room blanketed with dead flies. His electric bills had gone unpaid, but the company for some inexplicable reason had not shut off power. Warm air had preserved his face almost perfectly, like a dried rose.

They found him 13 months after his final breath.

Headlines called him the "Mummified Man." Media as diverse as his hometown weekly newspaper in Southampton and newscasts in India and Japan reported the death of 70-year-old Vincenzo "Ricardo." Hardly anyone got his last name right — it was Riccardi.

Neighbors in this oceanside Suffolk County neighborhood, 85 miles east of Manhattan, couldn't believe a dead man had been inside the brick house with yellow shingles for all that time. Several didn't even know there was a house tucked in the web of trees and shrubs 500 yards from the street. Some only visit their homes here in the summer, and the growing population of year-round residents has not been around long.

Those who have lived here for decades vaguely remembered the man who used to wander the blocks tapping his cane, sometimes roaming onto a neighbor's lawn until someone pointed him in the right direction. Some described him as short and stocky. Others said he was tall and heavyset. Some thought he had gray hair. Others said he was bald.

"I wasn't close to him," said Pete Urchuiolio, who grew up in a house next to Riccardi's, "just neighbors."

Susan Haines can see Riccardi's house from her front lawn and remembers when he built it on the 2.2-acre lot in the 1980s. "My God," she said, "why didn't anybody think about him?"

In Colombia, a man asked his family in America if they had heard about the mummified man and wondered what kind of people forgot about their elderly like that.

In East Quogue, N.Y., a 10-minute drive from Riccardi's house, the sister of the man in Colombia listened to the news and cried. Adriana Molina, 41, may have been the last person who hugged Riccardi. The caretaker used to wash his clothes and bathe him. She knew his hair was gray and his build was tall and strong. She knew he used to stand straight and walk with his chest puffed out. She knew one of his eyes was a puddle of pink and gray, while the other was brown, and she remembered how both always stayed open, looking nowhere.

He wrote a song for her once: "Adriana, Adriana, you are my eyes."

If only she had not given up on him over a year ago, Molina said shortly after Riccardi was found Feb. 15. If she had put up with his violent tantrums longer, maybe the man she called "Mr. Vincent" would not have died alone.



HE told her he would pay her $20 to clean his two-story house, to scrub its grimy kitchen and bathrooms, to clear its fireplace heaped with trash. Twenty dollars — take it or leave it.

Molina had shown up at Riccardi's house one afternoon in 2003 with her daughter after a 91-year-old client told her about the blind, diabetic man who was on his own. The client knew Riccardi from a local senior center. Molina thought she could help.

She had lived in the U.S. for five years and still could not understand why Americans sent their grandparents to nursing homes or let them live alone. In Colombia, she said, families took care of their seniors.

When Molina started her cleaning company, she met elderly people who "just needed company, just to talk." She did more than clean. She took aging clients to the library, the grocery store, the doctor. She gave them music, painted their nails, washed their hair.

Molina's daughter, Kelly, now 21, remembered being at Riccardi's house that first day and giving her mother a look that said, "Don't do it." The man was rude. Twenty dollars, she thought, was not nearly enough.

The kitchen was covered in grease from steaks he'd cooked. Discolored button-down shirts — he mixed colors in the washer — hung all over the place because he had no dryer. He left spoiled food on the lawn, saying it was for the animals.

The upstairs had a separate kitchen and roomfuls of vintage furniture. It was left almost untouched because Riccardi stayed on the first floor to avoid stumbling on the stairs.

Molina told her daughter not to worry about the money or the filth: "The guy needs help."

She read his mail aloud and washed dishes. In between, Molina asked Riccardi about his family. Didn't he have anyone? Could she call someone for him? She knew only of a cousin of his who lived in the neighborhood. He was about Riccardi's age, and he used to come by with gallons of milk. But Riccardi told the cousin to stop.

Molina was struck by Riccardi's independence. He shaved and cooked. He gave himself insulin injections. He kept track of his money by folding the ends of bills differently. He tied ropes around trees down a long gravel and dirt driveway to help guide him through his yard, to the mailbox, to the street.

Molina knew Riccardi was born in Italy on April 4, 1935. He gave her the information so she could help him refill prescriptions and make doctor's appointments. He talked of missing Italy. Molina remembered Riccardi telling her that he wanted to take her there. She thought of an Italian musician she enjoyed, Andrea Bocelli, and gave Riccardi a CD of his music. Riccardi knew of the artist and told Molina that Bocelli was also blind. He played the song "Vivere," and swaying from side to side, Riccardi danced.

Molina said Riccardi hugged her once — it helped him imagine what she looked like. He spent Father's Day with her family. He went to the mall with Molina and her son, Mateo Torres, now 13, and paid for lunch. He talked baseball with Mateo, who said he thought of him as grandpa.

In time, Riccardi revealed facets of his past to Molina. He used to be a carpenter. He'd had a wife, but she'd moved out several years earlier. Then she died. He'd had a daughter, Maria, who died young. He called her "my little baby."

One day, Riccardi said he missed his son. He gave Molina his son's number and asked her to call him. He refused to tell her why the two were not speaking. Molina left messages: "This is Adriana Molina. I need to talk with you." They never talked.

Molina thought Riccardi must have done something awful for his family to abandon him. But she would not judge him. "I try to not think too much what happened, what bad he did," she said. "I think in that moment he needs me, and God put me there for some reason."

She thought of her own father. When she was growing up, he was an alcoholic and he physically abused her mother. She can remember the fear she felt when he was around. But he is 64 now, and she has forgiven him. Her father was not a good person, she said, "but no matter, if he needs me, I'm there."

Molina said she believes that when people grow older they feel guilty about their past, and they become afraid of dying. That is why she could not understand, no matter what Riccardi had done, why he had been left to fend for himself.

Riccardi's son has not spoken publicly about his father. Other family members said his son asked them not to speak to the media, and some said it was not their place to comment. Reached by phone, Riccardi's sister-in-law, Dina Fayad, said, "I don't know how he was living. I hadn't talked to him in years."



IN October 2005, Molina showed up at Riccardi's house, and no one was home. She returned a few days later. Still no answer. The mail had piled up, so she thought something must be wrong. She left a business card on his door, first writing on the back: "If somebody knows something about Vincent please let me know." She notified police. Two days later, an officer called to tell her Riccardi was in a psychiatric hospital.

Molina went to pick him up. Riccardi told her he was trying to open a can when he accidentally sliced his neck. He called 911, but when officers arrived they thought he had tried to kill himself. Molina never found out whether it was an accident.

She remembered that Riccardi asked hospital staff to return the rosary beads he kept in his left pocket and a gold Virgin Mary medallion that he wore around his neck.

She asked why the necklace was so important to him.

"My mom gave it to me," she recalled Riccardi saying, "and I want to have it with me when I die."

Molina's daughter had warmed up to Riccardi and welcomed him to their home for Thanksgiving in 2005. Riccardi arrived wearing the leather jacket he put on for special occasions. He drank one glass of scotch. He gave Kelly and Mateo $10 bills.

Before Kelly moved to California to attend college, she gave Riccardi a radio she had bought because she didn't need it anymore, and she knew Riccardi liked music. Soon after, Riccardi called Molina, screaming that her daughter had given him a stolen radio. He wanted her to take it back immediately before police came to his house and put him in jail.

Molina cried. How could he accuse Kelly of stealing something to get him in trouble? Kelly had given it to Riccardi as a gift. How could he say such a mean thing?

When Riccardi heard Molina's sobs, he apologized.

But his outbursts and paranoid behavior got worse. Once, after Molina cooked for him, she recalled, Riccardi accused her of putting scissors in his soup. He screamed, "You're trying to kill me!"

He became irritable with others too. Pam Giacoia, director of Southampton Town's senior services, remembered that a van picked him up for lunch every once in a while. But Riccardi started accusing staff of poisoning his cookies.

Winter came, and Riccardi stopped shaving. Molina said he complained about problems with his dentures, that it was hard to eat the steaks he enjoyed. He lost weight. He stopped visiting the senior center for lunch. He talked of how hard his life was, Molina said, how hopeless it seemed.

Molina grew tired of trying to calm him down. She needed to spend more time with her husband and children. She was caring for three other elderly clients who needed her too. Riccardi called at all hours, asking her to come around every day. Molina said that when she could not be there, he asked her to close her eyes for five minutes, and "try to live."

She would obey, imagining life in the dark and feeling guilty for not doing enough.

"I was so tired. I swear to God," Molina said. "I let him treat me bad sometimes. God knows, I tried hard."

Molina's daughter saw her mother's stress. Kelly said every time Molina tried to take a break from Riccardi, he persuaded her to come back. Kelly told her mother she had done enough for him.

In December 2005, Molina was at Riccardi's home, she said, when out of nowhere he accused her of trying to kill him again. He started swinging his cane, trying to hit her. Swoosh. He hated everybody. Swoosh. "Nobody loves me!"

"Calm down," Molina said. "I love you."

He flung his cane a few more times as Molina dodged each swing. "Get out of here!" Molina recalled him yelling. Riccardi told her he did not need her help anymore. He was getting a nurse to care for him instead.

"Good for you," she said. "Good luck."

She went to the driveway, sat in her car and cried. "God," she remembered saying, "I'm sorry, but I can't."

Three weeks after police discovered Riccardi, his house remained much like Molina had seen it on that December day more than a year ago when she said goodbye.

Molina went back after hearing the news. A rusted beige Pontiac was parked in the driveway, second-floor blinds parted slightly, weeds and bushes neglected and brown. Through a window, she saw an orange juice box, a pair of his sneakers, the dead flies, the television, the medicine bottles wrapped in rubber bands.

She saw the radio Kelly had given him, tipped over on the floor.

Molina couldn't bear to think of him dying this way. She blamed herself. "Why didn't I have more patience?"

She never found out why his family never came, or how Riccardi came to be alienated from them. She didn't want to know. "I just know the time we spent together was special," she said, "and I know his heart was good."

A few days later, Kelly told her mother about a poem someone had anonymously posted about him online:

Vincenzo Ricardo lived all alone

Diabetic, and blind — left all on his own.

For a year, no one saw him

For a year no one cared


So a man sat dead, while his TV blared….


Out of sight, out of mind,


As the days moved forward


Just a crabby old man


Whom the neighbors ignored….


He was just an old man


Who needed a friend,


No one deserves


This lonely an end.



-----------------------
erika.hayasaki@latimes.com

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Saturday, March 24, 2007

Paul Reubens Is Back

LA TIMES: Pee-wee Herman grows up
Paul Reubens is returning in a big-top way with several projects, including a sitcom pilot.
By Shawn Hubler, Times Staff Writer

THE line at the autograph table snaked out of the Burbank Marriott ballroom, the longest by far at the Hollywood Collectors & Celebrities Show.

They could have had Batman. They could have had the cast of "Married … With Children." But the cavalcade — hundreds of fans wielding photos, magazines, DVDs, dolls, lunch boxes, photo collages, first-born children — was there for only one man.

OK, two men.

OK, one man and one pre-adolescent pop culture icon.

OK, a man, an icon, an annoying Guardian Angel from "Reno: 911!," a mentor muckraker from F/X, a dope-dealing hairdresser, a prince with a tiny prosthetic baby hand whose cameo on "30 Rock" has become a YouTube classic …

In other words, they were there to see Paul Reubens, who used to be famous just for playing Pee-wee Herman but who has evolved from that juvenile character into a serious — and seriously visible — character actor.

"This is unbelievable," marveled the mobbed Reubens, whose stint as the host of "Pee-wee's Playhouse" from 1986 through 1991 was, until recently, generally regarded as the high point of his career. Now 54, Reubens looks less like his old rosy-cheeked alter-ego than like Pee-wee's well-mannered father: same haircut (sort of), same red bow tie (sort of), but with a thicker middle, a more soothing voice and a far more low-key demeanor.

Many of the fans were there out of nostalgia; Reubens says he has another Pee-wee movie in "pre-pre-pre-production," and he gamely autographed "Your pal, Pee-wee Herman" in childish letters, over and over. But plenty also wanted to meet Paul Reubens, the actor. Which made sense, because in the last couple of years, the publicity-shy comedian — whose trajectory dramatically stalled after his 1991 arrest and no-contest plea on charges of indecent exposure — has been steadily attracting fresh regard.

NBC, for example, just signed him to star in "Area 57," a buzzed-about sitcom about a passive-aggressive alien being watched over by a bunch of government employees. Bloggers and TV critics are still lavishing praise on his recent bit on "30 Rock" as an inbred European monarch with a "joint fluid" disease.

A guest appearance on "Reno: 911!" last year led to a role in this year's movie, "Reno: 911! Miami." Then there's his recurring character as Courteney Cox's old tabloid mentor on "Dirt," the F/X drama. Entertainment Weekly recently put him on its Must List (he was No. 7 on a list of "10 Things We Love This Week"). And his friend David Arquette (whom he met while filming the 1992 film "Buffy the Vampire Slayer") has cast him in his new horror film, "The Tripper," which is set for release next month.

"Every time people talk about the show, they bring up his performance," said Matthew Carnahan, creator and executive producer of "Dirt." "I feel like he's on a second or third round now of his career."

Reubens was not available for comment for this story, aside from his remarks between autograph signings last month at the Burbank convention. In perhaps the surest sign that his fortunes are turning, his publicists turned away a request for an interview, citing a desire to control his press at this juncture in his career.

But the people around Reubens had no problem talking about what they view as his long-overdue appreciation.

"I think people are figuring out that he's not just Pee-wee Herman, that he's also a great actor," says celebrity coordinator Bobby Belenchia, who witnessed the fans in Burbank regaling Reubens not only with tales of what Pee-wee had meant to them but also with kudos for his more recent performances.



HOLLYWOOD loves comebacks, from Robert Evans to Jackie Earle Haley, but Reubens' road back has been especially bumpy. Originally trained, he has said, as "a serious actor, in the James Dean kind of school," he landed in Hollywood as part of a boy-girl act on "The Gong Show." He graduated to the Los Angeles-based improv troupe the Groundlings, in which, among his many other characters, he debuted Pee-wee Herman in 1978.

Initially, Reubens has said, Pee-wee was a fumbling stand-up comic with a propensity for botching jokes, but by 1981 Reubens had developed him into a live show that sold out for months in L.A. and went on to play Carnegie Hall. The Pee-wee stage show, patterned on old kids' cartoon shows, became an HBO special, then a movie (directed by then-unknown Tim Burton) and then a Saturday morning show, then another movie, then a pop culture phenomenon. When Pee-wee came to CBS in '86 with his anarchic jokes, L.A. punk sensibility and wildly artistic playhouse, there was nothing like him.

Even now, those who grew up with him — from twentysomethings to middle-aged parents to Gen-Xers who tuned in from their dorm rooms — remember the character and his Pee-weeisms with intense affection. ("I know you are, but what am I?") His style paved the way for a new generation of children's entertainment, from Johnny Depp in "Charlie and the Chocolate Factory" to the antic, animated SpongeBob SquarePants.

After the cancellation of the show, however, Reubens' career faltered. In 1991, he went to visit his parents in Florida and was caught up in a vice sting at an adult theater there. Reubens paid a fine, did some public service announcements, joked about the embarrassing incident and then sought to put it behind him.

But the morals charge damaged his marketability as a children's entertainer, and Reubens has not appeared in full Pee-wee voice and regalia in 15 years.

Work didn't entirely dry up. Like Pee-wee, Reubens is warmly regarded, and many of his peers were rooting for him. He did the "Buffy" movie the following year, for example, and had a cameo as the Penguin's father in "Batman Returns." He did voices for Burton's "The Nightmare Before Christmas" and had a recurring role on CBS' "Murphy Brown" in the mid-1990s. He was the voice of the raccoon in the Eddie Murphy version of "Doctor Dolittle" and the Spleen in the 1999 comedy-action feature "Mystery Men."

But every role, it seemed, reminded audiences of Pee-wee, and whether by his choice or Hollywood's, his professional profile remained low. He averaged only a few credits a year through the 1990s. Then, in 2001, he was cast as a seedy, dope-dealing hairdresser in the Ted Demme movie "Blow."

The critics praised his performance ("Paul Reubens [is] out of Pee-wee's playhouse with a vengeance," raved Rolling Stone). Meanwhile, his image problems appeared to be fading. When he was hit the following year with a second prosecution — this time over photographs seized from a private collection of erotica and kitsch art — the incident ended in a much-reduced misdemeanor obscenity charge and generated far less public interest. (Indeed, his supporters viewed it as persecution.)

Now "Pee-wee's Playhouse" is airing on Cartoon Network and Reubens has said he is nearing a deal for financing on the third Pee-wee movie. But whether that film comes to fruition, Reubens appears to have found his own place in the spotlight.

"As Pee-wee moves further into the background," said Carnahan, the "Dirt" producer, "I think the actor is moving into the forefront." Carnahan said Reubens had originally been suggested by Courteney Cox, who knows him personally and thought his offbeat style would fit the show. But, he added, the group also sought Reubens because "he's a startlingly funny, interesting, compelling actor."

"I think talented people, hopefully, get their due," noted David J. Latt, an executive producer on "Area 57," which recently finished shooting its pilot. Latt said the show's casting director and the network casting people suggested Reubens for their pilot, knowing that the show — which he said was being pitched as "The Office" meets "Alien" — would rise or fall on the strength of its lead actor's ability to deliver on its premise.

"For 40 years, the government has had a live alien and this amazing spaceship that crashed in the Nevada desert, and the joke is the alien is a passive-aggressive" jerk, Latt said. "The trick of it was, we needed an actor who could convey cute at the same time he was being really a jerk."

Latt said he and the other creators of the sitcom had admired Reubens' performance in "Blow" and knew of his reputation as an improvisational comedian.

"The work he's done in the last four or five years was very daring — the range between what he'd done in 'Blow' and then '30 Rock'…. We saw at least a hundred people, and nobody landed right. But Paul did."

The alien, he pointed out, is nothing like Pee-wee.


shawn.hubler@latimes.com
Special correspondent Chris Epting contributed to this report.

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