"I gently lay my mind on the text as if the text is a Ouija board and let it move me around. And my eye circles the page precisely the way your eye circles the landscape when you are anxiously looking for someone in a crowd: You scan for red hair, for a hat, for someone towering above the others, whatever it is. I pick up adverbs out of the corner of my eye. "How wonderful to see you, Jeff" may be the opening of a chunk of dialogue that ends with "... she muttered hostilely." You look for that like a helicopter rescue team looking for a dehydrated Cub Scout in the mountains."
Why Cecco Beppe Does Not Die (Scratch 'n' Sniff Edition), a reenactment of the lost 1916 Futurist film Vita Futurista by the neutered cat responsible for the sleeper hit Valentine for Perfect Strangers (DLYT)
Early in 1903, the success of the New York production of the musical adaptation of L. Frank Baum's The Wizard of Oz got composer Victor Herbert and librettist Glen MacDonough thinking. They thought that it might be possible to duplicate that success by applying a Christmas theme to Baum's story and then sprinkling in a few Mother Goose characters. Later that year the resulting show, Babes in Toyland, was a rousing success. Thirty years later it was made into a movie starring two of the greatest motion picture actors of the era, Stan Laurel and Oliver Hardy, produced by Hal Roach. But this post isn't about either of those productions; it's about the worst production. [more inside]
Astonishingly frank conversations with Illeana Douglas, Bronson Pinchot, Alan Thicke, and today's post starring Sparkle Motion's own Beth Grant, courtesy of Random Roles. The regular A.V.Club feature invites actors to expound on some of their memorable (or memorably obscure) parts, becoming a treasure trove of commentary from Hollywood's fringe players. [more inside]