Oscar-winner Aaron Sorkin recently spoke during a virtual presentation for Montclair Film Festival. Moderated by Stephen Colbert, the lively conversation focused on the phenomenal career of the filmmaker. While massive success has come his way it was a road to get there full of some ups and downs for the famous screenwriter.
“When I was in my 20s, I found I wanted to write. I found it literally kind of painful to start the process, because I had so much in my head, and so little of that got in my fingers….it almost felt physically painful to start and fail and start and fail, so I just wouldn’t do it,” said Sorkin during the event. “And then it wasn’t until sort of necessity drove me to do it that I broke through my own. I guess fear of it. Well, I know that pain really well and starting is the hardest part for me.”
He continued to speak on how writing is one of those things that you just have to just do — like Michelangelo working on ‘David’ — you just have to chip away to find the masterpiece. “You have to think of it before you can write it. Don’t sit down at the keyboard and say okay, characters takeover! Let me be the vessel through which you needed attention…You need to organize your thoughts, and you need to know what the first scene is going to be. You don’t need to know what the last scene is going to be, but you do need to know what the first thing is for you right now.”
Montclair Film, a non-profit, tax-exempt 501(c)(3) organization connects filmmakers from around the region and world with audiences by presenting films and year-round programs that engage, educate, and entertain through the power of visual storytelling. The ninth annual Montclair Film Festival, presented by Investors Bank, will take place from October 16-25, 2020. The Storyteller Series is presented by Audible. We are grateful for generous support from Craig Newmark Philanthropies; the County of Essex Department of Parks, Recreation & Cultural Affairs; and Hackensack Meridian Health, Mountainside Medical Center. Additional support is provided by Chubb; Coldwell Banker Realty; William H. Connolly & Co.; Hiker; Horizon Foundation for New Jersey; The Nature Conservancy; and RBC Wealth Management, as well as from Ashenfelter, Trembulak, McDonough, Golia & Trevenen, LLP; The Bravitas Group; Genova Burns; Kore Private Wealth; Partners for Health Foundation; and Rao’s Homemade. All programs are made possible with funds from the New Jersey Department of State, Division of Travel and Tourism, as well as the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts, among many others. Montclair Film provides unique and meaningful ways to engage with diverse, creative, and sophisticated audiences and seeks sponsors for its signature spring film festival and other year-round programs that attract more than 46,000 annual attendees and generate more than 750 million media impressions yearly.
The Glorious Corner
SLY REVIVED — (via Rolling Stone) Sly Stone, the enigmatic R&B/funk icon, will share his story in a new memoir, Thank You (Falettinme Be Mice Elf Agin), arriving Oct. 17 via Questlove’s new publishing imprint, AUWA Books.
Stone co-wrote the new book with Ben Greeman, who’s written memoirs with George Clinton, Brian Wilson, and Questlove (he helped the Roots drummer with his three other books, too). Questlove — who’s directing a documentary about Stone — will also pen a foreword for Thank You (Falettinme Be Mice Elf Agin).
In a statement, Stone said, “For as long as I can remember folks have been asking me to tell my story. I wasn’t ready. I had to be in a new frame of mind to become Sylvester Stewart again to tell the true story of Sly Stone. It’s been a wild ride and hopefully my fans enjoy it too.”
Born Sylvester Stewart, Stone’s music career began when he was a child, singing in a gospel quartet with his siblings. In the Sixties, he worked as a radio DJ in the Bay Area, forming various soul groups, including the extremely successful Sly and the Family Stone. The group’s debut,A Whole new Thing, arrived in 1967, and that same year they released their first major hit, “Dance to the Music,” which anchored the band’s second album. Between 1967 and and 1982, Sly and the Family Stone released 10 albums, including classics like Stand! and There’s a Riot Goin; On.
But after the dissolution of the Family Stone, Stone struggled to find success as a solo artist while simultaneously battling drug addiction. Though he got sober, he receded from public life, making only sporadic appearances, like the band’s induction into the Rock and Roll Hall of Fame and a performance at the 2006 Grammys. In 2011, Stone released a new solo album, I’m Back! Family and Friends; in 2016, he received a Lifetime Achievement Award from the Grammys.
Thank You (Falettinme Be Mice Elf Agin) is one of several books on the initial slate for Questlove’s new AUWA Books venture. (The Farrar, Straus and Giroux imprint takes its name, by the way, from the bird-call noise Prince used on songs like “Baby I’m a Star” and “Eye No.”) Also on the docket: Questlove’s new book, Hip-Hop Is History, and a book from TikTok star Drew Afualo (both out in 2024).
This is major news for sure. If you’re of a certain age, Sly Stone’s music was the best. The true of story of what actually happened should be cataclysmic. The stories I’ve heard over the years encompass almost everything good and bad about the music industry. I hope the curtain is finally pulled back in this instance.
TICKET TO YOUNG — (Via Ultimate Classic Rock) Count Neil Young among those musicians who blame escalating ticket prices for ruining the concert industry. “It’s over. The old days are gone,” Young declared in a message posted to his Neil Young Archives website. “I get letters blaming me for $3,000.00 tickets for a benefit I am doing. That money does not go to me or the benefit. Artists have to worry about ripped off fans blaming them for Ticketmaster add-ons and scalpers.”
The acclaimed rocker’s message was accompanied by a story about the Cure and their recent battle with Ticketmaster. The ticketing giant earned the scorn of the goth rock band and their fans by adding several fees to ticket prices for the Cure’s upcoming North American tour. In some cases, these “unduly high” fees, as Robert Smith called them, resulted in the actual price of tickets nearly doubling from their face value. Ticketmaster eventually agreed to refund some of the cost.
“Concert tours are no longer fun,” Young opined, pointing to ticket fees and scalpers as the culprit. “Concert tours not what they were.”
Young’s thoughts about ticket prices are the latest in his ongoing list of gripes regarding modern touring. In December, the rocker reiterated his refusal to play at concert venues that use factory farms.
SHORT TAKES — Could Big Blue be coming back? Blockbuster for decades was the go-to spot for DVDs and video-tapes. Stay tuned …I love Keanu Reeves, but I must admit I’ve not seen any of the John Wick movies. Chapter 4 opened this past weekend with a $74 million+ score. Rather amazing in this post-covid period.
I pulled up the trailer and was terrifically impressed by the lush visuals; beautiful music and Reeves and Lance Reddick just sensational. I am thinking of a John Wick-weekend where I’ll watch all 4 … Writer/producer Terry Jastrow arrives in NY this week with his wife actress Anne Archer … Whatever happened to the Madonna biopic? You ask three different people and you get three different answers,. Check this one out from IndieWire: https://www.indiewire.com/2023/03/julia-garner-madonna-biopic-fingers-crossed-1234819696/ …
Personally, I don’t think Garner should do it. Mired in controversy already, could it really be any good? … GUESS WHO DON”T SUE: What up-and-coming metal band is using the name of a high-profile manager to score some Manhattan-gigs? They were going to work with the manager until it blew up. Simply shady if you ask me … btw: whatever happened to Wendy Stuart Kaplan? …
Friday was the last episode (for their inaugural season) of Apple TV+’s Shrinking which has just been so excellent in this its debut season. Jason Segal and Brett Goldstein have come up with the best show on streaming yet. Infectiously good and the acting turns from Segal and Harrison Ford are off the charts. The show culminated in a wedding for best-friend Brian (Michael Urie) and ended with a call-back to the show’s very first scene. Remember it? Truly a one-of-a-kind show. We loved it … I’ve heard at least 4 stories on the news this weekend about composting. Is this a hot topic now? Trending is it? … RIP Nicholas Lloyd Webber
NAMES IN THE NEWS –— Alex Salzman; Rob Petrie; Anthony Pomes; Terry Jastrow; Tyrone Biljan; Jacqueline Boyd; Bill McCuddy; Brad LeBeau; Nile Rodgers; Nancy Hunt; Steve Leeds; Terri Epstein; Brenda K. Starr; Tom & Lisa Cuddy; William Schill; Robert Funaro; Vinny Pastore; Maureen Van Zandt; Tricia Daniels; and ZIGGY!
Broadway’s A Doll’s House Meticulously Stunning Revival Soars Like a Birdie Above That Clumsy Cat on a Hot Tin Roof
For a revival to find its footing, it has to have a point of view or a sense of purpose far beyond an actor’s desire to perform a part, whether it suits them or not. It needs to radiate an idea that will make us want to sit up and pay attention. To feel its need to exist. And on one particular day in March, I was blessed with the opportunity to see not just one grande revival, but two. One was a detailed pulled-apart revolutionary revival of Henrik Ibsen’s A Doll’s House that astounded. The other, unfortunately, was a clumsy revival of Tennessee Williams’ Cat on a Hot Tin Roof that fell lazily from that high-wired peak – not for a lack of trying, but from a formulation that never found its purpose.
Relevantly Tuneless Fairytale Bad Cinderella Isn’t Bad, It’s Forgettable
You are seriously asking for it, when you make the title for your musical Bad Cinderella, however the show is not bad, it’s just seriously lacking. For an Andrew Lloyd Webber musical, which is normally rich in melody, the only song that has any kind of hold is “Only You, Lonely You” sung by Prince Sebastian (Jordan Dobson or in my performance the wonderful Julio Ray). The lyrics by David Zippel and book by Emerald Fennell, adapted by Alexis Scheer are inane. It doesn’t help that the cast for the most part speaks and sings with mouths full of cotton. The orchestrations sound tinny and computerized, The lead Linedy Genao has no charisma or vocals that soar musically, instead she is rather nasal, like Bernadette Peters with a cold. Why this show is two and a half hours long is beyond me.
The show is based in a town called Belleville (beautiful town en Francais), that is based solely on looks and prides itself on its superficiality. The opening number starts with “Beauty Is Our Duty,” the Queen (a fabulous Grace McLean) is into her hunks including her missing son Charming (Cameron Loyal).
And the fairy godmother (Christina Acosta Robinson) is a plastic surgeon who sings “Beauty Has a Price”. In a day and age, where we are suppose to see past all that, this show is politically incorrect.
Cinderella a Gothic, and a graffiti artist, naturally does not fit into the town’s mold of beauty, which is how she earns her nickname. Her rebel move happens when she defaces a memorial statue of Sebastian’s older brother, Prince Charming. Sebastian is more of a geek, and he and Cinderella are in the “friend zone,” since both lack communication skills in admitting their love.
Sebastian is being forced by his mother, the Queen to find a wife at a ball and invites Cinderella. Cinderella’s stepmother (the always remarkable Carolee Carmello) blackmails the Queen to get one of her daughters Adele (Sami Gayle) or Marie (Morgan Higgins) the gig.
McLean and Carmello are the bright spots in the show and if the show had been about these two, maybe we would actually have a show that could work. These two steal the show.
Cinderella has not one, but two what should have been show stopping numbers “I Know I Have A Heart (Because You Broke It)” and “Far Too Late,” but she does not have the vocals, the character development or the star power to carry them off.
The set and the revenge porn costumes by Gabriela Tylesova, are just over the top, with the storybook set faring much better than the over complicated flowered pastels that waltzed across the stage.
The direction by Laurence Connor is just dull and lacks oomph.
If you like buff men and Chippendale type choreography this is the show for you.
Bad Cinderella, Imperial Theatre, 249 West 45th Street.
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