#Michael wechsler

[terrykeefewrites]

SLAVES OF HOLLYWOOD review in the Los Angeles Times by Kevin Thomas

(Getting your first reviews for an indie feature is stress personified. By the time our Los Angeles theatrical release for Slaves of Hollywood rolled around in October 1999, we had already gotten a few good ones and few bad ones. Our festival screenings, which had put us on a globetrotting tour for a year, were sometimes great, sometimes very mediocre. In other words, this could go either way. We had gotten a lousy review from Ernest Hardy of the L.A. Weekly on Wednesday night, prior to our L.A. opening on that Friday in October 1999. That could have been it for us. Would have been a real depressing ending to the story of this film. But we got word from our distributor, Filmopolis Pictures, that Kevin Thomas of the Los Angeles Times liked the film and was asking for a still from the film for his review. This was in the days before reviews appeared immediately on the internet. I didn't have a L.A. Times subscription but my apartment neighbor did. It would arrive every morning with a thud that would often wake me up, thrown by the delivery person. Unable to sleep, I got up at 4 am on Thursday morning, and the paper thudded around 5. I ran outside, took the binder off the paper, quickly read this good review from Kevin Thomas, put the binder back on the paper, placed it back on the ground outside my neighbors apartment, went back in my apartment, and wa-hooed! loud enough to probably merit eviction. I appreciate Kevin Thomas to this day, as this filmmaker might have walked into traffic without that review in October 1999. It was nice that Kevin Thomas also used a still of our actor Nicholas Worth, who you will recognize as a "that guy"-type character actor, but who rarely got a role worthy of his prodigious talents. I hope we wrote him one here. Around 60 years old at the time, Nicholas was in tears when he saw the review. The good kind of tears. It's a tough, tough town, and it is sure nice to be recognized for your decades of work.)

'SLAVES' TO SHOW BIZ

First-time filmmakers create an insiders' satire that's talky but full of promise

by Kevin Thomas

Michael Wechsler and Terry Keefe's "Slaves of Hollywood," which opens a one-week run Friday at the Monica 4-Plex, is too talky for its own good, but this first-time feature gathers steam and manages to hold interest because Wechsler and Keefe have had firsthand experience as film industry assistants.

They cast Katherine Morgan, poised and lovely, as the daughter of a studio mogul (Nicholas Worth, in a ferocious portrayal) who has grown lethally paranoid over the years. An aspiring filmmaker herself, the daughter decides to document the lives of five assistants as a way of showing how the movie business turns people into monsters if it doesn't destroy them. "Slaves" is a bleak satire that is often funny, very knowing, and totally uncompromising.

"Slaves" is a bleak satire that is often funny, very knowing, and totally uncompromising, which may explain why the picture bears a 1996 copyright. No matter, Wechsler and Keefe have genuine talent and imagination.

Thomas (Howard Scott) is the film's innocent, newly arrived in the mail room of a top talent agency, where he is swiftly targeted for exploitation by Roman (Rob Hyland), the blithely unscrupulous assistant to the agency head; Roman is a refuge from a Neil LaBute movie.  Fisher (Hill Harper), who dreams of discovering "the next Madonna," has become the assistant of an exuberantly decadent music video producer; he ends up carrying his boss around on his shoulders. Hefty vulnerable George (Elliot Markman) is stuck in a mail room with a studio head's crazed heavy-metal-freak son, who may well succeed in driving him out of his mind. Already out of a job is aspiring filmmaker Dean (Andre Barron), fired by his apoplectic boss because he one day forgot to make him a lunch reservation at Spago.

As "Slaves of Hollywood" grows darker, it grows funnier, and it is a fine showcase for its actors. Harper has already begun to make his mark, and Hyland, rugged and forceful, and Markman, a character actor of considerable resources, are especially impressive.

[90s-kid-sad-adult]

alien blast 👽

[yourartmatters-itswhatgotmehere]

undefined

23 years of #Roswell #Roswell90s #RoswellOG #CANDY

this edit legit makes me cry. 

edit from: https://youtu.be/Bxg9xFq43-8 

Roswell edit on my ig: https://www.instagram.com/tv/CWlqa30o6lt/?igshid=YmMyMTA2M2Y%3D

My Roswell ig post: https://www.instagram.com/p/B0YADz1IGWT/?igshid=YmMyMTA2M2Y%3D

(many edits in the comments there!) 

 +check this WHOLE TT thread: https://twitter.com/ThisIsGSage23/status/1577933567082086400?s=20&t=cH40lAsX8A9zShBOKRWLbQ

[dear-indies]

Amber Heard: https://x.com/laylasgalaxy/status/1740373972032889008 / https://x.com/laylasgalaxy/status/1729881072996123128 / https://x.com/vaersac/status/1548051318215913472

Devon Sawa: https://x.com/TVTweets2024/status/1805682030346485877 / https://x.com/DEADLINE/status/1805629014943363263 + follows Michael Rapaport on Instagram.

Holland Roden: https://www.tumblr.com/nightfallgoddess/146925057864/holland-roden

Jennifer Lawrence: https://x.com/Variety/status/1785327116352921948 / https://www.mytalk1071.com/jennifer-lawrence-gushes-over-amy-schumers-political-activism/

Jordana Brewster: https://x.com/TVTweets2024/status/1805682030346485877 / https://x.com/DEADLINE/status/1805629014943363263 + follows Gal Gadot on Instagram.

Mason Gooding: https://x.com/DEADLINE/status/1800211149054673369 / https://x.com/djamesse_/status/1800216014938161287 / https://x.com/cornbreadsays/status/1621746210314006528

Sebastian Roche: https://x.com/sebroche/status/1713859243357667656 + liked several zionist posts from Nathaniel Buzolic on Instagram.

Sophie Thatcher proof she spoke in favor of Israel before starting to share pro-Palestine content: https://x.com/pozimek_/status/1711473883709120759 / https://x.com/pozimek_/status/1711480042864160859

Sonnia Ammar & Liana Liberato: https://x.com/britneyvinyl/status/1802086815190405623

Cameron Crovetti (Ryan), Susan Heyward (Sister Sage), London Thor (female Jordan), Nick Weschler (Blue Hawk) & Matthew Edison (Cameron Coleman) follow Tomer Capone on Instagram. All are part of The Boys - Gen V, additional note to nick weschler: Transphobic, check his latests stories as quickly as possible before they vanish (https://www.instagram.com/i_am_officially_nick_wechsler/).

Olivia Rose Keegan update: She still follows Debra Messing, Noah Schnapp, Michael Rapaport & Stand With Us and on further digging she also follows Amy Schumer, Gal Gadot & Julianna Margulies.

Cote de Pablo should be on the list for her NCIS character being Israeli (Ziva David).

Thank you! I can't find information that Holland Roden is a zionist according to that link and I missed Nick Wechsler's stories, right now there's only posts from Matt Bernstein dissing Elon Musk's transphobia but again thank you so much for the links the masterlist has been updated.

[kwebtv]

Team Knight Rider - Syndication - October 6, 1997 - May 18, 1998

Action / Crime (22 episodes)

Running Time: 60 minutes

Stars:

Brixton Karnes as Kyle Stewart

Christine Steel as Jenny Andrews

Duane Davis as Duke DePalma

Kathy Trageser as Erica West

Nick Wechsler as Kevin "Trek" Sanders

Other FLAG members

Vince Waldron as Gil

Rick Copp as Clayton

Lowell Dean as Captain J. P. Wyatt

Steve Sheridan as Dr. Felson

Michael Lexx as Scott

Steve Forrest as Shadow

Other Characters

Bill Bumiller as Martin Jantzen

David McCallum as the voice of Mobius

Jim Fyfe as Dennis

Rainer Grant as Liz "Starr" Starrowitz

Jim Piddock as Max Amato (Amendes)

Marta Martin as Kayla Gordon

Roland Kickinger as Roland Laschewsky

[tctmp]

Altered Minds: Directed by Michael Z. Wechsler. With Judd Hirsch, Ryan O'Nan, C.S. Lee, Jaime Ray Newman. A family reunion goes awry when the oldest son makes the accusation that his dying father, a famed psychiatrist, adopted his children for the purposes of psychological experimentation.

[the-love-of-reblog]

I love Kyle Valenti in all his forms.

[bandtfans]

Please show your support and spread the word!

[thedooristhebluecushion]

Does anyone else ever think about og Kyle Valenti growing up to be a doctor & laugh & laugh?

[04nbod]

Since I'm sponsoring this operation, you will follow my rules. Your bank is 3 grand. This cash is to be spent here. There is no hoarding it. Rule number 2 - and this is the biggie. Rob Roy and Dr. Love run alone. You see us at a table, you find another one. If there's no other questions ... then go out and clobber the house.

-Viva Las Vegas

[terrykeefewrites]

(Michael Wechsler and I attended Sundance, or really *crashed* Sundance, in 1995, with the goal of promoting our not-yet-finished feature at the place where everyone in the independent film world was sure to be. Filmmakers screening at Sundance put their posters up all over the place, largely on the walls of Main Street in Park City. These posters advertise screening times for that week in Sundance. Our poster had the title of the film, our mock "Godfather puppet hand" logo and said "Coming Soon," with our phone number, which went to a voicemail. We got a lot of phone calls, including one from legendary French film magazine Cahiers du Cinema, which included  François Truffaut, Jean-Luc Godard, Claude Chabrol, Jacques Rivette, and Eric Rohmer amongst its founders. The reporter spoke to us about what we were doing and included us in her wrap-up about Sundance, albeit mainly in the footnotes of the piece. Like the blurb in the New York Times when it was considered groundbreaking that we used email to promote our film in 1999, it was considered unique by the press in 1995 that we'd put a poster up for a film that wasn't even finished yet, at Sundance. 

1995 was a seminal year at the Dance. My USC classmate Bryan Singer, who had won the festival a few years before with his debut indie Public Access, was catapulted to director stardom with the first screening of The Usual Suspects, which we were in attendance for. Although Public Access (written by Christopher McQuarrie, who also penned Suspects) had taken the big prize earlier in the decade, that meant less back then than it would today. The film wasn't released, and even then mainly into video stores, until sometime after The Usual Suspects was a hit years later, and reviews were somewhat tepid.  But The Usual Suspects was destined for quite the opposite. The night the film premiered, there was audience electricity in the Egyptian Theater as Kevin Spacey became Keyser Soze. By the film's second screening the next afternoon, Robert Redford himself made one of his increasingly rare appearances, sitting in the back. Redford had clearly heard the buzz and needed to see this one for himself. Necks craned in the theater to catch a glimpse of Redford. There was extra laughter at that screening when Peter Greene's character of "Redfoot" was introduced. It sounded like his name was "Redford," and everyone assumed it was a reference to the star in the back of the theater. I'm still pretty sure it was a reference to Redford. The next day, Bryan told us that he had been invited to visit Redford at his house that afternoon. It was like the hand of the King had anointed him. We were a little jealous, of course, although Bryan was pretty cool in the way he presented things like that to those who knew him when, in that he was never a braggart. It was more, "Jesus, I just got invited to Redford's place! Can you believe it?!" We were all like Freshman who had watched one of our own get invited to the prom by the coolest kids in the class, and we were happy for him, envious, and hoping we would also get a similar invite someday. Later in the decade, Wechsler and I would, in fact, get a call from Redford's office, when we got a good review in the L.A. Times, but it never led to anything much other than a good story.

1995 was also the first year of the Slamdance Film Festival, and where I met Slamdance co-founder Dan Mirvish, who I would produce the film 18 1/2 with, some 25 years later. The Slamdance directors were also putting their posters up for their alternative festival screenings, right next to the Sundance posters, and our posters. Redford himself also reached his hand to Slamdance and gave it a swat if sorts, with a quote to the press, "There is a festival that has attached itself to us in a parasitical way..." The times were changing: if you didn't let filmmakers into Sundance, they weren't just going away, and they would show up at the Park City party anyway.) Translation of Cahiers Du Cinema Blurb: At Sundance, the action takes place outside the screening rooms. On the walls of the Egyptian Cinema, where we rested our soles during the lines of action in the cold, we could see a poster announcing the upcoming release of Slaves of Hollywood (an allusion to the title of Tama Janowitz's bestseller transformed into a rather uncut film by Merchant-Ivory), and giving a telephone number. According to information, this is the first film by two young directors, in search of a distributor, which describes the tribulations of six young people struggling to "succeed" in Hollywood.

[90s-kid-sad-adult]

...I was beautiful

[nileqt87]

Muchos más .gifs by me.

[itwasyouu]

unrealfehr: Is it the 18 years that made things a little fuzzy or the vodka/tequila/mescal/sake? Doesn’t really matter... #Roswell

where is Shiri?

[mytvjunk]

Fallon was blowing her driver at the cemetery, during Matthews burial service.

I almost hate myself for loving the scenario