#not financially. but for... whatever it is we gain from competing with our dogs

[fjordfolk]

i sometimes wonder if the people who put sad face emojis on show groomed dogs are also critical of compulsion in hobbyist dog training or reliance on stress in sports

[shinovii]

Just in time for the show, I see! The judges have been waiting patiently, and I am just anxious to get started! Cue the title cards, Koopa Kid!!!

It's been quite a dog's day afternoon for me, but nothing stops me from getting my Saturday Loud House fun in! It's another double feature, which means more of my thoughts for you who enjoys these! Let's get things goin by being "A Mutt Above" the rest, shall we?

It's such a wonderful day for Lana Loud! She and her loving pup Charles are having a grand time playing around, but suddenly they are stopped by the arrival of - *record scratches* Lacy?! Oh my word, they actually did it, the mad lads......they gave a non Loud girl a name that starts with L! I never would've thought to see the day. *whispering* What's that? Oh, with an "e" in it? Ohhhh, alright then. Moving on, Lacey Sinclair taunts Lana, boasting about how Charles is a poor young mutt while her dog (Victoa, Victoir, Vic - oh forget it, Vicky) is a top notch breed like none other. Of course our "ruff" animal lover won't take that lying down and claims that Charles is capable of running circles around Lacey's pampered pup. Thus, the challenge is set at the Royal Woods Dog Show, and it's up to Lana to train her doggy into the best competitor for this contest and beat that yellow clad snob!

We needed this.....we needed a Lana episode with one of the pets and they delivered! However, I did not expect to see Lana having a rival (or at least enemy of the week) to compete against, that was a nice change of pace! It was funny seeing Lana try to train Charles to be a show dog, and unlike a certain sponge she didn't push the lil guy too much. Speaking of Charles, it's not often we get to see him be this playful and fun, even seeing him goin so far as to chase butterflies when Lana tries to help him gave me some good chuckles too(and with what Lola said in this episode, suddenly I feel like those butterflies are messing with Lana on purpose. Hmmm...). Lacey also seems like such a Lola enemy, but I actually think it works having her antagonize Lana. The dirt-playing tomboy vs a stuck up prissy girl is a good dynamic that has some potential for future episodes. I guess if I had to compare, this episode was like Toads and Tiaras, The Great Snail Race, and a hint of Net Gains for whatever reason, but it works so well. As for the ending moments, you just can't help but wanna give Lana a big hug, that was a bit of a tearjerker! All in all, I really loved this episode, and if we could get more with Lana and the pets, I would very much love that!!!

Also, Lincoln needs to rock more suits......just sayin.

Okay, I said I was anxious to start this post, but this title card is just describing me after seeing the episode, I'm sure!

Starting things off and Lori's busted open the door, holding the catalog for Fairway University (yeah, the college that apparently isn't where Carlos Casagrande teaches as far as we know of, that Fairway University). In all her joy and thrilled excitement, her dear old dad is starting to cue the waterworks, saddened that his daughter is soon moving out to go to college (despite what fanmade AUs may say otherwise). This means they won't be able to hang out together like they used to, but Lori reassures it won't be so bad. For now, they'll make the most of what time is left before the inevitable. Just as Lynn Sr. gets ready to go to his restaurant, an idea forms! Lori can work there, she'll save money for college (because financial aid probably won't cover a family of eleven, it seems), and they get to hang out for the time being! And thus, the father/daughter working team begins, but can Lori be able to keep her head up high with her new job?

Huh, a Lori episode that gives her a job involving food, where have I seen this before.....ah well. Yes people, we have to face the facts soon.....Lori is gonna be written off the show - wait, I mean going to college and will have her own episodes there (hopefully with Carol as a roommate. Come on, they work well as besties, we need this next season!). At least we're getting these family moments while we can because this episode needed it. I loved how it touched up on how Lynn Sr. cares that darn much about his kids, I'd be sappy too if I had a kid go off to college. Seeing him and Lori working together at the restaurant was a good way of doing so, even if Lori has a bit of a.....clumsy streak, hehe. Really, I felt bad for Lori near the end, but that clutch save made it even better! Can we just have more of these father/daughter episodes? I think there's plenty more to work with ya know! A solid episode that's worth watching for the feels.....and for the laughs.

Now, I don't remember that part about writing Lori off being in this sheet, who wrote.......KOOPA KID!!!!!

Anyways, another Saturday of new episodes complete! How much more fun is it now that I get to post these on such a relaxing day?! Hopefully it sticks because it's really working for TLH! Until next time when I cover the next new episodes! Laterz!!!

[scribefigaro]

Political

Yet another round of Scribe pissing into the wind.

I describe Trump supporters as neo-Nazis, not because they are actually fans of Adolf Hitler (though many of them are) and not because they want the US reshaped into something like 1930s Germany or Italy (though many of them do) and not because they want a purge of non-whites from the USA (though many do) and not because they respond well to a white supremacist candidate and well-known conman who says things white men like to hear.  Nor even because they are very angry at a Black President and a Female Presidential Candidate for reasons they themselves can't identify, but knowing they cannot be racist or misogynist, cling to whatever conspiracy theories Fox News provides them.

No, they are neo-Nazis because they are just like most members of the 1930s NSDAP; people who feel downtrodden and unaccomplished and respond to someone saying the color of their skin is itself an accomplishment and something to be proud of.  Their most avid members respond to the message that their failures in life are not their own, but the fault of a minority-ridden government system that their leader promises to tear down.  They do not consider themselves racist because they feel those minorities have already declared war on the white race.  Their causal members - and I put most Trump supporters in this bucket - would not describe themselves as racist either, and many have people they would call friends from imperiled minority groups, but they are racist in the sense they dismiss the racist ideology of the person they vote for and the people he associates with because his other policy positions are more important.  They are racist because a well-spoken and thoughtful and respectful man who adores his wife and children disgusts them because he is Black, and a con-man with multiple divorces, who has spent his entire life pissing away his father's real estate empire, who feels the need to publicly announce he is a successful businessman, must have an accurate self-assessment of his greatness because he is white.

Thanks to Trump's minuscule attention span and childlike obsession with adulation, the most organized drivers of the US Executive Branch are Vladimir Putin and Steve Bannon, who are generally in agreement about the new shape of the United States as an ultra-nationalist state run by a charismatic despot.  (Trump's demeanor counts for "charisma" in this context.)  Trump's input into all this are his press briefing rants about whatever happened to enrage him that day, although his parroting of "alternate facts" is straight out of Goebbels's playbook.  This is useful to Bannon and Putin, both of whom are fans of state-run media, although I don't think Trump is doing it deliberately, as I don't think he actually understands the things he's saying aren't true.

Pence's level of input is not yet clear, and his strongest policy position seems to be that he thinks about men having sex with men a lot, and it really bothers him and he seems to think the solution is to make it illegal to do all the sex acts he can't stop thinking about.  Which I don't think is a good idea, and I don't think will solve his problem either, but we'll get to that if and when he becomes President.

The Republican party are outside players at this point; their goal of returning the United States into its pre-civil-rights-era state is finally within their grasp, and now they're the dog who just caught the car.  The GOP is not stupid; they aren't neo-Nazis, they just want neo-Nazis to think they are, and they're now trapped in a position to either put up or shut up.

The GOP has been playing chicken in catering to white supremacists for decades, and a political outsider has now taken the Presidency and the loyalty of the GOP's neo-Nazi core (the fact this bloc was so large was probably a surprise to all of us).  I expect it will take a few weeks more before we see if significant portions of the GOP take the extraordinary step of denouncing the neo-Nazi movement calling itself the "alt right," but indications so far are the Republicans will default to the Southern Strategy as they did in 2009, and yet again decide the solution is to be more openly racist to draw the neo-Nazis back to the GOP where they belong.  

The GOP's Philadelphia meeting surely addressed such issues, but all indications seem to be the GOP is trying to make the best of the situation, and they are concerned about the optics of a nationwide racial purge but not particularly against its goals, as wiping out so many Democratic voters would surely make the GOP the State Party and that’s very enticing to politicians who would like to keep their offices without all the annoyance of open elections.

In another world, the fact the GOP had a closed-door meeting with the UK Prime Minister would be incredible.  Heads of a political party - not a President nor State Department officials nor anyone legally permitted to represent the United States in foreign policy, but a political party! - had a meeting with a foreign head of state.

In another world, the fact key GOP leaders are on tape admitting their key plank of ACA reform was a seven-year fraud on their voters, that they were just fucking with Obama because he was Black and they never actually wanted to succeed because the ACA was an excellent program that they relied on to keep their constituents alive and voting Republican, that they spent 7 years lying about developing an alternative because their policy of lying to their base kept those low-information idiots voting for them.

Both Bannon and Putin them seem to believe the Republicans are sufficiently aligned with totalitarianism and neo-Naziism that they will (if grudgingly) go ahead with Trump's anti-minority decrees, because to do otherwise would be to admit the Democrats were correct about something.  Both of them caught on the Republican Party's casual white supremacy in 2008, satisfying their neo-Nazi base by promising to never treat a Black President with dignity or respect.  When this encouraged the development of the also-casually-racist Tea Party in 2009, the Republicans took them in.  When this encouraged the neo-Nazi "alt-right" to enter the fray starting around 2014, the Republicans took them in too.  To satisfy its constituents, the GOP has kowtowed to white supremacy, to neo-Naziism, and (incredibly!) to Vladamir Putin, whose propaganda campaign toward white supremacists in the United States has succeeded immensely.  

So we have the man-child Trump delegating the helm of the Presidency to the two people in the world that are as close to friends as Trump has ever had, Putin and Bannon.

Putin more or less wants a USA more like Russia, an oligarchy with which he can make all sorts of financial deals regarding spheres of influence.  Putin more likely than not chose his close associate Tillerson and anti-education DeVos and not-competent-to-handle-the-US-nuclear-arsenal Perry.  Filling the Executive Branch with people seeking to financially benefit from those positions would best align the United States with Russian interests, and ensure the Executive leadership are the sort of people Putin can successfully negotiate with. Demolishing US education and putting our nuclear capabilities in the hands of an incompetent are just gravy for Russia.

Bannon, meanwhile, is aiming for a government with the ideology of 1930s Germany, without any particular interest in foreign affairs or military action.  Bannon likely chose Sessions, wrote the Enabling Act-style Inaugural Address, and almost surely wrote the anti-immigrant Executive Orders.

So we get to this weekend.

Trump's re-entry ban on certain passport holders, regardless of visa or residency status, was just the first salvo by Bannon, and most surely applauded by Putin.

Yesterday, Trump restructured his National Security Council, the President's primary decision-making body for handling immediate and lingering threats to our nation and our people.  The NSC is currently headed by white supremacist Michael Flynn, who has described Muslims as "a cancer" and sees any non-terrorist Muslims as simply not-yet-radicalized, and a clear and present danger to (white) Americans.  Trump's Grand Vizier Steve Bannon is now a permanent member of the NSC, allowing Bannon to have a direct role in shaping our foreign policy and military actions.  Trump has also downgraded the Chairman of the Joint Chiefs of Staff and the Director of National Intelligence to non-permanent members, to be called only in the rare occasions where Flynn decides he needs the input of our intelligence agencies or our military in making national security decisions.

This needs careful contemplation.  The committee that decides on how best to protect our nation gets its information not from the CIA or NSA or DIA but from Breitbart.  The person who decides what military action to take to solve whatever problems Breitbart delivers to the NSC does so without input from the US military.

Bannon is the primary driver of Trump's white nationalist agenda (Trump just wants to wear the crown and leave the governing to Bannon), with some assistance from Vladamir Putin.  With his role in the NSC Bannon can take an active part in designing whatever executive actions are required for his vision of our national purge of minorities, and getting Trump to sign off on it.  He can do this in a committee chaired by Michael Flynn - a credulous connoisseur of the sort of white nationalist propaganda Bannon has employed to gain his position as Trump's right hand - with our National Intelligence agencies and our military locked out.

The Republican Party knows all this, but protesting the genocide of Muslim Americans is too far too the left, so they’re still in “wait and see” mode.

I could go on and on about how the dismantling of the EPA and targeted elimination of clean energy and environmentally friendly federal grants have put my career in disarray, but I cannot deal with the fact that Steve Bannon, who has openly admired Hitler, who has openly said he and Trump will turn America into Nazi Germany, who wrote an inauguration speech using language from Hitler’s Reichstag fire speech, is doing all this, and it’s “rude” to compare such people to Hitler.

Trump is not Hitler; he thinks himself Mussolini though he’s more Idi Amin, but the United States is not Uganda, and the damage we can do is extraordinary, and no matter what happens the world order is gone forever.  And Trump is not unique; much of Europe is falling under the same spell, the alignment of white supremacists with Putin’s propaganda.  

I hope we can pull back from this, but I also hope we remember the Republican Party have been handed a lighter, and ushered to a field of bound, gasoline-soaked Americans by Trump and his followers.  And while any of us would refuse to burn a person alive, our Republican officials have not thrown the lighter aside, and have not declared they will die themselves before they will allow Trump and Bannon and Putin to kill Americans.  Republicans are looking around for cameras, making sure they are not on film when they do what they need to do to keep their voters happy.

[jimdsmith34]

Martin Landau on His Relationship With Marilyn Monroe, Playing Gay for Hitchcock, and His Oscars Triumph

For Martin Landau, the turning point came when he found himself watching the 1984 Academy Awards, “having a beer in my underwear, saying: ‘I should be there.’”

In 2012, Landau—then 84—recalled this to me in an interview for the Times of London as the moment he knew he wanted to save his career.

Starring roles as a Hitchcock villain or in the TV series of Mission: Impossible were lost to the mists of time. Agents had told Landau he was “finished.”

“It was frustrating. I knew what I was able to do, I was at the height of my powers but no one was giving me the chance,” the charming and wry Landau told me. And so his fightback began, not simply for recognition and glory, but also just to act—his true and abiding passion.

The career of the Academy Award-winning actor—who died Sunday at 89 after unexpected complications during a stay at the UCLA Medical Center—spanned many generations, many peaks and troughs, and many characters on our TV and cinema screens.

Perhaps you remember him as Rollin Hand in the original TV series of Mission: Impossible (for which Landau won a TV Golden Globe for Best Male TV Star in 1968), or—as it is for me—the tunic-wearing silver fox Commander John Koenig in the 1970s drama Space: 1999.

Yet, as that 1984 nadir showed, Landau’s career was uneven to say the least, going from playing the villain in Alfred Hitchcock’s North by Northwest (1959)—which he later told me he deliberately played as a gay man—to a role in the 1981 TV movie The Harlem Globetrotters on Gilligan’s Island.

The serious movie awards came later in Landau’s life, after he had roused himself from the mid-1980s doldrums.

First came a Golden Globe for Best Supporting Actor, and an Oscar nomination, for his performance as a financier in Francis Ford Coppola’s Tucker: The Man and His Dream (1988). Landau’s second Oscar nomination came for playing a shifty and panicked adulterer in Woody Allen’s Crimes and Misdemeanors (1989).

He finally won the Best Supporting Actor Oscar for his role as horror movie star Bela Lugosi in Tim Burton’s Ed Wood (1994), and he won the corresponding Golden Globe for that too, as well as many other laurels. Landau also amassed six Emmy nominations, including one for appearing in Entourage.

“It was like an out-of-body experience,” Landau told me of winning the Oscar. There are wonderful pictures of him kissing the statuette and giving a humble salute as he holds it. That humility, and a gentleness, was evident the day we met.

“I felt I knew Lugosi,” Landau told me. “Like him I had worked for good directors and terrible directors. I went thinking I was going to have a nice dinner and probably be miserable at the end of the night.”

“When I win you can see Samuel L. Jackson [nominated for Pulp Fiction] say ‘Shit,’ probably the most honest reaction one can have.”

When I met Landau in 2012, it was connected to Burton’s Frankenweenie, the first black and white animation shot in 3-D, which had just been released.

In what was a remake of a 1984 Burton short film, Landau voiced a science teacher who, by electrocuting a dead frog into life, inspired a 10-year-old Victor Frankenstein in ’60s American suburbia to reanimate his beloved dead dog.

Naturally, chaos of the comic and fairly gruesome kind ensued, all the magnificently weird visions of Burton distilled into a unique format; the 3-D element making it particularly eye-popping for cinema audiences.

Landau was happy: Though he was a well-known name, his fame was not of the supersonic kind enjoyed by his one-time best friend James Dean or his one-time paramour Marilyn Monroe. Landau was a link to old Hollywood, and after a career that zig-zagged around film and TV, in his later years he finally gained critical lionization.

And so, of course, Landau had tales to tell in a nondescript conference room of his agent Dick Guttman’s Los Angeles office, all in his magnificently gravelly voice. He was both warm, wonderful company and a candid raconteur.

Meeting Marilyn

He had met Monroe—she a couple of years his senior—under Lee Strasberg at the Actors Studio in New York.

“She was there because she was dissatisfied,” Landau told me. “People perceived her as a Hollywood blonde bimbo. She was very needy and would go from being on top of her game to absolutely bereft of any self-belief or confidence. She see-sawed between those two personalities.”

Landau told me that when he and Monroe would go to the theater, she would change her outfits many times. “We’d never see the first act of the play.”

I asked if he desired her. “She was terrific… I don’t talk about those things,” he replied quietly.

Did he have a relationship with her, I asked.

“I had a relationship with her. It was just before Arthur [Miller, the playwright; he and Monroe married in 1956]. It was an interesting relationship, I look at it very differently than the way I did then. She was incredibly attractive but very difficult.”

I asked how he coped with that. “You can’t. That’s why I didn’t.” It lasted “several months,” he said, he not able to negotiate the poles of her personality. “Yeah, you didn’t know which one would show up in the middle of something.” I asked if he ended the relationship. “I did, by becoming more busy.” Was she upset by that? “I don’t know, probably. I didn’t want to upset her.” Because she was fragile? “Yes. I busied myself with other things.”

After the relationship ended, Landau and Monroe saw each other “a couple of times in passing” in New York and Los Angeles, he told me.

I asked Landau if he was in love with Monroe.

“I don’t know if I was in love with her or fascinated by her or flattered by her. She was incredibly attractive and fun to be with much of the time. When she wasn’t she wasn’t. I mean, that was the problem. She could get very withdrawn.”

Did he want to marry her, I asked. “No, no. It was almost a form of purgatory. I never knew who [ie, which Marilyn] I was going to be with.”

Landau told me he had been changing planes in Rome in 1962 when he read that Monroe had died.

“I was heartbroken. As the mystery unfolded I was more and more shocked. It didn’t seem possible that she killed herself intentionally. It was possible she took more barbiturates than necessary, just losing count, or possibly it was foul play. Nobody knows.”

‘Martin, You Have a Circus Going on Inside You’

Landau grew up in Brooklyn: his father had been a machinist; his mother, he told me, took him to the movies. He was sensitive, and loved acting and drawing. When he listened to radio dramas like The Shadow with Orson Welles, it “allowed you to create a set of images and characters.”

Landau studied art at the Pratt Institute and became a cartoonist for the Daily News in New York. (“Tim and I work well together,” Landau said of Burton. “I understand him, we both started as cartoonists.”)

Landau quit that job after seeing a friend act and deciding he could do better. He attended the Actors Studio (Steve McQueen was a fellow student), and later he became its artistic director, tutoring such stars as Jack Nicholson and Anjelica Huston. He headed the Hollywood branch until his death.

Hitchcock saw Landau’s stage performance in Paddy Chayefsky’s Middle of the Night and cast him in North by Northwest (1959), saying: “Martin, you have a circus going on inside you. Obviously if you can do that part you can play this little trinket.”

In the movie, Landau’s character wants to get rid of Eva Marie Saint’s because, Landau decided, his character “had to be gay; she was interfering with his relationship” with James Mason’s character. “I made it subtle; I knew in big cities they’d get it. Hitch loved it. People told me: ‘Don’t play gay. It will affect your career.’ I said: ‘I’m an actor.’”

He recalled to me meeting his friend James Dean—“he was a farm boy, I was a New Yorker”—at an open casting call. Dean asked him how the process worked, and Landau, observing how different they looked, deduced they would not compete for roles.

Regarding Monroe and Dean’s early deaths, Landau told me: “It’s so hard because everyone else I’ve known who died got old—they’re both frozen in time.”

Landau was married to the actress Barbara Bain from 1957 until their divorce in 1993: a “natural end,” he told me.

They had met at an acting class, and Space: 1999 fans will remember they starred opposite each other in that show. (They had first starred alongside one another in Mission: Impossible.) Landau is survived by Bain and their two daughters Susie and Juliet.

Facing Ageism in Hollywood

Landau cherished his late-career renaissance. “Ageism is something that does exist,” he told Deadline in April. “As a young actor, I was working much more readily, and being offered more things. I don’t like to do what I call ‘the grunters’—a character who sits at a table and grunts, and young people make fun of. I turn a lot of those down. I like a character that is still alive, and is necessarily thinking, and either grows or diminishes, or whatever.”

As for never making the A-list, Landau seemed sanguine. “I think it would have held me back in a certain way,” he told me. “I played a wide variety of roles.” Others had “great careers and became major stars, but I played more things, had more fun, and I’m still doing it.”

Indeed he was. After Frankenweenie came more roles: in The Red Maple Leaf with Kris Kristofferson and James Caan; Remember, alongside Christopher Plummer; and, most recently, The Last Poker Game opposite Paul Sorvino. Three other projects are listed at various stages of production on Landau’s IMDb page: Herstory, Without Ward, and Nate & Al.

‘An Actor’s Actor’

When it came time to say farewell that day in 2012, Landau told me he had greatly enjoyed our conversation. He suggested to me and to Guttman that, should he ever come to write it, would I like to work on his memoir with him?

Nothing ever came to pass, although I was extremely heartened to read tonight, via Deadline, that Landau had been working on a memoir at the time of his death. A documentary, appropriately titled An Actor’s Actor: The Life of Martin Landau, is also apparently in development.

Landau was both quite the storyteller and also a true actor's actor, so both projects, should they reach fruition will be fascinating. Landau believed in acting, rather than stardom, passionately—as both craft and vocation. That might explain his longevity and late-in-life triumphs. It certainly illuminates why it was an honor and pleasure to meet and spend time with Martin Landau.

source http://allofbeer.com/2017/11/02/martin-landau-on-his-relationship-with-marilyn-monroe-playing-gay-for-hitchcock-and-his-oscars-triumph/ from All of Beer http://allofbeer.blogspot.com/2017/11/martin-landau-on-his-relationship-with.html

[adambstingus]

Martin Landau on His Relationship With Marilyn Monroe, Playing Gay for Hitchcock, and His Oscars Triumph

For Martin Landau, the turning point came when he found himself watching the 1984 Academy Awards, “having a beer in my underwear, saying: ‘I should be there.’”

In 2012, Landau—then 84—recalled this to me in an interview for the Times of London as the moment he knew he wanted to save his career.

Starring roles as a Hitchcock villain or in the TV series of Mission: Impossible were lost to the mists of time. Agents had told Landau he was “finished.”

“It was frustrating. I knew what I was able to do, I was at the height of my powers but no one was giving me the chance,” the charming and wry Landau told me. And so his fightback began, not simply for recognition and glory, but also just to act—his true and abiding passion.

The career of the Academy Award-winning actor—who died Sunday at 89 after unexpected complications during a stay at the UCLA Medical Center—spanned many generations, many peaks and troughs, and many characters on our TV and cinema screens.

Perhaps you remember him as Rollin Hand in the original TV series of Mission: Impossible (for which Landau won a TV Golden Globe for Best Male TV Star in 1968), or—as it is for me—the tunic-wearing silver fox Commander John Koenig in the 1970s drama Space: 1999.

Yet, as that 1984 nadir showed, Landau’s career was uneven to say the least, going from playing the villain in Alfred Hitchcock’s North by Northwest (1959)—which he later told me he deliberately played as a gay man—to a role in the 1981 TV movie The Harlem Globetrotters on Gilligan’s Island.

The serious movie awards came later in Landau’s life, after he had roused himself from the mid-1980s doldrums.

First came a Golden Globe for Best Supporting Actor, and an Oscar nomination, for his performance as a financier in Francis Ford Coppola’s Tucker: The Man and His Dream (1988). Landau’s second Oscar nomination came for playing a shifty and panicked adulterer in Woody Allen’s Crimes and Misdemeanors (1989).

He finally won the Best Supporting Actor Oscar for his role as horror movie star Bela Lugosi in Tim Burton’s Ed Wood (1994), and he won the corresponding Golden Globe for that too, as well as many other laurels. Landau also amassed six Emmy nominations, including one for appearing in Entourage.

“It was like an out-of-body experience,” Landau told me of winning the Oscar. There are wonderful pictures of him kissing the statuette and giving a humble salute as he holds it. That humility, and a gentleness, was evident the day we met.

“I felt I knew Lugosi,” Landau told me. “Like him I had worked for good directors and terrible directors. I went thinking I was going to have a nice dinner and probably be miserable at the end of the night.”

“When I win you can see Samuel L. Jackson [nominated for Pulp Fiction] say ‘Shit,’ probably the most honest reaction one can have.”

When I met Landau in 2012, it was connected to Burton’s Frankenweenie, the first black and white animation shot in 3-D, which had just been released.

In what was a remake of a 1984 Burton short film, Landau voiced a science teacher who, by electrocuting a dead frog into life, inspired a 10-year-old Victor Frankenstein in ’60s American suburbia to reanimate his beloved dead dog.

Naturally, chaos of the comic and fairly gruesome kind ensued, all the magnificently weird visions of Burton distilled into a unique format; the 3-D element making it particularly eye-popping for cinema audiences.

Landau was happy: Though he was a well-known name, his fame was not of the supersonic kind enjoyed by his one-time best friend James Dean or his one-time paramour Marilyn Monroe. Landau was a link to old Hollywood, and after a career that zig-zagged around film and TV, in his later years he finally gained critical lionization.

And so, of course, Landau had tales to tell in a nondescript conference room of his agent Dick Guttman’s Los Angeles office, all in his magnificently gravelly voice. He was both warm, wonderful company and a candid raconteur.

Meeting Marilyn

He had met Monroe—she a couple of years his senior—under Lee Strasberg at the Actors Studio in New York.

“She was there because she was dissatisfied,” Landau told me. “People perceived her as a Hollywood blonde bimbo. She was very needy and would go from being on top of her game to absolutely bereft of any self-belief or confidence. She see-sawed between those two personalities.”

Landau told me that when he and Monroe would go to the theater, she would change her outfits many times. “We’d never see the first act of the play.”

I asked if he desired her. “She was terrific… I don’t talk about those things,” he replied quietly.

Did he have a relationship with her, I asked.

“I had a relationship with her. It was just before Arthur [Miller, the playwright; he and Monroe married in 1956]. It was an interesting relationship, I look at it very differently than the way I did then. She was incredibly attractive but very difficult.”

I asked how he coped with that. “You can’t. That’s why I didn’t.” It lasted “several months,” he said, he not able to negotiate the poles of her personality. “Yeah, you didn’t know which one would show up in the middle of something.” I asked if he ended the relationship. “I did, by becoming more busy.” Was she upset by that? “I don’t know, probably. I didn’t want to upset her.” Because she was fragile? “Yes. I busied myself with other things.”

After the relationship ended, Landau and Monroe saw each other “a couple of times in passing” in New York and Los Angeles, he told me.

I asked Landau if he was in love with Monroe.

“I don’t know if I was in love with her or fascinated by her or flattered by her. She was incredibly attractive and fun to be with much of the time. When she wasn’t she wasn’t. I mean, that was the problem. She could get very withdrawn.”

Did he want to marry her, I asked. “No, no. It was almost a form of purgatory. I never knew who [ie, which Marilyn] I was going to be with.”

Landau told me he had been changing planes in Rome in 1962 when he read that Monroe had died.

“I was heartbroken. As the mystery unfolded I was more and more shocked. It didn’t seem possible that she killed herself intentionally. It was possible she took more barbiturates than necessary, just losing count, or possibly it was foul play. Nobody knows.”

‘Martin, You Have a Circus Going on Inside You’

Landau grew up in Brooklyn: his father had been a machinist; his mother, he told me, took him to the movies. He was sensitive, and loved acting and drawing. When he listened to radio dramas like The Shadow with Orson Welles, it “allowed you to create a set of images and characters.”

Landau studied art at the Pratt Institute and became a cartoonist for the Daily News in New York. (“Tim and I work well together,” Landau said of Burton. “I understand him, we both started as cartoonists.”)

Landau quit that job after seeing a friend act and deciding he could do better. He attended the Actors Studio (Steve McQueen was a fellow student), and later he became its artistic director, tutoring such stars as Jack Nicholson and Anjelica Huston. He headed the Hollywood branch until his death.

Hitchcock saw Landau’s stage performance in Paddy Chayefsky’s Middle of the Night and cast him in North by Northwest (1959), saying: “Martin, you have a circus going on inside you. Obviously if you can do that part you can play this little trinket.”

In the movie, Landau’s character wants to get rid of Eva Marie Saint’s because, Landau decided, his character “had to be gay; she was interfering with his relationship” with James Mason’s character. “I made it subtle; I knew in big cities they’d get it. Hitch loved it. People told me: ‘Don’t play gay. It will affect your career.’ I said: ‘I’m an actor.’”

He recalled to me meeting his friend James Dean—“he was a farm boy, I was a New Yorker”—at an open casting call. Dean asked him how the process worked, and Landau, observing how different they looked, deduced they would not compete for roles.

Regarding Monroe and Dean’s early deaths, Landau told me: “It’s so hard because everyone else I’ve known who died got old—they’re both frozen in time.”

Landau was married to the actress Barbara Bain from 1957 until their divorce in 1993: a “natural end,” he told me.

They had met at an acting class, and Space: 1999 fans will remember they starred opposite each other in that show. (They had first starred alongside one another in Mission: Impossible.) Landau is survived by Bain and their two daughters Susie and Juliet.

Facing Ageism in Hollywood

Landau cherished his late-career renaissance. “Ageism is something that does exist,” he told Deadline in April. “As a young actor, I was working much more readily, and being offered more things. I don’t like to do what I call ‘the grunters’—a character who sits at a table and grunts, and young people make fun of. I turn a lot of those down. I like a character that is still alive, and is necessarily thinking, and either grows or diminishes, or whatever.”

As for never making the A-list, Landau seemed sanguine. “I think it would have held me back in a certain way,” he told me. “I played a wide variety of roles.” Others had “great careers and became major stars, but I played more things, had more fun, and I’m still doing it.”

Indeed he was. After Frankenweenie came more roles: in The Red Maple Leaf with Kris Kristofferson and James Caan; Remember, alongside Christopher Plummer; and, most recently, The Last Poker Game opposite Paul Sorvino. Three other projects are listed at various stages of production on Landau’s IMDb page: Herstory, Without Ward, and Nate & Al.

‘An Actor’s Actor’

When it came time to say farewell that day in 2012, Landau told me he had greatly enjoyed our conversation. He suggested to me and to Guttman that, should he ever come to write it, would I like to work on his memoir with him?

Nothing ever came to pass, although I was extremely heartened to read tonight, via Deadline, that Landau had been working on a memoir at the time of his death. A documentary, appropriately titled An Actor’s Actor: The Life of Martin Landau, is also apparently in development.

Landau was both quite the storyteller and also a true actor’s actor, so both projects, should they reach fruition will be fascinating. Landau believed in acting, rather than stardom, passionately—as both craft and vocation. That might explain his longevity and late-in-life triumphs. It certainly illuminates why it was an honor and pleasure to meet and spend time with Martin Landau.

from All Of Beer http://allofbeer.com/2017/11/02/martin-landau-on-his-relationship-with-marilyn-monroe-playing-gay-for-hitchcock-and-his-oscars-triumph/ from All of Beer https://allofbeercom.tumblr.com/post/167043370892

[samanthasroberts]

Martin Landau on His Relationship With Marilyn Monroe, Playing Gay for Hitchcock, and His Oscars Triumph

For Martin Landau, the turning point came when he found himself watching the 1984 Academy Awards, “having a beer in my underwear, saying: ‘I should be there.’”

In 2012, Landau—then 84—recalled this to me in an interview for the Times of London as the moment he knew he wanted to save his career.

Starring roles as a Hitchcock villain or in the TV series of Mission: Impossible were lost to the mists of time. Agents had told Landau he was “finished.”

“It was frustrating. I knew what I was able to do, I was at the height of my powers but no one was giving me the chance,” the charming and wry Landau told me. And so his fightback began, not simply for recognition and glory, but also just to act—his true and abiding passion.

The career of the Academy Award-winning actor—who died Sunday at 89 after unexpected complications during a stay at the UCLA Medical Center—spanned many generations, many peaks and troughs, and many characters on our TV and cinema screens.

Perhaps you remember him as Rollin Hand in the original TV series of Mission: Impossible (for which Landau won a TV Golden Globe for Best Male TV Star in 1968), or—as it is for me—the tunic-wearing silver fox Commander John Koenig in the 1970s drama Space: 1999.

Yet, as that 1984 nadir showed, Landau’s career was uneven to say the least, going from playing the villain in Alfred Hitchcock’s North by Northwest (1959)—which he later told me he deliberately played as a gay man—to a role in the 1981 TV movie The Harlem Globetrotters on Gilligan’s Island.

The serious movie awards came later in Landau’s life, after he had roused himself from the mid-1980s doldrums.

First came a Golden Globe for Best Supporting Actor, and an Oscar nomination, for his performance as a financier in Francis Ford Coppola’s Tucker: The Man and His Dream (1988). Landau’s second Oscar nomination came for playing a shifty and panicked adulterer in Woody Allen’s Crimes and Misdemeanors (1989).

He finally won the Best Supporting Actor Oscar for his role as horror movie star Bela Lugosi in Tim Burton’s Ed Wood (1994), and he won the corresponding Golden Globe for that too, as well as many other laurels. Landau also amassed six Emmy nominations, including one for appearing in Entourage.

“It was like an out-of-body experience,” Landau told me of winning the Oscar. There are wonderful pictures of him kissing the statuette and giving a humble salute as he holds it. That humility, and a gentleness, was evident the day we met.

“I felt I knew Lugosi,” Landau told me. “Like him I had worked for good directors and terrible directors. I went thinking I was going to have a nice dinner and probably be miserable at the end of the night.”

“When I win you can see Samuel L. Jackson [nominated for Pulp Fiction] say ‘Shit,’ probably the most honest reaction one can have.”

When I met Landau in 2012, it was connected to Burton’s Frankenweenie, the first black and white animation shot in 3-D, which had just been released.

In what was a remake of a 1984 Burton short film, Landau voiced a science teacher who, by electrocuting a dead frog into life, inspired a 10-year-old Victor Frankenstein in ’60s American suburbia to reanimate his beloved dead dog.

Naturally, chaos of the comic and fairly gruesome kind ensued, all the magnificently weird visions of Burton distilled into a unique format; the 3-D element making it particularly eye-popping for cinema audiences.

Landau was happy: Though he was a well-known name, his fame was not of the supersonic kind enjoyed by his one-time best friend James Dean or his one-time paramour Marilyn Monroe. Landau was a link to old Hollywood, and after a career that zig-zagged around film and TV, in his later years he finally gained critical lionization.

And so, of course, Landau had tales to tell in a nondescript conference room of his agent Dick Guttman’s Los Angeles office, all in his magnificently gravelly voice. He was both warm, wonderful company and a candid raconteur.

Meeting Marilyn

He had met Monroe—she a couple of years his senior—under Lee Strasberg at the Actors Studio in New York.

“She was there because she was dissatisfied,” Landau told me. “People perceived her as a Hollywood blonde bimbo. She was very needy and would go from being on top of her game to absolutely bereft of any self-belief or confidence. She see-sawed between those two personalities.”

Landau told me that when he and Monroe would go to the theater, she would change her outfits many times. “We’d never see the first act of the play.”

I asked if he desired her. “She was terrific… I don’t talk about those things,” he replied quietly.

Did he have a relationship with her, I asked.

“I had a relationship with her. It was just before Arthur [Miller, the playwright; he and Monroe married in 1956]. It was an interesting relationship, I look at it very differently than the way I did then. She was incredibly attractive but very difficult.”

I asked how he coped with that. “You can’t. That’s why I didn’t.” It lasted “several months,” he said, he not able to negotiate the poles of her personality. “Yeah, you didn’t know which one would show up in the middle of something.” I asked if he ended the relationship. “I did, by becoming more busy.” Was she upset by that? “I don’t know, probably. I didn’t want to upset her.” Because she was fragile? “Yes. I busied myself with other things.”

After the relationship ended, Landau and Monroe saw each other “a couple of times in passing” in New York and Los Angeles, he told me.

I asked Landau if he was in love with Monroe.

“I don’t know if I was in love with her or fascinated by her or flattered by her. She was incredibly attractive and fun to be with much of the time. When she wasn’t she wasn’t. I mean, that was the problem. She could get very withdrawn.”

Did he want to marry her, I asked. “No, no. It was almost a form of purgatory. I never knew who [ie, which Marilyn] I was going to be with.”

Landau told me he had been changing planes in Rome in 1962 when he read that Monroe had died.

“I was heartbroken. As the mystery unfolded I was more and more shocked. It didn’t seem possible that she killed herself intentionally. It was possible she took more barbiturates than necessary, just losing count, or possibly it was foul play. Nobody knows.”

‘Martin, You Have a Circus Going on Inside You’

Landau grew up in Brooklyn: his father had been a machinist; his mother, he told me, took him to the movies. He was sensitive, and loved acting and drawing. When he listened to radio dramas like The Shadow with Orson Welles, it “allowed you to create a set of images and characters.”

Landau studied art at the Pratt Institute and became a cartoonist for the Daily News in New York. (“Tim and I work well together,” Landau said of Burton. “I understand him, we both started as cartoonists.”)

Landau quit that job after seeing a friend act and deciding he could do better. He attended the Actors Studio (Steve McQueen was a fellow student), and later he became its artistic director, tutoring such stars as Jack Nicholson and Anjelica Huston. He headed the Hollywood branch until his death.

Hitchcock saw Landau’s stage performance in Paddy Chayefsky’s Middle of the Night and cast him in North by Northwest (1959), saying: “Martin, you have a circus going on inside you. Obviously if you can do that part you can play this little trinket.”

In the movie, Landau’s character wants to get rid of Eva Marie Saint’s because, Landau decided, his character “had to be gay; she was interfering with his relationship” with James Mason’s character. “I made it subtle; I knew in big cities they’d get it. Hitch loved it. People told me: ‘Don’t play gay. It will affect your career.’ I said: ‘I’m an actor.’”

He recalled to me meeting his friend James Dean—“he was a farm boy, I was a New Yorker”—at an open casting call. Dean asked him how the process worked, and Landau, observing how different they looked, deduced they would not compete for roles.

Regarding Monroe and Dean’s early deaths, Landau told me: “It’s so hard because everyone else I’ve known who died got old—they’re both frozen in time.”

Landau was married to the actress Barbara Bain from 1957 until their divorce in 1993: a “natural end,” he told me.

They had met at an acting class, and Space: 1999 fans will remember they starred opposite each other in that show. (They had first starred alongside one another in Mission: Impossible.) Landau is survived by Bain and their two daughters Susie and Juliet.

Facing Ageism in Hollywood

Landau cherished his late-career renaissance. “Ageism is something that does exist,” he told Deadline in April. “As a young actor, I was working much more readily, and being offered more things. I don’t like to do what I call ‘the grunters’—a character who sits at a table and grunts, and young people make fun of. I turn a lot of those down. I like a character that is still alive, and is necessarily thinking, and either grows or diminishes, or whatever.”

As for never making the A-list, Landau seemed sanguine. “I think it would have held me back in a certain way,” he told me. “I played a wide variety of roles.” Others had “great careers and became major stars, but I played more things, had more fun, and I’m still doing it.”

Indeed he was. After Frankenweenie came more roles: in The Red Maple Leaf with Kris Kristofferson and James Caan; Remember, alongside Christopher Plummer; and, most recently, The Last Poker Game opposite Paul Sorvino. Three other projects are listed at various stages of production on Landau’s IMDb page: Herstory, Without Ward, and Nate & Al.

‘An Actor’s Actor’

When it came time to say farewell that day in 2012, Landau told me he had greatly enjoyed our conversation. He suggested to me and to Guttman that, should he ever come to write it, would I like to work on his memoir with him?

Nothing ever came to pass, although I was extremely heartened to read tonight, via Deadline, that Landau had been working on a memoir at the time of his death. A documentary, appropriately titled An Actor’s Actor: The Life of Martin Landau, is also apparently in development.

Landau was both quite the storyteller and also a true actor's actor, so both projects, should they reach fruition will be fascinating. Landau believed in acting, rather than stardom, passionately—as both craft and vocation. That might explain his longevity and late-in-life triumphs. It certainly illuminates why it was an honor and pleasure to meet and spend time with Martin Landau.

Source: http://allofbeer.com/2017/11/02/martin-landau-on-his-relationship-with-marilyn-monroe-playing-gay-for-hitchcock-and-his-oscars-triumph/

from All of Beer https://allofbeer.wordpress.com/2017/11/02/martin-landau-on-his-relationship-with-marilyn-monroe-playing-gay-for-hitchcock-and-his-oscars-triumph/

[allofbeercom]

Martin Landau on His Relationship With Marilyn Monroe, Playing Gay for Hitchcock, and His Oscars Triumph

For Martin Landau, the turning point came when he found himself watching the 1984 Academy Awards, “having a beer in my underwear, saying: ‘I should be there.’”

In 2012, Landau—then 84—recalled this to me in an interview for the Times of London as the moment he knew he wanted to save his career.

Starring roles as a Hitchcock villain or in the TV series of Mission: Impossible were lost to the mists of time. Agents had told Landau he was “finished.”

“It was frustrating. I knew what I was able to do, I was at the height of my powers but no one was giving me the chance,” the charming and wry Landau told me. And so his fightback began, not simply for recognition and glory, but also just to act—his true and abiding passion.

The career of the Academy Award-winning actor—who died Sunday at 89 after unexpected complications during a stay at the UCLA Medical Center—spanned many generations, many peaks and troughs, and many characters on our TV and cinema screens.

Perhaps you remember him as Rollin Hand in the original TV series of Mission: Impossible (for which Landau won a TV Golden Globe for Best Male TV Star in 1968), or—as it is for me—the tunic-wearing silver fox Commander John Koenig in the 1970s drama Space: 1999.

Yet, as that 1984 nadir showed, Landau’s career was uneven to say the least, going from playing the villain in Alfred Hitchcock’s North by Northwest (1959)—which he later told me he deliberately played as a gay man—to a role in the 1981 TV movie The Harlem Globetrotters on Gilligan’s Island.

The serious movie awards came later in Landau’s life, after he had roused himself from the mid-1980s doldrums.

First came a Golden Globe for Best Supporting Actor, and an Oscar nomination, for his performance as a financier in Francis Ford Coppola’s Tucker: The Man and His Dream (1988). Landau’s second Oscar nomination came for playing a shifty and panicked adulterer in Woody Allen’s Crimes and Misdemeanors (1989).

He finally won the Best Supporting Actor Oscar for his role as horror movie star Bela Lugosi in Tim Burton’s Ed Wood (1994), and he won the corresponding Golden Globe for that too, as well as many other laurels. Landau also amassed six Emmy nominations, including one for appearing in Entourage.

“It was like an out-of-body experience,” Landau told me of winning the Oscar. There are wonderful pictures of him kissing the statuette and giving a humble salute as he holds it. That humility, and a gentleness, was evident the day we met.

“I felt I knew Lugosi,” Landau told me. “Like him I had worked for good directors and terrible directors. I went thinking I was going to have a nice dinner and probably be miserable at the end of the night.”

“When I win you can see Samuel L. Jackson [nominated for Pulp Fiction] say ‘Shit,’ probably the most honest reaction one can have.”

When I met Landau in 2012, it was connected to Burton’s Frankenweenie, the first black and white animation shot in 3-D, which had just been released.

In what was a remake of a 1984 Burton short film, Landau voiced a science teacher who, by electrocuting a dead frog into life, inspired a 10-year-old Victor Frankenstein in ’60s American suburbia to reanimate his beloved dead dog.

Naturally, chaos of the comic and fairly gruesome kind ensued, all the magnificently weird visions of Burton distilled into a unique format; the 3-D element making it particularly eye-popping for cinema audiences.

Landau was happy: Though he was a well-known name, his fame was not of the supersonic kind enjoyed by his one-time best friend James Dean or his one-time paramour Marilyn Monroe. Landau was a link to old Hollywood, and after a career that zig-zagged around film and TV, in his later years he finally gained critical lionization.

And so, of course, Landau had tales to tell in a nondescript conference room of his agent Dick Guttman’s Los Angeles office, all in his magnificently gravelly voice. He was both warm, wonderful company and a candid raconteur.

Meeting Marilyn

He had met Monroe—she a couple of years his senior—under Lee Strasberg at the Actors Studio in New York.

“She was there because she was dissatisfied,” Landau told me. “People perceived her as a Hollywood blonde bimbo. She was very needy and would go from being on top of her game to absolutely bereft of any self-belief or confidence. She see-sawed between those two personalities.”

Landau told me that when he and Monroe would go to the theater, she would change her outfits many times. “We’d never see the first act of the play.”

I asked if he desired her. “She was terrific… I don’t talk about those things,” he replied quietly.

Did he have a relationship with her, I asked.

“I had a relationship with her. It was just before Arthur [Miller, the playwright; he and Monroe married in 1956]. It was an interesting relationship, I look at it very differently than the way I did then. She was incredibly attractive but very difficult.”

I asked how he coped with that. “You can’t. That’s why I didn’t.” It lasted “several months,” he said, he not able to negotiate the poles of her personality. “Yeah, you didn’t know which one would show up in the middle of something.” I asked if he ended the relationship. “I did, by becoming more busy.” Was she upset by that? “I don’t know, probably. I didn’t want to upset her.” Because she was fragile? “Yes. I busied myself with other things.”

After the relationship ended, Landau and Monroe saw each other “a couple of times in passing” in New York and Los Angeles, he told me.

I asked Landau if he was in love with Monroe.

“I don’t know if I was in love with her or fascinated by her or flattered by her. She was incredibly attractive and fun to be with much of the time. When she wasn’t she wasn’t. I mean, that was the problem. She could get very withdrawn.”

Did he want to marry her, I asked. “No, no. It was almost a form of purgatory. I never knew who [ie, which Marilyn] I was going to be with.”

Landau told me he had been changing planes in Rome in 1962 when he read that Monroe had died.

“I was heartbroken. As the mystery unfolded I was more and more shocked. It didn’t seem possible that she killed herself intentionally. It was possible she took more barbiturates than necessary, just losing count, or possibly it was foul play. Nobody knows.”

‘Martin, You Have a Circus Going on Inside You’

Landau grew up in Brooklyn: his father had been a machinist; his mother, he told me, took him to the movies. He was sensitive, and loved acting and drawing. When he listened to radio dramas like The Shadow with Orson Welles, it “allowed you to create a set of images and characters.”

Landau studied art at the Pratt Institute and became a cartoonist for the Daily News in New York. (“Tim and I work well together,” Landau said of Burton. “I understand him, we both started as cartoonists.”)

Landau quit that job after seeing a friend act and deciding he could do better. He attended the Actors Studio (Steve McQueen was a fellow student), and later he became its artistic director, tutoring such stars as Jack Nicholson and Anjelica Huston. He headed the Hollywood branch until his death.

Hitchcock saw Landau’s stage performance in Paddy Chayefsky’s Middle of the Night and cast him in North by Northwest (1959), saying: “Martin, you have a circus going on inside you. Obviously if you can do that part you can play this little trinket.”

In the movie, Landau’s character wants to get rid of Eva Marie Saint’s because, Landau decided, his character “had to be gay; she was interfering with his relationship” with James Mason’s character. “I made it subtle; I knew in big cities they’d get it. Hitch loved it. People told me: ‘Don’t play gay. It will affect your career.’ I said: ‘I’m an actor.’”

He recalled to me meeting his friend James Dean—“he was a farm boy, I was a New Yorker”—at an open casting call. Dean asked him how the process worked, and Landau, observing how different they looked, deduced they would not compete for roles.

Regarding Monroe and Dean’s early deaths, Landau told me: “It’s so hard because everyone else I’ve known who died got old—they’re both frozen in time.”

Landau was married to the actress Barbara Bain from 1957 until their divorce in 1993: a “natural end,” he told me.

They had met at an acting class, and Space: 1999 fans will remember they starred opposite each other in that show. (They had first starred alongside one another in Mission: Impossible.) Landau is survived by Bain and their two daughters Susie and Juliet.

Facing Ageism in Hollywood

Landau cherished his late-career renaissance. “Ageism is something that does exist,” he told Deadline in April. “As a young actor, I was working much more readily, and being offered more things. I don’t like to do what I call ‘the grunters’—a character who sits at a table and grunts, and young people make fun of. I turn a lot of those down. I like a character that is still alive, and is necessarily thinking, and either grows or diminishes, or whatever.”

As for never making the A-list, Landau seemed sanguine. “I think it would have held me back in a certain way,” he told me. “I played a wide variety of roles.” Others had “great careers and became major stars, but I played more things, had more fun, and I’m still doing it.”

Indeed he was. After Frankenweenie came more roles: in The Red Maple Leaf with Kris Kristofferson and James Caan; Remember, alongside Christopher Plummer; and, most recently, The Last Poker Game opposite Paul Sorvino. Three other projects are listed at various stages of production on Landau’s IMDb page: Herstory, Without Ward, and Nate & Al.

‘An Actor’s Actor’

When it came time to say farewell that day in 2012, Landau told me he had greatly enjoyed our conversation. He suggested to me and to Guttman that, should he ever come to write it, would I like to work on his memoir with him?

Nothing ever came to pass, although I was extremely heartened to read tonight, via Deadline, that Landau had been working on a memoir at the time of his death. A documentary, appropriately titled An Actor’s Actor: The Life of Martin Landau, is also apparently in development.

Landau was both quite the storyteller and also a true actor's actor, so both projects, should they reach fruition will be fascinating. Landau believed in acting, rather than stardom, passionately—as both craft and vocation. That might explain his longevity and late-in-life triumphs. It certainly illuminates why it was an honor and pleasure to meet and spend time with Martin Landau.

from All Of Beer http://allofbeer.com/2017/11/02/martin-landau-on-his-relationship-with-marilyn-monroe-playing-gay-for-hitchcock-and-his-oscars-triumph/

[louisamanna102-blog]

Why educator Is The Only Ability You Really Need.

Can You Truly Find instructor (on the Web)?

With the economy in neutral in virtually all work fields many current college grads as well as those quickly to finish are concentrating on instructor tasks, hoping to change the bounty of baby-boomers about to retire from the profession. I have 10 sisters as well as brothers, numerous of whom are instructors ... and also my mommy was an instructor, too. I believe that robos are better as they do not get tired & likewise they do not take salary.There are likewise numerous advantages that can not be share in offered I THINK ROBOTS ARE BEST!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! In your situation, a. economic blunder is either on your credit rating report or stored in your garage or a junk room in your home. Knowing just what teachers are gotten as well as exactly what they are certain in training will go a lengthy way to improve pupil success. Then one need to take into consideration myriad conferences with parents (after college and evenings), with various other teachers and administrative staff and the institution board. And also, YOU are the perfect instance that kindergarten instructors don't constantly have to more than 55!

How you can Stop instructor In 5 Days.

Robert shows each person how you can be present, to focus, to listen deeply, talk honestly, and act artistically. Work will begin shortly on the Nebraska area of the Keystone Pipeline - a 2,148 mile long avenue costing US$ 5.2 billion that will carry half a million barrels of petroleum a day from Canada to refineries in the U.S.A. We have all fulfilled instructors who really didn't appear to take pleasure in kids, which is so unfortunate. I then offer the Word Whiz his or her certificate and they place it on the board for the day. Being in the education business, instructors ought to highlight scholastic credentials. Actually, many college administrators as well as veteran information now jcd (just click the up coming article) educators are grads of this program. If you wish to be able to pay your home loan, you will certainly have to reduce on some items. Lack of knowledge could be bliss, but if you are obtaining financings for educators -, you can not deal with the problem, if you do not know just how bad it is. The greatest and most typical aggravation that lots of parents in our group have is the lack of knowledge that educators have regarding Highly Delicate Children. Some may state that the most important consideration would certainly be income and advantages however these need to be a second consideration to exactly what you wish to do and also that you will certainly be dealing with.

3 Ways Develop Much better educator With The Help Of Your Dog.

I state 'almost' due to the fact that some educators will certainly offer a great deal to do simply to maintain the pupils busy. The team at the dining establishment down the street warmly welcomed her, the girl for which every youth day had been the 4th of July. This means that an individual that aims of obtaining a vocal singing teacher task need to show admirations on the different genres of music which a great deal of vocalists like to sing. Also, when educators wish to hold exterior courses they don't need to bring their training devices along. It would also be beneficial to ask to speak with various other instructors from the college to discover their perceptions. Given that a skilled educator is essential for a pupil to be successful, it comes to be essential for teachers to proceed finding out whatever they can in order to boost their mentor abilities. In order to maintain your task as well as end up being an educator with the best qualifications you have to gain your masters. You are plainly a devoted instructor and also care about the health of your trainees significantly. My trainees maintain their listings in their binders or folders that go home with them every day. Magnum opus!!!! it is certainly wonderful to cope with fantastic quotes from fantastic individuals of times ... congratulations to you ripplemaker,, you indeed made incredible shot to inspire instructors ... INSTRUCTORS GOT THE BEST POWER, FOR THEY GOT THE GREATEST OBLIGATION,,, EVER!!! honored to be one! While both training courses require an even bigger financial investment in regards to course costs, you will certainly be rewarded by being qualified for promotion to a function such as DOS/ADOS, with detailed pay benefits. I have actually had a team workout teacher out considering that last month due to cancer and after that a cardiovascular disease. Nevertheless, you will see several variants of the class economy depending on the instructor you speak with. Because I working from a private school, we often have parents visiting the institution and my class economic climate is in fact something the major constantly likes me to discuss with them. It was authorized into regulation on January 8, 2002 and reauthorized a number of government programs that aimed to improve the performance of U.S. second and also main students as well as institutions by increasing the standards of liability (higher standardized examination ratings) for states, college districts and also colleges, in addition to giving moms and dads much more versatility in selecting which certain schools their youngsters will participate in. By merely 'asking' this question, you are instantaneously establishing yourself as much as stop working due to the fact that you impart the idea in your mind that you need to compete with various other guitar instructors based upon rate alone (or that you need to somehow base your rates on just what is 'reasonable' compared to every person else).

[imreviewblog]

How Changing Your Definition Of Success Makes You Successful

One year ago, I made myself a promise: I would no longer postpone my dream to travel the world full-time. It had to be done. A few months later, I had quit my full-time corporate marketing job, left behind my life in New York City, and departed with a one-way ticket to Europe.

Fast-forward to today, and I find myself writing this article after completing a 9-month social experiment around the world, in which I traveled to 17 countries across four continents and stayed with strangers who were personally connected to me somehow. In the process, I ended up finding myself (as one tends to do whilst traveling), building up a significant social media following, and becoming a digital nomad.

If I had stuck to the definition of success by the standards set by the Western world I was raised in, I’d still be in a Manhattan cubicle, head buried under a pile of work, occasionally resurfacing to check Facebook until I could escape and have a few hours of spare time to pursue my real interests. But I’d be getting a nice, fat paycheck, be well up the corporate ladder, with the hopes of someday saving enough for a mortgage.

Instead, I am nomadic and I pursue my interests every day for hours on end. I work whenever I please, and from whatever location that I’ve chosen. The downside being that I’m not raking in the big bucks, there is no corporate ladder for me to climb, and I have zero job security.

Even so... I consider myself not only successful, but the happiest I’ve been. This is what I’ve learned about carving out our own path to success:

Hanging out on top of the Potato Chip rock in San Diego. @claudiaalvrz and I legit climbed up a mountain for a couple hours just to get a dope photo on this godforsaken rock. By the time I got up there, I all but passed out all over it from exhaustion. After waiting for a bunch of tourists to clear, of course . But totally worth it! ⠀⠀⠀ ⠀ Claudia is yet another amazing friend I've made on Instagram. I was on the fence about coming back to San Diego but when she offered to host me, I had no excuse. Needless to say we had a fun time exploring the city and I may or may not have fallen in love with her dogs . ⠀⠀⠀ ⠀ ______________________________________________ #californiaadventure #californiadreamin #californialiving #california_igers #californiadream #californialivin #californiabound #californiacoast #californiadreaming #californiastyle #calivibes #california_igers #californialove #ilovecalifornia #californialife #visitcalifornia #californiasunset #southerncalifornia #socal #sandiego #sandiego_ca #sandiegogram #sandiegolife #sandiegoliving #potatochiprock #allthingssd #mysdphoto #sheisnotlost #darlingescapes #thenomadsoasisproject

A post shared by Celinne Da Costa (@thenomadsoasis) on Mar 1, 2017 at 4:35am PST

Define What Success Means To You

My secret to success is: I define it. If we set our own standards for success, and follow them, then we are successful. It’s that plain and simple.

We spend a lot of time observing the success of others, seeking inspiration into how we can achieve our own. Someone has a successful startup, so perhaps we should start our own. Another person is living the life by making a lot of money, so maybe if we earn more, we can do it too. A co-worker is racing through promotions, so we should push ourselves harder than is sustainable to get promoted as soon as possible.

It’s a never-ending race, and one that won’t get us anywhere if we are blindly competing without purpose. The grass is always greener on the other side, and when we fall into this pattern, we risk believing that we will find fulfillment walking someone else’s path.

Other people’s success should not be a measurement of our own. What makes someone successful or happy is not necessarily aligned with what we do best. We have to live up to our own individual potential, and to do that, we need to properly define what that means for us.

I challenge you to think about what you really want. If your definition of success is gaining recognition from your peers, then you won’t be satisfied until you get that promotion, are featured in the media, win an award, etc. If you think success is money, then you need to seek out a high-paying job or start your own profitable business. If success to you means social contribution, then that may mean working for a non-profit.

My definition of success is having the freedom to pursue my passions (travel and writing), and inspiring people to do the same along the way. If I am traveling freely, making enough money to comfortably get by, and inspiring even one person along the way, then I am succeeding by my standards.

Recognize That Success Is A Process

When I tell people about my project to circumnavigate the globe by couch-surfing through my social network, the initial assumption is that 1. I have a lot of money, 2. I’m crazy, or 3. Both.

What people don’t see is that this has been a process many years in the making. A series of events led me to travel full-time. In the long term, I’ve always wanted to do something like this, and have been passively saving for many years. In the short-term, certain circumstances lined up to push me off the edge: a stint volunteering in Cambodia caused me to re-organize my priorities, my rent unexpectedly went up, I came out of a relationship, and I became increasingly more unsatisfied with my job.

My decision to become a digital nomad wasn’t one big leap – it was a series of steps that eventually led me to this point.

When we look at the success of our peers, we only see the end result. What we don’t see is how hard people worked for it and how long it took. Success is a process, and it should be respected as such. If one year ago, someone told me I would be traveling full-time and working on the road today, I would have balked. I was not mentally, emotionally, or financially prepared for such a step, and if I had taken it, it would have been a complete failure.

It’s not productive to set ourselves up far beyond our means. We should do everything we can every day. Think of it as learning to become a great swimmer. If you sit by the shore making excuses as to why you can’t go in (e.g. the water is too cold, the weather is not good), you will never improve. But, you also can’t jump in and instantly be great at it. You have to wade in, swim as far as you can, and turn back when you are exhausted. The next day, you can swim a little farther.

It’s important to push yourself to succeed, but not so much that you drown. At the same time, if you get too comfortable that you don’t invest some effort, you won’t move forward. To carve out your path to success, do whatever is in your power right now, and let it be enough until the next day.

Those who follow me on social media know that from appearances, I am strong, resilient, and fearless. ⠀⠀⠀ ⠀ And I am. But sometimes, I'm not. The truth is, like any other human being on this planet, no matter how confident I genuinely am most of the time... I still falter. There are days when I feel like shit, don't want to get up, and believe that I am a failure. Like anyone else, I too have days when suffering is all I know. ⠀⠀⠀ ⠀ I just got home from a 9+ month journey and instead of feeling accomplished, I am so utterly exhausted and depleted that I slept a full 18 hours my first night home. ⠀⠀⠀ ⠀ I don't tell you this to be a downer - I want to be honest so that you know that no one's life is perfect, and even the happiest of people can hurt sometimes. Here is what I promise you, though: nothing in life is permanent. Pain, happiness, love, hate... they are all TEMPORARY states of being. Those who are doing it right feel good most of the time and understand that when they don't, it will pass. Everything will pass. ⠀⠀⠀ ⠀ Feelings are what make life meaningful - and we can't always choose which ones pass through us. What we can do - no matter what we’re going through - is choose whether we will come out better on the other side. ⠀⠀⠀ ⠀ ______________________________________________ #visitbrisbane #brisbaneigers #brisbaneanyday #brisbanecity #igersbrisbane #australia_shotz #visitaustralia #australia_oz #amazing_australia #discoveraustralia #exploringaustralia #exploreaustralia #discoverbrisbane #qld #queensland #thisisqueensland #visitqueensland #downunder #travelaustralia #australianlife #sunnylifeaustralia #sheisnotlost #wearetravelgirls #darlingescapes #dametraveler #sheexplores #thetravelwomen #brasileirosporai #blogueirosdeviagens #celinnesoasis

A post shared by Celinne Da Costa (@thenomadsoasis) on Mar 29, 2017 at 1:00pm PDT

Allow Your Definition To Expand

Another revelation I had about success was that its definition changes with time and experience. Initially, my definition of success was making a lot of money at a respectable corporation. I had no interest in working on my own. Once I realized how affordable travel actually was and that being a freelancer granted me freedom over my schedule, I completely changed direction. Who knows, a year from now I may change my mind again and decide that I want to work for another big company.

Our circumstances, mentality, and environment are always evolving – so why shouldn’t our definition of success?

Steve Jobs famously said, “A lot of times, people don’t know what they want until you show it to them.” Though in his case, he was talking about the success of the iPhone, this quote can also apply to our individual search for success.

We have to show ourselves what we want, and we can only do that by continuously pushing ourselves outside of our comfort zone. I didn’t think I was capable of traveling solo so I tried it, first by taking day trips on my own, then increasing the days until I worked up the courage to completely be alone. I didn’t believe I could focus working remotely until I attempted to while I was traveling, and realized I was actually far more productive than in the office. I doubted that my writing could ever be anything more than a hobby until I decided to quit my job and give it a fair shot. Every time I challenged myself to face my doubts and believe in my abilities, my definition of success expanded.

In the end, success is ours to define, achieve, and live up to. Anyone can be successful – it’s just a matter of having the courage to walk your own path, irrespective of others. We don’t know what we are capable of until we give it a try.

Do you ever forget to breathe? I don’t mean that in an ironic or metaphorical kind of way, but literally. . Sometimes I do. I’ll be walking and all of a sudden catch myself gasping for air. And then I think: when was the last time I did this breathing thing? Was it really happening all along? It’s strange to think that breathing is a phenomenon that enters and escapes me every second of every day when I only occasionally seem to grasp a hold of it. . I too often take my breath for granted, this life force that powers the shell that I call body. I easily forget that each exhale is both a small death and an act of faith; that though this breath leaves, it will come back to me. Every time. . Breathe in. Breathe out. Don’t forget what it feels like to have life flow through you. . ______________________________________________ #celinnesoasis #northisland #northislandnz #tongarirocrossing #tongariro #tongarironationalpark #newzealand #nz #nzmustdo #purenewzealand #purenz #newzealandfinds #newzealandvacations #destinationnz #newzealandguide #newzealandphotography #capturenz #bestnewzealand #exploreeverything #findyourselfoutside #folktravel #exploreeverywhere #queroviajarmais #lifewelltraveled #exploretocreate #wheretonext #traveleroftheweek #visualscollective #justgoshoot #peoplecreatives

A post shared by Celinne Da Costa (@thenomadsoasis) on Dec 30, 2016 at 1:01pm PST

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from Healthy Living - The Huffington Post http://huff.to/2pq3Uoo

[raystart]

Rob Vargas: How to Design a Magazine Cover without Subject Cooperation

These days the national magazine cover can feel a little tired in the creativity department. So many glossies look like they’re picking their cover subjects from the same celebrity merry-go-round, leading to predictable images of beautiful people smiling at the camera or displaying a knowing smirk that seems to say, “Yes, I’m hot and I know it.”

Cover shoots are well-orchestrated events, involving armies of editors, photographers, publicists, incredible lighting, probably some airbrushing, and lots of money to pull the whole thing off. The image itself is always the capstone of a celebratory feature story. Words like “style icon” or “most powerful” or “Nick Nolte, the sexiest man alive” could well appear.

But Bloomberg Businessweek has been playing a different game, one where the cover subject is as likely to be criticized as they are to be lauded. And a critical article means that the cover subject is unlikely to want to cooperate with the editors on a cover photo shoot, leaving creative director Rob Vargas and his team with a blank page and the need to do something completely radical – come up with an original design idea. Unorthodox ideas aren’t just accepted, says Vargas, they’re necessary.

That ethos lends itself to some pretty gnarly images like, say, a shirtless Warren Buffett wrestling a bare-chested Elon Musk for a story on their battle over the future of solar energy. Or a mock Abercrombie & Fitch ad where the male model in tight, unbuttoned jeans is an old dude with sagging pecs and a portly physique, upon which is stamped the words “The Aging of Abercrombie & Fitch.”

Here Vargas discusses what goes into making the magazine’s provocative covers, how he determines when to treat a design with sensitivity or be sensational, and why he left the New York Times to join Bloomberg Businessweek.

How does a Bloomberg Businessweek cover come together?

The cover idea comes first. A lot of times it’s the photo editor and myself bouncing around ideas. Usually we don’t start with the headline. We start with something visual and build a headline on top of that. One of the things I really liked about this magazine – and this is not a shot at other magazines, but a lot of magazines take subject matter and depict people they want to celebrate, very laudatory stories. There isn’t a lot of room for humor in those cases.

With us, our stories can be critical of businesses and explore flaws within larger companies. We expose lesser-known bad behavior by financial firms. Many times we’re not getting cooperation from our cover subject. Like we did a story on a financial firm that was financing a dictator in Africa. There’s no cooperative photography for that. As a designer, I love when you have a 3,000-word story and literally nothing else. That forces us to think creatively because you’re staring at a blank sheet of paper.

  Bloomberg Businesseek covers from June 2015 and January 2016.

Your magazine is published weekly, so you’ve got to be creative on a pretty tight schedule. What advice do you have for becoming a strong idea generator?

Like most things, you get better with practice. That not only has to do with gaining a better understanding of what works and what doesn’t, it also has a lot to do with confidence. When I first started in magazines and was tasked with coming up with a concept, it was pretty excruciating. I would think about a concept for hours and hours, and, as I was doing so, I would think about how I would never come up with a solution good enough to please my bosses. It was a very negative way of thinking, and the only thing it did was get in the way of a flow of ideas.

After a couple of hundred times of doing that, I acknowledged the fact that I was always going to come up with terrible ideas, and that’s completely fine. Sometimes you need to get those out of the way before you find the right one. Other times, you embrace the terrible one, and try to execute it in a way that elevates it. Other times, you just have to let go of your pride and ask others for help. What I love about publications is that I’ve found them to be very collaborative. People support each other as opposed to competing. This is especially true with Businessweek. It’s a multi-talented group, and so many of the best cover ideas had absolutely nothing to do with me.  Sometimes I just say “help” and then someone shows me something fantastic. From that point on it becomes my job to work with the art director or photo editor to see it through.

Bloomberg Businessweek is in a unique place, in that it covers people in the business realm who might also use the Bloomberg terminals, the company’s primary revenue generator. How do you balance potentially offending a terminal user in a cover story, with the need to be true to the piece? 

Luckily, we don’t get interference from Bloomberg corporate management when we’re writing critical stories. My feeling is that the cover stories are supporting financial firms in a roundabout way because they’re giving them useful information. From my experience, the company has never tried to protect a subject.

Do you ever feel like a cover went too far?

One of the things that people weren’t so happy within the company was this one cover that we did where a dog was urinating on the actual Bloomberg logo, on our actual logo. The story was about how, at the time, a big talking point for the presidential candidates was about Wall Street fat cats, so it was pretty much how everyone is beating up on business. That was our idea. It didn’t necessarily go over well here for obvious reasons. To me, that was a good example of how we exist in a space that we can also really criticize, even if it’s ourselves.

Tell us about a time you had a sensitive cover subject and how you handled it?

The one that comes to mind is one about Takata airbags that were exploding and killing people. The cover had a red background with the quote “If we go forward with this, somebody will be killed,” in small black type. It was a quote from one of the people that was trying to bring this situation to light to the managers well before the first accident. That, to me, is an example of the cover not shouting at you or not showing an upsetting car crash. We’re not doing anything sensational because it’s something very serious, but it’s also clear what we’re trying to do.

There really is no way to properly caption an image like this. The 2015 magazine cover says it all.

Before you came to Bloomberg, you worked for the New York Times Magazine. What led you leave the New York Times?

I got cold-called by the former Bloomberg Businessweek creative director, asking me if I wanted to join this team to redesign the magazine, because that’s when Bloomberg had just bought Businessweek. The Times is obviously one of the best publications in existence, and it will be one of the best in existence whether or not I’m there. That is very clear. But Businessweek was this big lump of clay, no offense to the previous design team, but it was basically a full opportunity to make it whatever we wanted to make it. It’s not like where I was told, “We have this new thing that we can play with, but let’s make it look like Forbes.” It was, “Let’s make it look like nothing else.”

What advice would you have for somebody who is at a similar crossroads, choosing between a well-established brand that might have less creative freedom but more prominence and a less prominent brand that they can build or reimagine? 

You have to assess every risk for what it is. Moving to Bloomberg Businessweek felt like a pretty good risk because I already knew that I had shared a vision with the people that were hiring me. We were like-minded thinkers and that made the risk a lot easier to swallow. It’s not just jumping into a black hole and not knowing where you’re going to end up. You need to assess if what you’re making has the potential to grow, and whether you’ll be working with people that you share values with. If those things are in place, then it’s absolutely worth the risk [to choose the less-prominent brand you can build or rebrand.]

Do you ever fear that you’ll run out of cover ideas?

I used to be more afraid of that. After the redesign, we got tons of praise for the redesign and then it died out. Then we had this slight existential crisis. It was like, All right, now we’re known for this thing. Can we keep doing it? It was all psychological in terms of questioning ourselves and our own ability to take the tools we had and create these infinite reconfigurations.

How did you regain your confidence?

We just kept pushing forward. One of the positive aspects of being at a weekly magazine is that you don’t have the luxury of being inside your head for too long. The clock is always ticking, and there’s an endless stream of problems to solve. People are depending on you. At certain points you can’t help but take a step back and start obsessing about the meaning of it all. But eventually you have to snap back. You have to remind yourself that your here because you want to be here, because you love it for all it’s ups and downs, and then you just get back to work.