Julian Ayrs...Happy Birthday George Clooney, Wllie Mays & moi!

Today, a Happy Birthday greeting goes out to Gorgeous George.

No, I am not referring to the colorful wrestler of yesterday, who delighted fans on old boob tube Saturday afternoons with his wild antics in-and-out-of the ring.

Of course, I mean superstar George Clooney - who, like myself - celebrates another anniversary of his birth.

As I noted jokingly on Facebook yesterday, although George and I share a birthday, there are some differences in respect to our status on this mortal coil.

I am just as sexy as George - according to friends - but the superstar actor has quite a bit more moolah  (big bucks) than I do!

If any of my readers caught the recent article I penned on "time twins" (which took a glance at the realm of astrology and the mysteries of the heavens) the reason for that should be easy to fathom.

Post: 04/15/2011

http://ijulian.blogspot.com/2011/04/astrologydarwins-theory-proves-occult.html

Though born on the day, we were not born under the same unique set of astrological circumstances under the mid-heavens when we both entered this world to play out our destinies according to the cosmic design.

Other famous (celebrated) individuals with a May 6th birthday include Willie Mays (baseball great), Rudolph Valentino (legendary silent film star), Sigmund Freud (noted dream analyst), and Orson Welles (genius film director).

Curiously, there appear to be some uncanny coincidences in respect to our chosen paths in life that have not gone unnoticed by moi!

A handful of us have been involved in the film industry in some capacity - either directing, acting, or film critiquing - for example.

I attribute my tendency to experience bizarre, symbolic - sometimes suggestively sexual dreams - to Freud's influence, by the way!

Intriguing!

In different cultures birthdays are celebrated differently.

Muslims not only celebrate their own birthdays, but those of the Prophets, as well.

In the Jewish faith, particular birthdays are singled out and give rise to ritual ceremonies.

For example, a bar mitzvah is held for 13-year-old-Jewish boys which is benchmark in manhood.

The tradition of birthday parties started in Europe.

It was originally feared that evil spirits were particularly attracted to people on their birthdays - so, to protect them -  friends and family would ceremoniously present their loves ones with good thoughts and wishes.

Early Christians did not celebrate Christ's birth, though, because they considered the celebration of any one's birth to be a pagan custom.

Jehovah's Witnesses - and some Sacred Name groups - refrain from celebrating birthdays on the basis that they are portrayed in a negative light in the Bible and have historical connections with magic and superstitions.

Some Saints are remembered by a liturgical feast.

Colored lanterns at the Lotus Lantern Festival in Seoul (South Korea) are facilitated to honor the Buddha's birthday

The ancient Greeks believed that each person had a protective spirit that attended the person's birth and thereafter watched over him or her.

That spirit "had a mystic relation with the God on whose birthday the individual was born," according to the book "The Lore of Birthdays".

When Christ was born, the relevancy of his entrance onto the grand stage, was heralded by Angels who exalted to the Shepherds.

"I bring you good news that will bring great joy to all people."

"The Savior - yes, the Messiah, the Lord - has been born today in Bethlehem, the city of David!  And, you will recognize him by this sign. You will find a baby wrapped snugly in strips of cloth, lying in a manger."

Suddenly, the Angel was joined by a vast host of others - the armies of heaven - praising God and saying.

"Glory to God in highest heaven and peace on earth to those with whom God is pleased.""

In different cultures birthdays are celebrated differently.

North America families often mark a girl's 16th birthday with a Sweet sixteen party.

In Hispanic-American countries the quinceañera traditionally marks a girl's 15th birthday.

In India, Hindus have the 12th or 13th birthday replaced with a grand "thread ceremony."

The child takes a blessed thread and wears it to symbolize his coming of age. This is called the Upanayana.

This ceremony is practiced amongst boys in the Hindu Brahmin culture.

In some Asian countries that follow the Zodiac calendar, there is a tradition of celebrating the 60th birthday.

In Japan there is a "Coming of Age Day" for all of those who have turned 20.

In North America, family and friends often prepare a special cake for the celebrant - with candles on top marking the years - in addition to offering up gifts.

Usually, this is a joyous harmless occasion for the individual who is often shy about revealing their age as time marches on.

Fortunately, for citizens of the world, a handful of old customs have fallen by the wayside.

For example, according to the Greek scriptures, King Herod beheaded "John the Baptizer" at his birthday celebration.

Today, individuals are more inclined to hear enthusiastic words instructing them to try to their best to -  "Blow out the candles"  - rather than a more ominous one uttered up in the dark ages.

"Off with his head!"

Personally, I intend to treat myself to a movie and delicious supper, and count my blessings.

And, take a moment to wish George Clooney and Willie Ways, all my best.

Happy Birthday George!

Happy Birthday Willie!

Many happy returns, eh?

http://www.thetattler.biz

Zsa Zsa Gabor...hospitalzied for pneumonia! Feisty screen siren is tough!

Screen legend - Zsa Zsa Gabor - was rushed to the hospital yesterday when her personal physician determined that the feisty star was stricken with a serious bout of pneumonia.

According to the latest update from one of Ms. Gabor's handlers, the ailing film star has been having trouble breathing because of fluid in her lungs.

Apparently, the prognosis for recovery is poor, as medical staff engage in an all-out effort to literally save the screen siren's life.

In recent months, Ms. Gabor suffered through major health problems, which resulted in at least one surgery and the amputation of one leg.

The actress - famous for being famous - is the second oldest of three Gabor sisters.

One sister - Eva Gabor - was well-known to American audiences for a role she played in a popular TV sitcom (Green Acres) and for being a close friend and confidante of legendary talk-show host Merv Griffin.

Although it alleged that Eva and Merv were lovers, later the truth was revealed that Griffin was actually gay, and that Ms. Gabor was basically a "beard".

I met Zsa Zsa - a Hungarian-born actress - briefly on the set of Naked Gun 2 1/2 a few years ago.

In that off-the-wall big-budget comedy feature, Gabor took a poke at herself in a small cameo role.

I found Ms. Gabor to be charming and gracious.

Gabor was once married to Conrad Hilton and the union produced one daughter.

The flamboyant actress received acclaim for a role she played many years ago in John Huston's film bio of Toulouse-Lautrec titled "Moulin Rouge".

Gabor also landed a part in Orson Welles' classic "Touch of Evil".

By the way, tomorrow is the anniversary of Orson Welles' birthday (May 6th).

Mine, too!

On the heels of the sad news, fans of Ms. Gabor are optimistic - no doubt - that she will once again pull through.

Get well soon, Zsa Zsa!

http://www.thetattler.biz

Me & Orson Welles...charming popcorn movie! Pretty Zak Efron surprisingly good...

Me & Orson Welles is still packing film buffs in.

Yesterday afternoon, for instance, the movie house at the Embarcadero was filled to near capacity.

For good reason.

The period film - which lifts a ficitionalized chapter from the famed director's life (and focuses on a stint at the legendary Mercury Theatre in NYC) - is upbeat, rife with witty lines and quick repartee, and boasts a cast of charming characters to root for (or against).

In particular, there are quite a few "inside jokes" about the theatre scene (and movie-making), so industry types are sure to have a big chuckle over the smart bang-on dialogue.

Usually, when actors portray a celebrated stage performer or well-known politician, there is a big emphasis on mimicking their mannerisms and an over-the-top attempt to carve out a characterization on stage or in a movie that is physically indentifiable to the audience.

Consequently, the performance ends up being stilted and phony, and the personality comes across like a overblown cartoon version.

Here, the lead actor inhabiting the role of Welles (Christian McKay) actually gets under the skin, and breathes life into the Welles psyche.

I was particularly impressed with the depiction of Joseph Cotton (one of the theatrical players at the Mercury who greatly impacted theatre-goers during his run there) as performed by James Tupper.

Instead of hitting the audience over the head with a flashy performance to draw attention to his characterization (look at me! see what a great job I'm doing!) he settled into the role with a naturalness that allowed Cotton's likable personality to shine through and touch the little people below the floodlights.

I was fascinated because when I was younger - folks in the business who actually met the man - often noted in passing that I reminded them a lot of the talented actor (what a compliment!).

Surprisingly, I was also intrigued (and impressed) with Zak Efron's acting style, too.

On occasion, I was taken aback, when he reacted out-of-the-norm in a handful of key scenes.

Less competent (less adventurous) actors would have taken a steadfast by-the-book standard approach.

Here, his take on the layers of the character of the individual he was potraying, caused me to sit up and take notice.

Undoubtedly - Efron thought out his role - and likewise prepared for it.

As a result, the young actor was able to fathom what made the character tick.

Efron is also quite photogenic and literally lights up the screen; in fact, the camera loves the young heart-throb.

A handful of admirers will take in the film just to gaze upon his handsome (at times downright pretty) face.

I chuckled during one scene when a bird fluttered  into a museum hall and an attendant scurried about  and tried to flush the hapless creature out.

Earlier that afteroon, before purchasing a ticket, I was sipping on a hot tea at the Posh Bagel when one of the feathered creatures flew in the open door of the cafe and alighted on the tile floor near my foot.

Ah, auspicious signs for both me and the film.

In another little bit of synchronicity, it should be noted, that I also share the same birthday with the enigmatic Orson Welles (May 6th).

For me, it was a simple matter to figure his personality traits (stubborness, for one).

The production values are excellent.

In fact, the cinematography is literally a smorgasbord for the senses.

This is one of those films where audiences actually clap spontaneously when the credits roll and the lights go up.

The hell with the critics.

Me & Orson Welles is a romantic comedy that satisfies until the last drop of soda is slurped up and each kernel of buttered popcorn is wolved down.

http://www.julianayrs.com/

Happy Birthday...to George Clooney, Orson Welles, Rudolph Valentino, Sigmund Freud, Willie Mays & moi! It was predicted in the stars...

May 6th has always been an auspicious birthday for individuals seeking to stand out, be original, and achieve in their chosen fields of endeavour.

Today, as I celebrate the "anniversary" of my birth (along with that handsome devil-may-care actor George Clooney) I am inclined to reflect on the issue.

The "sexiest" man alive and I also share the honor with celebrated film director, Orson Welles; screen idol, Rudolph Valentino; Willie Mays, baseball great; and - last, but certainly not least - dream analyst, Sigmund Freud.


I was born just after midnight on the 6th.

As the story goes, my doting father called my Aunt Evelyn to inform her of the good news.

"Victor, it's the middle of the night. Are you mad? Call me in the morning," she whined just before hanging up the phone in his ear.

To some, a bouncing baby boy is not a bundle of joy, I suppose.

Years later, when my Aunt was inclined to boast that I was nearly born on her birthday - May 5th - I didn't have the heart to reveal that I was privy to her selfish response a few dusty decades prior.

When I scrambled out from under the covers bright and early this morning, I dashed to snatch up the morning paper; after all, a special forecast is cast for celebrants experiencing their birthday on the day of publication.

Here's what Holiday Mathis predicted for Georgie-boy and moi this year:

"You hit your stride this year and become powerful in a family or organization. July brings a surprise visitor. There will be a windfall in October (can't wait!). Libra and Leo admire you (better ask folks what their sign is pronto so I can manipulate the scenario!). Your lucky numbers are 3, 5, 39, 15, and 5."

Oops!

Ms. Mathis repeated 5 twice. Guess the science is not always exact due to human error, eh?

Actually, I studied astrology "many moons" ago.

When people complain that their daily horoscope is not always accurate, there is a sound reason for that, 'ya know?

The daily forecast is sketchy and based on general trends for the "sign" in question.

If a true "reading" is desired, then a chart would have to be mapped out based on the specific heavenly influences at play at the exact second, minute, and hour of the subject's "b"-day.

Years ago, when I sprang a few bucks for an in-depth analysis, the assessment was pretty right-on.

Even down to my "sexual" proclivities!

Some say, that astrology rings true because of one of Darwin's most thought-provoking theories:
"Whatever is born of a moment partakes of the nature of that moment."

To determine if the theory was correct, years ago CBC radio tested the theory, and later broadcast the startling results.

In particular, the study focused on individuals who were not related by family, but nonetheless, were born the exact moment under the same set of circumstances influencing the mid-heavens on a specific date.

After exhaustive investigations into the personal and professional lives of the subjects meeting the basic underlying set of criteria, the conclusions were unanimous.

Individuals born the exact moment in time - even though not related or falling under the classic sibling scenario - tended to live "parallel" lives.

Consequently, they were labeled "Time Twins".

To illustrate, consider these case histories that were held up to scrutiny by the scientists.

In one instance, two men born in the same hospital at the exact same second - to separate parents tended to not only live "parallel lives" - but were drawn to similar types of people, places, and things.

For example, two male babies were both named "John", for instance, in spite of the fact the families hadn't met and didn't know each other.

When the two young men reached adulthood - and married - they both got hitched to a pretty young lady by the name of "Mary".

Each had three children, ended up in management for a career, and drove a Volvo.

The study determined that the farther apart babies were born (at the exact second in time) the more pronounced the differences in their personal and professional lives.

Because the "John" individuals were born in the same hospital at the exact same time, their parallels were more astounding.

Two children born under the same set of circumstances in the mid-heaven at the exact moment in time - but brought into the world in hospitals sixty miles apart - might result in more dramatic differences.

In one shocking instance, two men were given the same Christian names, resided in similar semi-detached homes, married a woman with the same first and last name, and so forth and so on.

One day, each was travelling down the road toward each other on the highway, and crashed, and were the cause of each other's death!

Bizarre, eh?

According to the principles of Numerology, a subject must add all the digits of their birthdate to determine their basic personality traits and overall lot in life.

May 6th folks are 1's.

1's tend to have very distinct individual personalities, may be loners, and creative in nature.

Instinctively, such a person can rise up the ranks to become the head of an organization or a politician.

After all, 1's usually possess leadership ability.

But, one classic Taurus personality trait often threatens to undermine their success in life, unless kept in check.

Stubbornness!

Personally, I've turned that potentially-negative trait into a positive one by harnessing its obvious strengths into a "stick-to-it" aspect of my character, that drives me forward when the going gets tough.

Nope, Taureans are not quitters.

In fact, later in life, "bulls" usually end up luxuriating in the fruits of their labor.

When it comes to friends, individuals born under the sign are "solid" and may be relied on.

Watch out for Geminis, though.

They're flighty as he**, Dudes!

http://www.julianayrs.com

Peter Bogdanovich...Cher a pain in a** says Mask Director at screening in Hollywood!

The 11th Commandment is never embarrass your employer, according to respected director Peter Bogdanovich.

That was one of a handful of nuggets of wisdom the personable down-to-earth creative visionary offered up to a captive audience last night at the New Beverly Cinema.

In fact - the director of classic hits such as "What's up Doc?" and "Paper Moon" - pulled out all the stops at a Q & A at the packed theatre (at times drawing on rich memories from a storied past) to illustrate a point, inject a bit of comic relief, or simply inspire an audience mostly populated by aspiring young filmmakers keen on his impressive body of work.

In fact, Mr. Bogdanvich should have been a stand-up comedian.

After all, the Hollywood legend's timing is impeccable.

His ability to conjure up the right turn of phrase to expess an idea - or ferret out the ironies of life at whim - is uncanny, too.

But, it was his honestly and straightforward shoot-from-the-hip manner that impressed me the most.

For instance, when I asked Bogdanovich if there was any one actor who stood out as problematic during the course of his career, he responded dryly in an almost aside.

"Funny you should ask that. Cher."

The audience roared.


Mask (in which Cher assumed the lead role) was screening next on a double-bill that showcased "Paper Moon" starring Tatum O'Neil and her real-life father Ryan.

"Cher was a pain in the a**," he quipped without skipping a beat.


In what respect, I asked, quick on the uptake.

"She had these suffering eyes. But, it was all self-pity."

Whoa!

But, clearly the iffy experience was not all based on personality issues.

When a fan asked Bogdanovich to elucidate his thoughts on the traditional method of shooting a "master shot", then going for massive coverage, he made a couple of insightful remarks.

Cher, he noted, had difficulty sustaining a performance for more than thirty seconds.

Oftentimes, he'd have to get the Pop Icon back on track because she tended to drift from the center of things.

"Cher, we're over here," he'd jibe subtly.

Ouch!

Actually, when the lights went down and the images flickered up on the screen, I noticed - for the first time - that scenes with Cher featured in 'em never lasted more than half a minute.

On the heels of this Diva trivia, Bogdanovich noted his preference for continuous shots.

"The camera should observe the players and never influence the audience."

In "Noises Off" - he proudly noted - a fifteen page sequence was shot continuously without one cut.

Filmgoers present roundly applauded the challenging filmmaking accomplishment.

Bogdanovich poignantly recalled that when he asked good buddy Orson Welles about continuous shots - verses a "master" and coverage - that the Citizen Kane director chuckled.


"It's what separates the men from the boys."

Bogdanvoich was quite close to Welles and often turned to film great for advice.

It appears, he was a mentor, of sorts.

Although the O'Neil/O'Neil starrer was being adapted from a book - Addie Pray - Bogdanovich was inclined to sift through old tunes of the era for a title he found more appealing.

"It's only a Paper Moon" struck a positive note when he stumbled across it.

"Paper Moon, that's it," he made a mental note to himself.

But, the Studio Execs "hated it".

Addie Pray was a bestseller, after all, and the studio needed the brand name recognition to push the project in the theatres.

The studio suits were adamanant.

"It has to be titled Addie Pray."

Frustrated, Bogdanovich called up Orson and asked what he thought of "Paper Moon".

"It's great.You don't have to release the movie at all, just the title."

He recalled creative and professional differences with the studios in respect to the making of the Mask, too.

Originally, Bruce Sprinstein offered up five or six songs about to be released on the new album, Born in the U.S.A.

Universal dickered over the matter, then passed on the soundtrack idea.

"It was all about greed, envy, ego - 'ya know - the seven deadlies," Bogdonovich asserted.

Well, what a mistake!

Bruce's album became the biggest hit of the season.

In addition, the studio cut two scenes - one which featured Cher's character singing "Little Egypt"with her son by a roaring campfire - and another where a handful of bikers lowered a dead compadre's motorcycle into the open grave to be buried alongside the owner.

"I was pissed," he lamented.

The film Universal turned out was depressing.

So, when Universal and Bogdanovich each arrived in Cannes to promote "Mask" that year, there were two press conferences.

At one, Universal plugged the cut version they stood behind.

In another bitter session with the press elsewhere, Bogdanovich screamed bloody murder that Universal had totally botched the project.

In addition to the scenes and songs that were cut, Bogdanovich was not pleased with the way the color turned out on the big screen, either.

"I told Laszlo Kovacs (cinematographer) that I wanted the picture sharp. And, the footage was great originally."

However, in spite of this, the studio allegedly keyed the color up about five points to give the project a more disney-like quality.

Bogdanovich thought the "look" sucked.

Eventually, after "Mask" made the rounds and ended its run, Bogdanovich engaged in rigorous talks with studio execs to package his own Director's "cut" (which was the version that screened last night to a discerning audience at the New Beverly Cinema) .

But, the whole process of editing that cut was problematic, from the get-go.

When he first approached the studio, the powers-that-be reported back that the negative copies for the scenes were lost.

"Can we use the positive cut," Bogdanovich asked innocently.

"Yes. But we don't have those."

I know, he laughed, "I stole 'em."

So, with a bit of cajoling and arm-twisting, the studio agreed to work with the positive cuts.

In fact, Universal spent $100,000.00 to clean up the scenes to Bogdonovich's liking.

Sprinstein also got back on board and offered up the tunes for free.
How could Universal balk in view of the fortuitous turn of events unfolding each day?

Subsequently, the Springstein hits were cleverly weaved into key scenes here and there throughout Mask, and have enlivened the sound track considerably.

There were many fond behind-the-scenes memories of "Paper Moon" with regard to actress Tatum O'Neil, as well.

After all, Tatum - unlike Cher - was a real trooper.

Because the end of act one in the script established the relationship between Mose and Addie, Bogdonovich pushed for (and got) continuous takes without cuts.

"She was eight years old and it nearly killed her. In spite of all those props to handle, and the tricky ongoing dialogue back and forth with Ryan, the kid pulled it off like a real pro. She won the Oscar."

The seasoned director chuckled when a fan asked about Madeline Kahn.

Bogdanovich chose to reminisce about an amusing scene between Kahn and Tatum set on a hill at the side of a quaint country road.

In a conversation in the picturesque rural setting, Kahn's character was supposed to use the word "tits" to get her frustration across. But Madelaine didn't want to use "that" word.

"What word would you prefer, " Bogdanovich queried.

"How about breasts?"

"Okay," he responded casually.

He didn't even argue the point.

On the first day of filming, the key elements of the scene were shot and put in the can.

In a turn-around the second day, the crew prepared to shoot the remainder of the footage, which featured the "offending" terminology for the female anatomy.

Just before shouting out roll 'em, Bogdanovich strolled up and whispered in Kahn's ear.

"Say 'tits' just one time, please?"

Then, he walked off without looking back.

When it came time to utter the unspeakable, Kahn pulled if off with surprising results.

"After she says 'tits' a divine laugh pops out."

And, the expression on her face was priceless, too.

"It was fresh. No takes or rehearsing. What we call a moment in motion."

I expect Bogdanovich has many techniques up his sleeve to get actors into the swing of things.

"When directing I am always connecting to acting. When acting, never connecting to directing."

Bogdanovich noted that in Kansas, he was not sure how Paper Moon would end.

But, loose ends - yet to be resolved - steered him in the right direction.

"In comedy, three is the magic number," he explained to the rapt filmgoers.

"There is the set up, then the pay off."

At the near-end of the shoot in Kansas, Bogdanovich suddenly realized that issues pertaining to "the" $200.00, a photo of the "Paper Moon" and Addie, and a broken-down truck - although set up earlier in the film - and not been "paid off".

Once the revelation befell him, it became a sort-of eureka moment!

At this juncture, the end scenario fell into place.

Peter Bogdonovich was born the son of immigrants fleeing from the Nazis.

His mother was descended from a wealthy Jewish Family in Austria, while his father was a humble painter and pianist.

Bogdanovich studied the craft of acting under Stella Adler when he was approximately sixteen years of age and went on to appear in TV shows that were proliferating in the new medium and on stage in summer stock.

His love of film blossomed when he was called upon to program movies for the East Coast's Museum of Modern Art (NYC).

Through that illustrious post, Bogdanovich was able to screen work of directors and film greats he held in high regard such as John Ford, Howard Hawks, and Allan Dwan.

He wrote for Esquire briefly and admits he was influenced by French critics of the day.

At one screening in Hollywood, shortly after a move to the West Coast, Bogdanovich was viewing a film when he discovered that Roger Corman was sitting nearby.

The two struck up a conversation.

Taken by the charismatic young man - Corman offered him his first important jobs directing for projects such as - Targets and Voyage to the Planet of Prehistoric Women.

On record, Bogdanovich had this to say about his partnership with the director.

"I went from getting the laundry to directing the picture in three weeks. Altogether, I worked two weeks – preproduction, shooting, second unit, cutting, dubbing – I haven't learned as much since."

Films to date include The Last Picture Show (1971), What's up Doc? (1972), Daisy Miller (1973), At Long Last Love (1975), Mickelodeon (1976), They All laughed (1982), Illegally Yours (1986).

http://www.julianayrs.com/

CineVegas Film Festival...gossip & scuttlebutt. LA TIMES stinker & screw-ups.

Yesterday, I checked with the staff at the ticket office, and they informed me that Box Office for the CineVegas Film Festival has been boffo this year. A number of features have been either booked fully or sold to near capacity.

"Sales are higher this year than the past couple of years," one CineVegas volunteer proudly announced.

So, the fest is steaming ahead and garnering stature on the Festival circuit.

But, as I trotted around behind-the-scenes and covered red carpet events in recent days, it has become evident to me the Festival is experiencing some growing pains; consequently, there are issues that need to be sorted out if CineVegas is to continue to surge ahead (and gain respect from the Industry).


Mr. Hopper (Chairman of the Festival), Mr. Greenspun (President of CineVegas) and Trevor Groth (Festival Director) have been dotting on the festival-goers - attending screenings, circulating the events - and ably fulfilling their roles as good-will Ambassadors of the event.

But, it appears that staff in the lower levels of management and in the publicity department are either slipping or not experienced enough to professionally handle their tasks.

A case in point.

Last night, I attended a chi-chi function at Dos Caminos (at the Palazzo Hotel & Casino) and proceeded to engage guests in a bit of dialogue to rustle up feedback about their CineVegas experience.

At one point, I alighted next to a lovely couple at the warm outgoing event.

The smartly-attired well-manicured woman was curious as to who I was, and subsequently, lifted up my press pass to get a gander at it to determine my association with the Festival.

At this juncture, we engaged in a spirited discussion, and I learned they were contributors to CineVegas.

Sadly, the woman informed me that her and her hubbie felt a little out-of-sorts that day at the "Get Smart" screening. In spite of the fact they were sponsors of the festival, staff placed them in lousy seats near the rear of the theatre; consequently, they felt neglected.

Another woman I have become friends with at the Festival also ran into the same problem. In spite of the fact she paid $600.00 for a Festival pass, the local art dealer was placed in a spot "outfield". Boy, was she miffed!

She proceeded to request better seating elsewhere in the theatre. And, got it.

The couple in question didn't venture down the same path because they didn't want to cause a fuss or throw a damper on what they surmised would be a satisfying cultural experience that afternoon.

So, there I was smoothing over the waters trying to make things better.

What else could I do?

As the old saying goes, "That's not my job!"

Also, it appears that staff in the publicity department have made some poor judgments calls which reflect negatively on their integrity and ethical standards.

For instance, when members of the press or photographers arrive at the CineVegas Headquarters lounge - Kelly Frey, Francesca Torre, and Taylor Banks - don't even bother to introduce themselves as staff in the Publicity Department or welcome guests to the festival. Imagine that!

Another problem occurred when one local Vegas press person went to pick up his ticket for the feature film - "Your Name Here" - and was informed that last-minute an LA TIMES reporter swooped into the press room requesting a ticket.

Instead of noting that the screening was sold out, they gave the man's ticket to the columnist without batting an eye, nor did they show any remorse for their questionable conduct.

That su**s.

The press are required to submit RSVP's for special events and request tickets with appropriate advance notice. If the Los Angeles daily screwed up, or arrived late, why should the other man suffer?

Last minute - I decided to attend that screening - but was told the theatre was sold out.

That was okay in that circumstance as far as I was concerned; after all, I was just going on spec an hour or so before the curtain fell - so I was forced to accept the consequences for not planning farther ahead.

But, in my case there turned out to be a Feature Film God!

At the event last night, I nonchalantly slipped into a seat at the bar next to the marketing person (Jennifer C. Lai at Everstudios) promoting the film and she proceeded to arrange for a copy of "YOUR NAME HERE" to be delivered to me so that I could screen it privately.

Other press folks didn't get tickets to events they registered for. For example, when a few media types arrived at the PR Office, staff coldly informed them that their paperwork was either lost or had not been processed for some inexplicable reason. They were SOL.

Oops!

Someone is not going to get coverage from a handful of media outlets due to staff error, negligence or incompetence.

And, that hits home.

Two weeks ago, I personally notified the PR Office that I wanted to attend the Murakami Event, scheduled later today.


I covered Murakami's Los Angeles show, so as a matter of continuity, I desired to follow through with an in-depth analysis of his exhibition in Vegas.

No one has followed through or confirmed if my ticket has been processed.

So, Mr. Murakami loses coverage because of staff oversight?

Then, there have been some problems with staff getting in the way of the photographers at red carpet events.

A handful of paparazzi complained to me that as they are lining up to shoot the stars at the premieres, staff stand in the way and screw up the shot.

One photographer noted that when he complained, the staffer shrugged casually and remarked in an off-handed way, "Just photoshop it."

As a professional photog pointed out, when shots are submitted to editors at magazines and newspapers, they are inclined to pick the stills that are ready to publish. So, the photographer may lose out on a sale because the publicity shot has a hand, shoulder, or back of "someone" in it.

And, the star may not get coverage as a result, either.

It appears that staff in the PR office are not familiar with the Hollywood publicity machine or how it works.

Another filmgoer expressed her dismay that a film she took in was quite ragged and that the production values were poor.

"A festival of this stature should not have such low quality films," she argued.

Personally, from a critic's point of view, I will sometimes overlook the fact that a first-timer's project is a little rough around the edges - if the message is strong, the material is highly original - and it impacts on a deeper level than that of the purely visual.

But, the woman did have a point.

Another film - "South of Heaven" - was rife with images of women being beaten or tortured. As the tale unfolded, I cringed. Ironically, as the thought crossed my mind that the project might offend women, a few ladies got up and walked out.

It is one thing to make a statement about a relevant social and/or political issue, but when a film exploits torture and violence and has no redeeming value, one has to wonder...what is the point?

Orson Welles once said,

"A film is never really good unless the camera is an eye in the head of a poet."