I don't give a fach

May 18

[video]

May 12

Ladies and gentlemen, I am pleased to report that Baz Luhrmann’s new film adaptation of “The Great Gatsby” is simply divine! This comes as quite a shock as I was expecting this movie to be a big garish disaster ever since the project was announced. Luhrmann is a very talented, very wildly unpredictable director. Things tend to be hit and miss with him. The jury is still out on whether “Moulin Rouge” is actually a good film, and his last film, “Australia,” was just god awful. Then again, there is his highly personal take on “Romeo & Juliet” and the charmer “Strictly Ballroom.” But how confounded my expectations were. Members of the literati, get ready to hurl hardcovers my way: I have never been much of a fan of F. Scott Fitzgerald’s tale of love, self-invention and class conflict. Don’t get me wrong, Mr. Luhrmann’s film is no profound cinematic masterpiece. Rather, it is a classic summer movie disguised as prestige drama. It is a loud, gaudy, operatic spectacle that frames an intimate love story. What’s most impressive here is how Luhrmann deftly balances his signature styles as a director to achieve the right tone. His famously overripe romanticism is evident early in the film during the hedonistic party scenes and in moments that require sweep and old-school hollywood grandeur. But I was amazed at how easily and willingly Mr. Luhrmann was able to tone things down and film intimate, emotionally honest, straight-forward scenes between his characters. He’s a showman, yes, but he’s also, first and foremost, a storyteller.  So go! Get a ticket now and see this amazing movie. It’s probably the only movie this summer with a title that isn’t followed by a number. (see: Iron Man 3)

Ladies and gentlemen, I am pleased to report that Baz Luhrmann’s new film adaptation of “The Great Gatsby” is simply divine! This comes as quite a shock as I was expecting this movie to be a big garish disaster ever since the project was announced. Luhrmann is a very talented, very wildly unpredictable director. Things tend to be hit and miss with him. The jury is still out on whether “Moulin Rouge” is actually a good film, and his last film, “Australia,” was just god awful. Then again, there is his highly personal take on “Romeo & Juliet” and the charmer “Strictly Ballroom.”

But how confounded my expectations were. Members of the literati, get ready to hurl hardcovers my way: I have never been much of a fan of F. Scott Fitzgerald’s tale of love, self-invention and class conflict. Don’t get me wrong, Mr. Luhrmann’s film is no profound cinematic masterpiece. Rather, it is a classic summer movie disguised as prestige drama. It is a loud, gaudy, operatic spectacle that frames an intimate love story. What’s most impressive here is how Luhrmann deftly balances his signature styles as a director to achieve the right tone. His famously overripe romanticism is evident early in the film during the hedonistic party scenes and in moments that require sweep and old-school hollywood grandeur. But I was amazed at how easily and willingly Mr. Luhrmann was able to tone things down and film intimate, emotionally honest, straight-forward scenes between his characters. He’s a showman, yes, but he’s also, first and foremost, a storyteller. 

So go! Get a ticket now and see this amazing movie. It’s probably the only movie this summer with a title that isn’t followed by a number. (see: Iron Man 3)

May 03

[video]

Apr 29

[video]

Apr 26

Super exciting news! I’ll be the lead tenor in “The Producers!” So…yea I just basically show up in one scene, look aryan and belt “Springtime for Hitler.” but still… I’ve got my ice blue contacts ready, and my hairdresser is making me a blonde next week. I’m excited…I have NO IDEA how it’s gonna look.

Super exciting news! I’ll be the lead tenor in “The Producers!” So…yea I just basically show up in one scene, look aryan and belt “Springtime for Hitler.” but still…

I’ve got my ice blue contacts ready, and my hairdresser is making me a blonde next week. I’m excited…I have NO IDEA how it’s gonna look.

Apr 20

[video]

Apr 17

“Your best singing will happen a grand total of seven days in your lifetime, and it will never be on a day you are performing.” — Renée Fleming

Apr 04

R.I.P Roger Ebert

R.I.P
Roger Ebert

Mar 30

[video]

[video]

Mar 16

[video]

Mar 15

[video]

Watched “Rosenkavalier” for the billionth time and I teared up, as usual, during the Marschallin’s monologue. Her commentary on the inexorability of time feels more relevant to me than ever. I love the moment where she talks about waking up in the middle of the night to stop the all the clocks.No matter how many times I see this opera, I am always moved by it. The characters just feel so real and profoundly human. Despite the drubbing Renee Fleming took for “Armida” and “Traviata,” her Marschallin is the stuff of legend. She moves me to tears and touches my soul. Isn’t that why we go to the opera in the first place”?

Watched “Rosenkavalier” for the billionth time and I teared up, as usual, during the Marschallin’s monologue. Her commentary on the inexorability of time feels more relevant to me than ever. I love the moment where she talks about waking up in the middle of the night to stop the all the clocks.

No matter how many times I see this opera, I am always moved by it. The characters just feel so real and profoundly human. Despite the drubbing Renee Fleming took for “Armida” and “Traviata,” her Marschallin is the stuff of legend. She moves me to tears and touches my soul. Isn’t that why we go to the opera in the first place”?

Mar 13

[video]