« May 11, 2004 | Home | May 13, 2004 »

May 12, 2004

More Nate

I was tipped off to interior-design cutie Nate Berkus’ appearance on Oprah the other day by an entry on Zionide (thanks, Nick). Apparently an appearance on the show correlates to a spike in Nate-related search-engine referrals to our sites, where he gets mentioned now and then. So yes, Nate was on the other day to do a room makeover. (Thank goodness we get late-night reruns. TiVo to the rescue.) Though, honestly I think the room looked just fine before. Right? Usually they pick rooms in such dire shape to begin with. That said, I do like some of Nate’s additions, like the little, room-dividing wall and the large ottoman-coffee table.

Side note: I swear, the studio audience is always so hyper when Oprah does topics like this. It’s like an infomercial or a game show. Have you seen her periodic “Favorite Things” show, in which she gives away tons of free gifts? It’s crazy.

Nate BerkusAnyway, further expanding her media brand empire, she has a new home-and-living magazine called O at Home, whose website introduces the room makeover with “Knock, Knock, It’s Nate! What would you do if TV’s hottest designer Nate Berkus showed up at your front door?”

Oh, honey. I think you know.

Screenwriting for a global market

There’s an interesting article in the June issue of The Atlantic about the increasing globalization (now there’s a loaded word) of American movie-making, not just financially, but artistically (“Offshoring the Audience”). We all know that the juggernaut that is the American movie industry reaches far and wide, and has done so for decades, but in a market dominated by studios trying to sell to a global audience, what does that leave us here at home? An excerpt:

Inevitably, the pervasive Hollywood question “Is there an international end to this?” has consequences for what sorts of pictures get made in America. Many countries, France most loudly, have condemned incursions by American culture, lamenting all the film and TV bookings lost by indigenous creations. Probably they’re right. Every bit as alarming, though, is what this tendency is doing to Hollywood films. If France makes movies for the French, and America makes movies for the world, who’s left to make movies for America? Would masterpieces like Mr. Smith Goes to Washington, played against a background of Washington senatorial skulduggery, and His Girl Friday, with its muzzle-loading, too-fast-to-translate comic dialogue, even get produced nowadays?

Here, alas, is the virus laying waste to modern Hollywood movies. What do, say, the Batman and Matrix pictures have in common, besides banality? Just for openers, insipid, infrequent dialogue. Why take the trouble to bang out good lines—supposing one can—if they’ll only be mistranslated for their real target markets, abroad? Both these movies could have been silents if they weren’t so loud. They’re overbearing, carelessly told, and gang-written into incomprehensibility. Small wonder they were tepidly welcomed in the United States. Americans at the movies are guilty of the same mistake in the early twenty-first century that grown-ups made at the movies in the 1980s: supposing that the pictures are made for them.

Pomp, circumstance, and all that jazz

It’s graduation season again, and The Chronicle of Higher Education muses on the “commencement communications gap,” offering some advice to this year’s speakers in “Not My Generation” (link via Arts & Letters Daily).

Somewhere on an American campus this month, commencement speaker I. B. Antiquated will warn fledglings about to flap their wings into the brave blue yonder that Fallujah “is not Khe Sanh, Basra is not Long Binh, and Tikrit is not Hue.”

The students, uncomfortably sweating in their caps and gowns, will yawn and think, “Whatever,” and “It’s like, what is he talking about?”

If I settle back in the Bay Area, I think I’d like to make a regular thing of attending commencement at Stanford. Sure, there is sometimes an interesting luminary to give the commencement address, but true entertainment comes in the form of the Wacky Walk. For the degree candidates, there’s no stuffy procession; that’s usually left to the faculty. At the main ceremony in the stadium, the graduating class struts onto the field wearing caps and gowns, yes, but also any assortment of costumes, signs, balloons, you name it—the bolder the better, partly just to be identifiable to one’s family sitting high up in the stands. My friends and I all wore bright orange lifevests over our gowns. (We told people “we’re all in the same boat.” Given more time and resources, we might’ve been able to create some kind of tangible boat out of cardboard. It’s all very Bay to Breakers.) The departmental ceremonies, which take place afterwards, are smaller, usually more decorous affairs; I took off my lifevest and placed it under my seat.

But back to speeches, our speaker that year was former U.S. Poet Laureate Robert Pinsky (MA, PhD, 1966). In an address I remember fondly, he basically took on the task of deconstructing the ceremony we call commencement, asking the very blunt question, “What are we doing here?” When you have a few minutes, check it out. It’s a good read. An excerpt:

On some deeper level, I think that what we see today is the celebration here of the two great obligations or standards, the two great tests that apply to every tribe and culture on earth, the two values by which any human society must be judged. These two measures of any people, of any nation, challenge us Americans at the end of what has been called “the American century” in special ways. These secular rituals and extraordinary gowns and processions invoke those two monumental standards and propose that on this splendid campus in the midst of a prosperous, technologically sophisticated society, which this is in some ways the center, in a richly burgeoning mass culture, we do continue, so these exercises are meant to assert, to fulfill the ancient fundamental purposes of community.

I mean the two great requirements of the human animal, without which human community is corrupt or useless, namely, caring for the young ones and honoring the wisdom of the old ones, including the ways and wisdom of the dead. The tribe or community or nation that fails at either of these missions brings woe and destruction on itself. Today the graduates pass symbolically from being the objects of the first concern, young ones who have been nurtured, to bearing the responsibilities of the second, those who are supposed to care for the young and who will preserve and extend the wisdom of the dead.

Wow. Sure gives a sense of purpose to sitting out there in a silly get-up surrounded by thousands of people for a couple of hours on a hot Sunday morning.