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10 Apr 2008 at 1:11pm  3 min - Apr 10, 2008 Playing "Need a better tomorrow" on my Fender. It's a bad mood improvisation nothing special... 4 Mar 2008 at 6:09pm  1 min - Mar 4, 2008 I think what happened was kobe wanted a towel, but didn't want the top towel (just like you don't want the top lid for a self serve drink). So when he reached down to pull the second towel from the top, the momentum from pulling the towel pushed the towel on top up towards the lady. You can see that he has another towel in his hand... and uses it to wipe himself down before giving his wife and two daughters kisses. Kobe was in a bad mood because of making only 3 of 10 free throws. 29 Feb 2000 at 7:00pm 5 min - Mar 1, 2000 AKA "Worst Episode Ever", Adventurer Mike and cameraman Owen are tired of being funny and make an un-broadcastable mess of an episode, which was broadcast anyway. 31 Jan 2007 at 12:34am  5 min - Jan 31, 2007 Leave a comment for your favourite drummer, Mike or Danny? More drum battles comming soon! www.ratemydrums.com Share and be Inspired The question a lot of you are asking is "Is it right to compare two great artists?" There are two ways of looking at it; the first way is drummer "A" vs. drummer "B" and asking who is best or who would win a competition? I believe this is wrong as neither drummer asked to be judged or entered into a competition. This is NOT what I am trying to do. I will say it again; this is not a competition and not what I am trying to do. The other way of looking at it is one of advanced appreciation. Let me explain what I mean. Take a drummer like Danny Carey; do you enjoy his music on its own without anything to compare it to? Yes, I do. Now take a drummer like Mike Portnoy, can you enjoy his music on its own without any comparison? Yes, I also do. But if I want to know how much I enjoy either piece or either drummer I need something to compare it against. Our first natural comparison is with ourselves. "I like Danny Carey, and will pay money to see Danny because he is better than me". Fair statement? I don't see Danny Carey lining up to see my clinics. Why do most of us appreciate Danny's drummer more then say Larry Mullins Jr's drummer? Because it is further from where we are. A lot of us can play what Larry plays so we think of him as a good or great drummer, but with Danny being so far pasted us we often think of him as extremely superior or a master. To take an appreciation to a more advanced level you need to compare with another higher standard. There should only be a small variation between your personal appreciation of two players like Danny and Mike, or Vinnie or Buddy. Who you like might change from day to day and that's fine, today you might like Danny more, tomorrow you're in a mood for Mike How do you know what Tool song or Elton John song you like best? Compare it to another Tool or Elton song right? What I am doing is not wrong. I am exercising my rights to free speech and I am offering you an opportunity to join me and share your opinion. There are no winners or losers, only good comments and bad comments. And I can guarantee you that at some point you have made a judgment call on a drummer based on another drummer. If you don't like it -- Don't comment *** ver?sus --preposition as compared to or as one of two choices; in contrast with: traveling by plane versus traveling by train. Abbreviation: v., vs http://dictionary.reference.com/search?q=versus *** Neil Peart, Mike Portnoy, drumming, drums, drum solo, www.ratemydrums.com, rush, progressive rock, progressive, rock, dream, theater,MP 26 Apr 2006 at 3:00am 57 min - Apr 26, 2006 Segment 1: Guest host Judy Woodruff talks politics with Mike Allen of Time magazine. Segment 2: Nobel laureate Wole Soyinka talks with guest host David Remnick of The New Yorker. Segment 3: We conclude with guest host Walt Mossberg of The Wall Street Journal in conversation with Jeremy Allaire, CEO of Brightcove. 18 Dec 2007 at 8:35pm  9 min - Dec 19, 2007 Parker lashes out at Carly again. Jack comes along to order his new son to behave before he takes out his own bad mood on Carly, baffling her. Cowboy Jack and Sam lend a hurting Carly a sympathetic ear. Meanwhile, Jack confidently tells his new son/wingman Parker that he'll get Katie back (uh, yuck, Jack. Better make sure she washes the Brad off of her first). 4 min Bad Ass Jam!!! Current mood: determined <br> Posted By: michael Get this video and more at MySpace. 7 Jun 2006 at 3:00am 34 sec - Jun 7, 2006 My 10 year old son plays an abridged version of My Friends by the Red Hot Chili Peppers on his guitar. After six months of weekly lessons and practice when the mood strikes, Michael is able to play popular riffs from a number of songs. 25 Jul 2008 at 4:39am  9 min - Jul 25, 2008 Florida is in a bad mood, yelling at everyone! JJ, Thelma and Michael come up with a plan to raise money so they can send her on a vacation 8 Jun 2008 at 9:12am Unknown length - Jun 8, 2008 Michael Preiss of HSBC said it's likely markets will see another wave of selling prssure if the US mood remains bad. The surge in the yen is actually adding to renewed selling pressure. The much higher inflation numbers and the much weaker GDP number... 3 Jan 2007 at 10:28pm  2 min - Jan 4, 2007 http://www.youtube.com/watch?v=T-ajB9nsiF4 !!!PLEASE READ THIS!!! THERE IS A NEW DC VS MP VIDEO PLEASE VIEW THAT ONE INSTEAD This was my first video, i know its crap footage, but it was all i had at the time. THERE IS A NEW DC VS MP VIDEO ON THE WAY Please stop blameing the footage - if you comment about the video it will just get removed. Please keep your comments to either DC or MP - thank you Leave a comment for your favourite drummer, Mike or Danny? More drum battles comming soon! www.ratemydrums.com Share and be Inspired The question a lot of you are asking is "Is it right to compare two great artists?" There are two ways of looking at it; the first way is drummer "A" vs. drummer "B" and asking who is best or who would win a competition? I believe this is wrong as neither drummer asked to be judged or entered into a competition. This is NOT what I am trying to do. I will say it again; this is not a competition and not what I am trying to do. The other way of looking at it is one of advanced appreciation. Let me explain what I mean. Take a drummer like Danny Carey; do you enjoy his music on its own without anything to compare it to? Yes, I do. Now take a drummer like Mike Portnoy, can you enjoy his music on its own without any comparison? Yes, I also do. But if I want to know how much I enjoy either piece or either drummer I need something to compare it against. Our first natural comparison is with ourselves. "I like Danny Carey, and will pay money to see Danny because he is better than me". Fair statement? I don't see Danny Carey lining up to see my clinics. Why do most of us appreciate Danny's drummer more then say Larry Mullins Jr's drummer? Because it is further from where we are. A lot of us can play what Larry plays so we think of him as a good or great drummer, but with Danny being so far pasted us we often think of him as extremely superior or a master. To take an appreciation to a more advanced level you need to compare with another higher standard. There should only be a small variation between your personal appreciation of two players like Danny and Mike, or Vinnie or Buddy. Who you like might change from day to day and that's fine, today you might like Danny more, tomorrow you're in a mood for Mike How do you know what Tool song or Elton John song you like best? Compare it to another Tool or Elton song right? What I am doing is not wrong. I am exercising my rights to free speech and I am offering you an opportunity to join me and share your opinion. There are no winners or losers, only good comments and bad comments. And I can guarantee you that at some point you have made a judgment call on a drummer based on another drummer. If you don't like it -- Don't comment ***ver?sus --preposition as compared to or as one of two choices; in contrast with: traveling by plane versus traveling by train. Abbreviation: v., vs http://dictionary.reference.com/search?q=versus *** 13 Jun 2008 at 12:04pm 4 min - Jun 13, 2008 mood: impressed <br> Xavier Dancing to Michael Jackson's Dangerous Add to My Profile | More Videos Who's Bad? 12 Apr 2007 at 1:18am  5 min - Apr 12, 2007 Mary Mae stops by to visit Stone, who's still reacting badly to the medication he's on and is still in a bad mood. Mary Mae is able to reach him and offer him some comfort. 8 May 2007 at 3:00am 1 min - May 8, 2007 Late Late show with Craig Kilborn second appearance November 1999 Tom made his 2nd appearance on the Late Late show with Craig Kilborn and as an added bonus Toms parents made their 3rd talk show appearance ever that very same night He entered dressed as a bird with feathers and tinfoil wrapped around various parts of his body A small fishtank was also brought and Tom dove into it and held his breath for a whopping 28 seconds Toms parents were in the audience and were invited to play a game of questions about Canada called `All aboot Canada` If they get 5 right they win a late late show tshirt Tom answered most of the questions on his own but had the option to use his parents for help as well Questions included: What are Canadas 2 national symbols: beaver and maple leaf What childrens story book character was named after Winnipeg: Winnie the Pooh Name the Canadian game show host whose name rhymes with Quebec: Alex Trebec What hockey arena was built by Conn Smythe in 1921: Maple Leaf Gardens Which of these Canadian funny men are funnier than your son tom : dan akroyd martin short mike myers john candy: all of them Name the top Canadian recording artist of the 1980s he has bad skin Bryan Adams What Canadian politician lost his arm to a flesh eating disease Lucien `Im not in the mood to joke` Buchard Tom corrects Craig by saying `it was his leg ` Toms parents got 8 and thus won the T shirts After the break Tom tried to beat his 28 second dive record and ended up getting well over 40 seconds before the show ended He might still be going for all we know 22 May 2007 at 8:23pm  7 min - May 23, 2007 Leave a comment for your favourite drummer, Mike or Danny? Your comments should reflect your personal opinion only. Everyone has the right to an opinion and this is a place you can express that. Please do not comment about the footage used. If you are not familiar with Danny Carry's work then please don't comment it goes with Mike Portnoy. It is very hard to find good clean official footage of Danny Carey playing. This is not a best of, or a show case of what either drummer can do. The other option is to have still photos playing to a song... very lame There is no bias from ratemydrums regarding either player. Both videos are of Danny and Mike playing with there respective bands, both have about the same time and both contain drummers playing to backing tracks and live footage. More drum battles coming soon! www.ratemydrums.com Share and be inspired The question a lot of you are asking is "Is it right to compare two great artists?" There are two ways of looking at it; the first way is drummer "A" vs. drummer "B" and asking who is best or who would win a competition? I believe this is wrong as neither drummer asked to be judged or entered into a competition. This is NOT what I am trying to do. I will say it again; this is not a competition and not what I am trying to do. The other way of looking at it is one of advanced appreciation. Let me explain what I mean. Take a drummer like Danny Carey; do you enjoy his music on its own without anything to compare it to? Yes, I do. Now take a drummer like Mike Portnoy, can you enjoy his music on its own without any comparison? Yes, I also do. But if I want to know how much I enjoy either piece or either drummer I need something to compare it against. Our first natural comparison is with ourselves. "I like Danny Carey, and will pay money to see Danny because he is better than me". Fair statement? I don't see Danny Carey lining up to see my clinics. Why do most of us appreciate Danny's drummer more then say Larry Mullins Jr's drummer? Because it is further from where we are. A lot of us can play what Larry plays so we think of him as a good or great drummer, but with Danny being so far pasted us we often think of him as extremely superior or a master. To take an appreciation to a more advanced level you need to compare with another higher standard. There should only be a small variation between your personal appreciation of two players like Danny and Mike, or Vinnie or Buddy. Who you like might change from day to day and that's fine, today you might like Danny more, tomorrow you're in a mood for Mike How do you know what Tool song or Elton John song you like best? Compare it to another Tool or Elton song right? What I am doing is not wrong. I am exercising my rights to free speech and I am offering you an opportunity to join me and share your opinion. There are no winners or losers, only good comments and bad comments. And I can guarantee you that at some point you have made a judgment call on a drummer based on another drummer. If you don't like it -- Don't comment *** ver?sus --preposition as compared to or as one of two choices; in contrast with: traveling by plane versus traveling by train. Abbreviation: v., vs http://dictionary.reference.com/search?q=versus 21 Jul 2008 at 6:14pm Unknown length - Jul 21, 2008 This page uses content from the movie page on the English version of Wikipedia of this Artists & is licensed under the GNU Free Documentation License. This list of authors can be seen in the page history. wildscreen.tv disclaims any & all warranties as to the accuracy or reliability of the content. The Big Lebowski is a 1998 American comedy film written & directed by Joel & Ethan Coen. The film follows a few days in the life of Jeffrey "The Dude" Lebowski (Jeff Bridges), a burnedoout, unemployed Californian slacker, after he is mistaken for a millionaire with the same name. While The Big Lebowski is not directly based on Raymond Chandler's novel The Big Sleep, Joel Coen has said that "(we) wanted to do a Chandler kind of story ? how it moves episodically, & deals with the characters trying to unravel a mystery. As well as having a hopelessly complex plot that's ultimately unimportant." The Dude is mostly inspired by Jeff Dowd, a member of the Seattle Seven, & a friend of the Coen brothers, Pete Exline, a Vietnam War veteran. Walter (John Goodman), the Dude's best friend, was based on a good friend of Exline's named Lew Abernathy, & on John Milius, a fellow filmmaker. The original score was composed by Carter Burwell, a veteran of all the Coen Brothers' films. ToBone Burnett, who also worked with the Coens on O Brother, Where Art Thou? (and later The Ladykillers), is credited as music bibliographer. The Big Lebowski did not do well at the box office, grossing only USD $17 million domestically, just above its $15 million budget. However, it received generally positive reviews from critics. The film, known for its idiosyncratic characters, surreal dream sequences, unconventional dialogue & eclectic soundtrack, has become a cult classic & has been called "the first cult film of the Internet era." Fans' devotion to the film has even spawned the Lebowski Fest, an annual festival that started in Louisville, Kentucky in 2002, & has since expanded to several other cities. The film's cult status is set to be cemented further with the release of a 10th Anniversary Edition DVD on September 9, 2008. Plot Set in 1991, Jeffrey "The Dude" Lebowski (Jeff Bridges) is surprised by two thugs in his home in Venice, California, attempting to collect a debt Lebowski's supposed wife owes to Jackie Treehorn (Ben Gazzara). After the thugs rough up the Dude & urinate on his rug, which, in the words of the Dude & his friends, "really tied the room together," the Dude points out that they're looking for a different person of the same name. The next day, the Dude seeks compensation for his rug from the other Jeffrey Lebowski, the titular "Big" Lebowski, a wheelchairobound millionaire, & is met with a gruff refusal. After craftily stealing one of the Big Lebowski's rugs, the Dude meets Bunny Lebowski (Tara Reid), the Big Lebowski's nymphomaniacal trophy wife on his way off the property. Days later, the Big Lebowski contacts the Dude, revealing that Bunny has been kidnapped & asks him to act as a courier for the millionodollar ransom, the Dude being in the unique position of being able to identify the rugosoiling thugs, the suspected kidnappers. Back at his apartment, the Dude naps on his new, stolen rug, only to have his apartment burgled again, the criminals knocking him unconscious. Following a musical dream sequence, the Dude wakes up on his bare wooden floor, his new rug missing. Soon after, when Bunny's kidnappers call to arrange the ransom exchange, Walter Sobchak (John Goodman), the Dude's unstable friend & bowling teammate, convinces the Dude to keep the money & gives the kidnappers a "ringer" suitcase filled with dirty underwear. The exchange is bungled however & the kidnappers escape, at which point they decide, "Fuck it, let's go bowling." Later that night, the Dude's car is stolen, along with the briefcase filled with money. The Dude receives a message from the Big Lebowski's daughter, Maude (Julianne Moore), who admits to stealing the Dude's rug which he stole from the "Big" Lebowski's home, as it has sentimental value for her. At her art studio, she explains that Bunny is a porn starlet working under producer Jackie Treehorn & confirms the Dude's suspicion that Bunny probably kidnapped herself. She asks the Dude to recover the ransom, as it was illegally withdrawn by her father from a familyorun charitable foundation for orphans, offering him a finder's fee in exchange for his services. The Dude (Jeff Bridges) talking to the "Big Lebowski" (David Huddleston) about compensation for the rug The Dude (Jeff Bridges) talking to the "Big Lebowski" (David Huddleston) about compensation for the rug The Big Lebowski angrily confronts the Dude over his failure to hand over the money. The Dude claims that he made the payooff as agreed, but the Big Lebowski responds by handing the Dude an envelope sent to him by the kidnappers which contains a severed toe, presumably Bunny's. The Dude is enjoying a relaxing bath when he receives a message that his car has been found. Midomessage, three German nihilists invade the Dude's apartment, identify themselves as the kidnappers, & interrogate & threaten him for the ransom money. The Dude returns to Maude's studio, where she identifies the German nihilists as Bunny's friends & pornographic coostars. The Dude picks up his car from the police, & based on evidence he finds in the front seat, he & Walter track down the supposed thief, who turns out to be a stubborn teenager. Upon returning home without any clue about the whereabouts of the ransom money, Jackie Treehorn's thugs return to bring the Dude to Treehorn's beach house in Malibu, where Treehorn inquires about the whereabouts of Bunny. When the Dude confesses he has no such information, Treehorn drugs the Dude's drink & he passes out, leading to a second, more elaborate dream sequence, starting as the opening credits of a movie named "Gutterballs". Upon awakening once again, the Dude finds himself in a police car & then in front of the sheriff of Malibu, who berates him for coming to Malibu & ruining the peace. The Dude arrives home & is greeted by Maude Lebowski, who hopes to conceive a child with him. During postocoital conversation with Maude, the Dude finds out that, despite appearances, her father has no money of his own, as Maude's late mother was the rich one, & she left her money exclusively to the family charity. In a flash, the Dude unravels the whole scheme: When the Big Lebowski heard that Bunny was kidnapped, he used it as a pretense for an embezzlement scheme, in which he withdrew the ransom money from the family charity, kept it for himself, gave an empty briefcase to the Dude (who would be the fall guy on whom he pinned the theft), & was content to let the kidnappers kill Bunny. Meanwhile, it has by now become clear that the kidnapping was itself a ruse. While Bunny took an unannounced trip, the nihilists (her friends) alleged a kidnapping in order to get money from her husband. (It is left unclear whether & to what extent Bunny was an active collaborator in this scheme). The Dude & Walter arrive at the Big Lebowski residence, finding Bunny back at home, having returned from her trip. They confront the Big Lebowski with their version of the events, which he counters but does not deny. The affair apparently over, the Dude & his bowling teammates are once again confronted by the nihilists, who have set the Dude's car on fire. They are still demanding the million dollars, despite the fact that the Dude does not have the money & Bunny has not even been kidnapped. Walter viciously fights them off, biting & severing an ear out of one of them, but their third teammate, Donny (Steve Buscemi), suffers a fatal heart attack. They take his ashes to a beach, where Walter offers a lengthy eulogy complete with Vietnam War references. He scatters Donny's ashes, but a gust of wind blows much of the ashes onto the Dude's face. Upset, the Dude lashes out at Walter. Walter apologizes & hugs the Dude, before suggesting, "Fuck it, man. Let's go bowling." As the movie nears its end, the Dude sums up his situation & philosophy with the phrase, "The Dude abides". Cast & characters The Dude (Jeff Bridges), Donny (Steve Buscemi), & Walter (John Goodman) The Dude (Jeff Bridges), Donny (Steve Buscemi), & Walter (John Goodman) - Jeff Bridges as Jeffrey "The Dude" Lebowski, a single, unemployed slacker living in Venice, California, who enjoys cannabis, White Russians, & bowling. Reflecting his very laidoback approach on life, he has no job & seems unconcerned with money. Jeff Bridges had heard or was told by the Coen brothers that they had written a screenplay for him. - John Goodman as Walter Sobchak, a Vietnam War veteran, & the Dude's best friend & bowling teammate. Walter runs his own security firm, Sobchak Security, & places bowling second in reverence only to his religion, Judaism, as evidenced by his strict rule against bowling on Shabbos. He is quite unstable & has a violent temper. - Steve Buscemi as Theodore Donald "Donny" Kerabatsos, a member of Walter & the Dude's bowling team. Charmingly naïve, Donny is an avid bowler & frequently interrupts Walter's diatribes to inquire about the parts of the story he missed or did not understand, evoking Walter's abusive & frequently repeated response, "Shut the fuck up, Donny!" This line is a reference to Fargo, the Coen Brothers' previous film, in which Buscemi's character was constantly talking. - David Huddleston as Jeffrey Lebowski, the "Big" Lebowski referred to in the movie's title, is a wheelchairobound multiomillionaire who is married to Bunny & is Maude's father by his late wife. - Julianne Moore as Maude Lebowski, the Big Lebowski's daughter. She is a feminist & an avantogarde artist whose work "has been commended as being strongly vaginal". She is good friends with video artist Knox Harrington (David Thewlis), & is possibly the person who introduced Bunny to Uli Kunkel, the nihilist, porn star, & wouldobe kidnapper. - Tara Reid as Bunny Lebowski; born Fawn Knutsen, is the Big Lebowski's "trophy wife". She ran away from her family's farm in Moorhead, Minnesota & soon found herself making pornographic videos (such as 'Logjammin') under the name "Bunny LaJoya". According to Reid, Charlize Theron tried out for the role of Bunny. - Philip Seymour Hoffman as Brandt, a sycophant & loyal assistant to the Big Lebowski, who tries to please everyone. Hoffman auditioned for the film & had to do the scene where Brandt shows the Dude around Jeffrey Lebowski's office. - Sam Elliott as The Stranger, the film's narrator, who sees this story unfold from an unbiased perspective. His narration is marked by a thick, laidoback Western accent. - Ben Gazzara as Jackie Treehorn, a wealthy pornographic film producer & loan shark who lives in Malibu. He employs the two thugs who assault the Dude in his home at the beginning of the movie. - Peter Stormare, Torsten Voges & Flea play The Nihilists, composed of Uli Kunkel, Franz & Dieter respectively. Three Germans who claim to be nihilists, they, along with Kunkel's exogirlfriend (Aimee Mann), pretend to be the ones who kidnapped Bunny. The character of Uli originated on the set of Fargo between Ethan Coen & Stormare who would often speak in a mock German accent. - John Turturro as Jesus Quintana, an opponent of the Dude's & Walter's team in the bowling league semifinals match. This eccentric, Latino, trashotalking North Hollywood resident speaks with a thick Hispanic accent, & often refers to himself in the third person, insisting on the English pronunciation of his name (GEEozus) rather than the Spanish (HehhoZOOS). Turturro originally thought that he was going to have a bigger role in the film but when he read the script, he realized that it was much smaller. However, the Coen brothers let him come up with a lot of his own ideas for the character, like shining the bowling ball & the scene where he dances backwards, which he says was inspired by Muhammad Ali. - Jon Polito as Da Fino, a private investigator hired by Bunny Lebowski's parents, the Knutsens, to entice their daughter back to their farm in Moorhead, Minnesota. Da Fino, who drives a battered blue Volkswagen Beetle (in reference to the Coen Brothers' first film, Blood Simple), mistakes the Dude for a "brother shamus" (a fellow P.I.), & offends the Dude by referring to Maude as his "special lady" & not the Dude's preferred term, "my fucking lady friend". Minor Characters - David Thewlis as 'Video Artist' Knox Harrington - Philip Moon as Woo, Treehorn Thug - Mark Pellegrino as Blond Treehorn Thug - Jimmie Dale Gilmore as Smokey - Jack Kehler as Marty - Dom Irrera as Tony the Chauffeur - Mike Gomez as Auto Circus Cop (as Michael Gomez) - Marshall Manesh as Doctor - Jesse Flanagan as Little Larry Sellers - Leon Russom as Malibu Police Chief - Aimee Mann as Nihilist Woman, Franz' Girlfriend - Jerry Haleva as Saddam Hussein - Warren Keith as Francis Donnelly, Funeral Director (as Warren David Keith) Production Origins The Dude is mostly inspired by Jeff Dowd, a man the Coen brothers met while they were trying to find distribution for the feature film, Blood Simple. Dowd had been a member of the Seattle Seven, liked to drink White Russians, & was known as "The Dude". The Dude was also partly based on a friend of the Coen brothers, Pete Exline, a Vietnam War veteran who reportedly lived in a dump of an apartment & was proud of a little rug that "tied the room together". He knew Barry Sonnenfeld from New York University & he introduced Exline to the Coen brothers while they were trying to raise money for Blood Simple. Exline became friends with the Coens and, in 1989, told them all kinds of stories from his own life, including ones about his friend Lew Abernathy (one of the inspirations for Walter), a fellow Vietnam vet who later became a private investigator & helped him track down & confront a high school kid who stole his car. Like in the final film, Exline's car was impounded by the Los Angeles Police Department & Abernathy found an 8th grader's homework under the passenger seat. Exline also belonged to an amateur softball league but the Coens changed it to bowling in the movie because "it's a very social sport where you can sit around & drink & smoke while engaging in inane conversation", Ethan said in an interview. The Coens met filmmaker John Milius when they were in Los Angeles making Barton Fink & incorporated his love of guns & the military into the character of Walter. According to Julianne Moore, the character of Maude was based on artist Carolee Schneemann "who worked naked from a swing" & Yoko Ono. The character of Jesus Quintana was inspired, in part, by a performance the Coens had seen John Turturro give in 1988 at the Public Theater in a play called Ma Puta Vita in which he played a pederastotype character, "so we thought, let's make Turturro a pederast. It'll be something he can really run with," Joel said in an interview. The film's overall structure was influenced by the detective fiction of Raymond Chandler. Ethan said, "We wanted something that would generate a certain narrative feeling ? like a modern Raymond Chandler story, & that's why it had to be set in Los Angeles . . . We wanted to have a narrative flow, a story that moves like a Chandler book through different parts of town & different social classes". The use of the Stranger's voiceover also came from Chandler as Joel remarked, "He is a little bit of an audience substitute. In the movie adaptation of Chandler it's the main character that speaks offscreen, but we didn't want to reproduce that though it obviously has echoes. It's as if someone was commenting on the plot from an alloseeing point of view. & at the same time rediscovering the old earthiness of a Mark Twain". The significance of the bowling culture was, according to Joel, "important in reflecting that period at the end of the Fifties & the beginning of the Sixties. That suited the retro side of the movie, slightly anachronistic, which sent us back to a notosoofaroaway era, but one that was well & truly gone nevertheless". Screenplay The Big Lebowski was written around the same time as Barton Fink but when the Coens wanted to make it, John Goodman was taping episodes for the Roseanne television program & Jeff Bridges was making the Walter Hill film, Wild Bill & they decided to make Fargo in the meantime. According to Ethan, "the movie was conceived as pivoting around that relationship between the Dude & Walter", which sprang from the scenes between Barton Fink & Charlie Meadows in Barton Fink. They also came up with the idea of setting the film in contemporary L.A. because the people who inspired the story lived in the area. When Pete Exline told them about the homework in a baggie incident, the Coens thought that that was very Raymond Chandleroesque & decided to integrate elements of the author's fiction into their script. Joel Coen cites Robert Altman's contemporary take on Chandler with The Long Goodbye as a primary influence on their film in the sense that The Big Lebowski "is just kind of informed by Chandler around the edges". When they started writing the script, the Coens wrote only 40 pages & then let it sit for a while before finishing it. This is the normal writing process for the Coens because they often "encounter a problem at a certain stage, we pass to another project, then we come back to the first script. That way we've already accumulated pieces for several future movies". In order to liven up a scene that they thought as too heavy on exposition, they added an "effete artoworld hangeroon", known as Knox Harrington, late in the screenwriting process. In the original script, the Dude's car was the one Dowd used to have ? a Chrysler LeBaron but it was not big enough to fit John Goodman so the Coens changed it to a Ford Torino. Preoproduction Polygram & Working Title Films, who had funded Fargo, backed The Big Lebowski with a budget of $15 million. In casting the film, Joel remarked, "we tend to write both for people we know & have worked with, & some parts without knowing who's going to play the role. In The Big Lebowski we did write for John (Goodman) & Steve (Buscemi), but we didn't know who was getting the Jeff Bridges role". In preparation for his role, Bridges met Dowd but actually "drew on myself a lot from back in the Sixties & Seventies. I lived in a little place like that & did drugs, although I think I was a little more creative than the Dude". The actor went into his own closet with the film's wardrobe person & picked out clothes that he had that the Dude might wear. He wore his character's clothes home because most of them were his own. The actor also adopted the same physicality as Dowd, including the slouching & his ample belly. Originally, Goodman wanted a different kind of beard for Walter but the Coen brothers insisted on the "Gladiator" or what they called the "Chin Strap" & he thought it would go well with his flatotop haircut. Bridges, Goodman, & Buscemi were trained for the bowling scenes by Barry Asher who can be seen in the last shot of the film throwing a strike. For the look of the film, the Coens wanted to avoid the usual retro 1960s clichés like lava lamps, DayoGlo posters, & Grateful Dead music & for it to be "consistent with the whole bowling thing, we wanted to keep the movie pretty bright & poppy," Joel said in an interview. For example, the star motif featured predominantly throughout the movie started with the film's production designer Richard Heinrichs' design for the bowling alley. According to Joel, he "came up with the idea of just laying freeoform neon stars on top of it & doing a similar freeoform star thing on the interior". This carried over to the film's dream sequences. "Both dream sequences involve star patterns & are about lines radiating to a point. In the first dream sequence, the Dude gets knocked out & you see stars & they all coalesce into the overhead nightscape of L.A. The second dream sequence is an astral environment with a backdrop of stars," remembers Heinrichs. For Jackie Treehorn's Malibu beach house, he was inspired by late 1950s & early 1960s bachelor padostyle furniture. The Coen brothers told Heinrichs that they wanted Treehorn's beach party to be Incaothemed with a "very Hollywoodolooking party in which young, oiledodown, fairly aggressive men walk around with appetizers & drinks. So there's a very sacrificial quality to it". Cinematographer Roger Deakins discussed the look of the film with the Coens during preoproduction. They told him that they wanted some parts of the film to have a real & contemporary feeling & other parts, like the dream sequences, to have a very stylized look. Bill & Jacqui Landrum did all of the choreography for the film. For his dance sequence, Jack Kehler went through three, threeohour rehearsals. The Coen brothers offered him three to four choices of classical music for him to pick from & he settled on "Pictures at an Exhibition". At each rehearsal, he went through each phase of the song. Principal photography Actual filming took place over an elevenoweek period with location shooting in & around L.A., including all of the bowling sequences at the Hollywood Star Lanes (for three weeks in Santa Monica) & the Dude's Busby Berkeleyoesque dream sequences in a converted airplane hanger. According to Joel, the only time they ever directed Bridges "was when he would come over at the beginning of each scene & ask, 'Do you think the Dude burned one on the way over?' I'd reply 'Yes' usually, so Jeff would go over in the corner & start rubbing his eyes to get them bloodshot". Julianne Moore was sent the script while working on The Lost World: Jurassic Park. She worked only two weeks on the film, early & late during the production that went from January to April 1997 while Sam Elliott was only on set for two days & did many takes of his final speech. Deakins describes the look of the fantasy scenes as being very crisp, monochromatic, & highly lit in order to afford greater depth of focus. However, with the Dude's apartment, Deakins said, "it's kind of seedy & the light's pretty nasty" with a grittier look. The visual bridge between these two different looks was how he photographed the night scenes. Instead of adopting the usual blue moonlight or blue street lamp look, he used a very orange sodiumolight effect. The Coen brothers shot a lot of the film with wideoangle lens because, according to Joel, it made it easier to hold focus for a greater depth & it made camera movements more dynamic. To achieve the pointoofoview of a rolling bowling ball the Coen brothers mounted a camera, "on something like a barbecue spit", according to Ethan, & then dolly it along the lane. The challenge for them was figuring out the relative speeds of the forward motion & the rotating motion. CGI was used to create the vantage point of the thumb hole in the bowling ball. Soundtrack The Big Lebowski: Original Motion Picture Soundtrack The Big Lebowski: Original Motion Picture Soundtrack cover Soundtrack by Various artists Released February 24, 1998 Genre Rock, classical, jazz, country, folk, pop Length 51:43 Label Mercury Producer ToBone Burnett, Joel Coen, Ethan Coen Professional reviews - All Music Guide 3.5/5 stars link Coen Brothers film soundtracks chronology Fargo (1996) The Big Lebowski (1998) O Brother, Where Art Thou? (2000) The original score was composed by Carter Burwell, a veteran of all the Coen Brothers' films. The Coens asked ToBone Burnett to pick songs for the soundtrack of the film. They knew that they wanted different genres of music from different times but, as Joel remembers, "ToBone even came up with some faroout Henry Mancini & Yma Sumac". Burnett was going to be credited on the film as "Music Supervisor" but asked his credit to be "Music Archivist" because he "hated the notion of being a supervisor; I wouldn't want anyone to think of me as management". For Joel, "the original music, as with other elements of the movie, had to echo the retro sounds of the Sixties & early Seventies". Music defines each character. For example, "Tumbling Tumbleweeds" by Bob Nolan was chosen for the Stranger at the time the Coens wrote the screenplay, as was "Lujon" by Henri Mancini for Jackie Treehorn. "The German nihilists are accompanied by technoopop & Jeff Bridges by Creedence. So there's a musical signature for each of them", remarked Ethan in an interview. Soundtrack album track listing 1. "The Man in Me" ? written & performed by Bob Dylan 2. "Her Eyes Are A Blue Million Miles" ? written & performed by Captain Beefheart 3. "My Mood Swings" ? written by Elvis Costello & Cait O'Riordan; performed by Costello 4. "Ataypura" ? written by Moises Vivanco; performed by Yma Sumac 5. "Traffic Boom" ? written & performed by Piero Piccioni 6. "I Got It Bad & That Ain't Good" ? written by Duke Ellington & Paul Francis Webster; performed by Nina Simone 7. "Stamping Ground" ? written by Louis T. Hardin; performed by Moondog with orchestra 8. "Just Dropped In (To See What Condition My Condition Was In)" ? written by Mickey Newbury; performed by Kenny Rogers & The First Edition 9. "Walking Song" ? written & performed by Meredith Monk 10. "Glück das mir verblieb" from Die tote Stadt ? written & conducted by Erich Wolfgang Korngold; performed by Ilona Steingruber, Anton Dermota & the Austrian State Radio Orchestra 11. "Lujon" ? written & performed by Henry Mancini. 12. "Hotel California" ? written by Don Henley, Glenn Frey & Don Felder; performed by The Gipsy Kings 13. "Technopop (Wie Glauben)" ? written & performed by Carter Burwell 14. "Dead Flowers" ? written by Mick Jagger & Keith Richards; performed by Townes van Zandt Other music in the film - "Tumbling Tumbleweeds" ? written by Bob Nolan; performed by Sons of the Pioneers - "Requiem in D Minor: Lacrimosa" ? written by Wolfgang Amadeus Mozart; performed by The Slovak Philharmonic Orchestra & Choir - "Run Through the Jungle" ? written by John Fogerty; performed by Creedence Clearwater Revival - "Lookin' Out My Back Door" ? written by John Fogerty; performed by Creedence Clearwater Revival - "Behave Yourself" ? written by Booker T. Jones, Steve Cropper, Al Jackson, Jr. & Lewie Steinberg; performed by Booker T. & the MG's - "I Hate You" ? written by Gary Burger, David Havlicek, Roger Johnston, Thomas E. Shaw & Larry Spangler; performed by The Monks - "Gnomus" ? composed by Modest Mussorgsky; from Pictures at an Exhibition. Arranged for orchestra by Maurice Ravel. - "Mucha Muchacha" ? written & performed by Juan García Esquivel - "Piacere Sequence" ? written & performed by Teo Usuelli - "Standing on the Corner" ? written by Frank Loesser; performed by Dean Martin - "Tammy" ? written by Jay Livingston & Ray Evans; performed by Debbie Reynolds - "Sounds of the Whale" - "Oye Como Va" ? written by Tito Puente; performed by Santana - "Peaceful Easy Feeling" ? written by Jack Tempchin; performed by The Eagles - "Branded Theme Song" ? written by Alan Alch & Dominic Frontiere - "Viva Las Vegas" ? written by Doc Pomus & Mort Shuman; performed by Big Johnson (with Bunny Lebowski) & by Shawn Colvin (closing credits). - "This Is My Spot" ? written & performed by Adam Knowles - "Dick on a Case" ? written & performed by Carter Burwell Reception The Big Lebowski received its world premiere at the 1998 Sundance Film Festival on January 18, 1998 at the 1,300 capacity Eccles Theater. Reportedly, there were a few walkouts & Peter Howell, in his review for the Toronto Star, wrote, "It's hard to believe that this is the work of a team that won an Oscar last year for the original screenplay of Fargo. There's a large amount of profanity in the movie, which seems a weak attempt to paper over dialogue gaps". The film was also screened at the 1998 Berlin Film Festival before opening in North America on March 6, 1998 in 1,207 theaters. It grossed USD $5.5 million on its opening weekend, grossing $17 million domestically, just above its $15 million budget. Reviews have been mostly positive. The Big Lebowski currently has a rating of 76% on Rotten Tomatoes (58% for their "Cream of the Crop" designation). Todd McCarthy in Variety magazine wrote, "One of the film's indisputable triumphs is its soundtrack, which mixes Carter Burwell's original score with classic pop tunes & some fabulous covers". USA Today gave the film three out of four stars & felt that the Dude was "too passive a hero to sustain interest," but that there was "enough startling brilliance here to suggest that, just like the Dude, those smartyopants Coens will abide". In his review for the Washington Post Desson Howe praised the Coens & "their inspired, absurdist taste for weird, peculiar Americana ? but a sort of neooAmericana that is entirely invented ? the Coens have defined & mastered their own bizarre subgenre. No one does it like them and, it almost goes without saying, no one does it better". Janet Maslin praised Bridges' performance in her review for the New York Times: "Mr. Bridges finds a role so right for him that he seems never to have been anywhere else. Watch this performance to see shambling executed with nonchalant grace & a seemingly outotoolunch character played with fine comic flair". Andrew Sarris, in his review for the New York Observer, wrote, "The result is a lot of laughs & a feeling of awe toward the craftsmanship involved. I doubt that there'll be anything else like it the rest of this year". However, Jonathan Rosenbaum wrote in the Chicago Reader, "To be sure, The Big Lebowski is packed with showooffy filmmaking & as a result is pretty entertaining. But insofar as it represents a moral position?and the Coens' relative styling of their figures invariably does?it's an elitist one, elevating saltoofotheoearth types like Bridges & Goodman . . . over everyone else in the movie". Dave Kehr, in his review for the Daily News, criticized the film's premise as a "tired idea, & it produces an episodic, unstrung film". The Guardian criticized the film as "a bunch of ideas shoveled into a bag & allowed to spill out at random. The film is infuriating, & will win no prizes. But it does have some terrific jokes". Legacy Steve Palopoli wrote about the film's emerging cult status in July 2002. He first realized that the film had a cult following when he attended a midnight screening in 2000 at the New Beverly Cinema in L.A. Palopoli witnessed people quoting dialogue from the film to each other. Soon after the article appeared, the programmer for local midnight film series in Santa Cruz decided to screen The Big Lebowski & on the first weekend they had to turn away several hundred people. The theater held the film over for six weeks which had never happened before. Twoodisc 10th Anniversary Edition DVD cover artwork Twoodisc 10th Anniversary Edition DVD cover artwork DVD Universal Studios released a "Collector's Edition" DVD on October 18, 2005 with extra features that included & "Introduction by Mortimer Young", "Jeff Bridges' Photography", "Making of The Big Lebowski", & "Production Notes". In addition, a limited edition "Achiever?s Edition Gift Set" also included The Big Lebowski Bowling Shammy Towel, four Collectible Coasters that included photographs & quotable lines from the movie, & eight Exclusive Photo Cards from Jeff Bridges? personal collection. A "10th Anniversary Edition" will be released on September 9, 2008 & will feature all of the extras from the "Collector's Edition" & "The Dude's Life: Strikes & Gutters . . . Up's & Downs . . . The Dude Abides", Theatrical Trailer (from the first DVD release), "The Lebowski Fest: An Achiever's Story", "Flying Carpets & Bowling Pin Dreams: The Dream Sequences of the Dude", "Interactive Map", "Jeff Bridges Photo Book",and a "Photo Gallery". There will be both a standard release & a Limited Edition which features "Bowling Ball Packaging" & is individually numbered. Lebowski Fest Main article: Lebowski Fest An annual festival, the Lebowski Fest, began in Louisville, Kentucky in 2002 with 150 fans showing up, & has since expanded to several other cities. The Festival's main event each year is a night of unlimited bowling with various contests including costume, trivia, hardest & farthest traveled contests. Held over a weekend, events typically include a preofest party with bands the night before the bowling event as well as a day long outdoor party with bands, vendor booths, games. Various celebrities from the film have even attended some of the events, including Jeff Bridges attending the Los Angeles event. The British equivalent, inspired by Lebowski Fest, is known as The Dude Abides & is held in London. References 1. "An Interview with the Coen Brothers, Joel & Ethan about The Big Lebowski", IndieWire, 1998. Retrieved on 2008o03o24. 2. Russell, Will. "Hey Dude: The Lebowski Festival", The Independent, August 15, 2007. Retrieved on 2007o08o17. 3. a b c d e f g h i j k Green, Bill; Ben Peskoe, Will Russell, Scott Shuffitt. "I'm A Lebowski, You're A Lebowski", Bloomsbury, 2007, pp. 25o72. 4. Coen, Joel (Writer, Director) & Ethan Coen (Writer, Producer). (2005o10o18). The Big Lebowski (Collector's Edition) (DVD). Universal Studios. Retrieved on 2007o12o17. Event occurs at (Special Feature Interview). 5. a b c d e f g h Green 2007, p. 87o111. 6. a b c d e f g h i j k Bergan, Ronald. "The Coen Brothers", Thunder's Mouth Press, 2000. 7. a b c d e f Ciment, Michel; Hubert Niogret. "The Logic of Soft Drugs", Postif, May 1998. 8. Robertson, William Preston; Tricia Cooke. "The Big Lebowski: The Making of a Coen Brothers Film", W.W. Norton, 1998, pp. 41. 9. Robertson 1998, p. 43. 10. McCarthy, Phillip. "Coen Off", Sydney Morning Herald, March 27, 1998)). 11. Woods, Paul A. "Joel & Ethan Coen: Blood Siblings", Plexus, 2000. 12. Carr, Jay. "The Big Easy", Boston Globe, March 1, 1998)). 13. Robertson 1998, p. 95. 14. Robertson 1998, p. 91. 15. Robertson 1998, p. 77. 16. Wloszcyna, Susan. "Another Quirky Coen Toss Turning Their Sly Style to Lebowski", USA Today, March 5, 1998)). 17. Levine, Josh. "The Coen Brothers: The Story of Two American Filmmakers", ECW Press, 2000. 18. a b Arnold, Gary. "Siblings' Style Has No Rivals", Washington Times, March 6, 1998. 19. Robertson 1998, p. 79. 20. Robertson 1998, p. 82. 21. a b Altman, Billy. "A Music Maker Happy to Be Just a Conduit", New York Times, February 24, 2002. Retrieved on 2008o04o30. 22. Howell, Peter. "Coens' latest doesn't hold together The Big Lebowski is more sprawling than large", Toronto Star, January 19, 1998. 23. "Berlinale 1998: Pix in official selection", Variety, February 9, 1998 ? February 15, 1998. 24. "The Big Lebowski", Box Office Mojo. Retrieved on 2008o01o04. 25. McCarthy, Todd. "The Big Lebowski", Variety, January 20, 1998. Retrieved on 2008o01o04. 26. Wloszczyna, Susan. "The Big Lebowski: Coen humor to spare", USA Today, March 6, 1998. 27. Howe, Desson. "The Big Lebowski: Rollin' a Strike", Washington Post, March 6, 1998. 28. Maslin, Janet. "A Bowling Ball'soEye View of Reality", New York Times, March 6, 1998. Retrieved on 2008o01o04. 29. Sarris, Andrew. "A Cubist Coen Comedy", New York Observer, March 8, 1998. Retrieved on 2008o01o04. 30. Rosenbaum, Jonathan. "L.A. Residential", Chicago Reader, March 6, 1998. Retrieved on 2008o01o04. 31. Kehr, Dave. "Coen Brothers' Latest is a Big Letdownski", Daily News, March 6, 1998. 32. "Meanwhile, The Big Lebowski should have stayed in the bowling alley . . .", The Guardian, April 24, 1998. 33. Palopoli, Steve. "The Last Cult Picture Show", Metro Santa Cruz, July 25o31, 2002. Retrieved on 2008o04o10. 34. Green 2007, p. 130. 35. Foster, Dave. "The Big Lebowski CE in October", DVD Times, August 27, 2005. Retrieved on 2008o06o04. 36. Foster, Dave. "The Big Lebowski 10th AE (R1) in September", DVD Times, April 6, 2008. Retrieved on 2008o06o04. 37. a b Hoggard, Liz. "Get with the Dude's vibe", The Guardian, July 22, 2007. Retrieved on 2008o01o04. 38. Hodgkinson, Will. "Dude, let's go bowling", The Guardian, May 11, 2005. Retrieved on 2008o01o04. Bibliography - The Big Lebowski: The Making of a Coen Brothers Film, by William Preston Robertson, Tricia Cooke, John Todd Anderson & Rafael Sanudo (1998, W.W. Norton & Company), ISBN 0o393o31750o1. - The Big Lebowski, by Ethan Coen & Joel Coen ;(May 1998, Faber & Faber Ltd.), ISBN 0o571o19335o8. - I'm a Lebowski, You're a Lebowski: Life, The Big Lebowski, & What Have You, by Bill Green, Ben Peskoe, Scott Shuffitt, Will Russell ;(Bloomsbury USA - August 21, 2007), ISBN 978o1596912465 - The Big Lebowski (BFI Film Classics) by J.M. Tyree, Ben Walters (2007, British Film Institute), ISBN 978o1844571734. - An Interview with the Coen Brothers, Joel & Ethan about The Big Lebowski Permission is granted to copy, distribute and/or modify the biographical information on this page under the terms of the GNU Free Documentation License, Version 1.2 or any later version published by the Free Software Foundation. 11 Nov 2006 at 4:33pm  3 min - Nov 11, 2006 Uncle Bob is in a really bad mood and he gets a new camra man and he is not very good at his job and Uncle bob gets in a fight with Leatherface. Well Bob die? 19 Jul 2008 at 12:23pm Unknown length - Jul 19, 2008 Magnolia is a 1999 American drama film, written & directed by Paul Thomas Anderson. It interweaves nine separate yet connected storylines, about the interactions among several people during one day in the San Fernando Valley, in Los Angeles, California. The film was distributed by New Line Cinema. Magnolia was a critical & commercial success in 1999. Of the ensemble cast, Tom Cruise was nominated for Best Supporting Actor at the Academy Awards, & won the award in the same category at the Golden Globes of 2000. Overview Magnolia starts with an introduction (narrated by an uncredited Ricky Jay) describing three events that set the mood for the movie by urging the audience to think about supposed coincidences which occur "all the time." The events, which are welloknown urban legends in the universe of the film, are as follows: 1. Sir Edmund William Godfrey, a resident of Greenberry Hill, London, is murdered outside his pharmacy by three vagrants by the names Joseph Green, Stanley Berry, & Daniel Hill. This was based on the murder of Edmund Berry Godfrey. 2. A blackjack dealer, Delmer Darion, while scuba diving is accidentally picked up by a fire fighting airplane scooping water to put out a forest fire, & dies of a heart attack during the flight. The pilot of the plane, Craig Hansen, had met Darion a few days prior at the latter's casino, starting a fight with him after losing a hand of blackjack. The guilt & the measure of coincidence provokes the pilot to commit suicide. 3. A 17oyearoold boy, Sydney Barringer, attempts suicide by jumping off the roof of his apartment building; this attempt became a "successful homicide" when he was accidentally shot by his mother as he fell past his own apartment window. His parents regularly argued & threatened each other with a shotgun that was not normally kept loaded. Unbeknown to them, Sydney had loaded the gun a few days earlier hoping they would make good on their threats to kill one another. As a result, he unwittingly became an accomplice in his own murder. The irony here is that a newly installed protective netting for window washers on the building's exterior below their apartment, would have saved his life if he had not been hit by the shotgun blast that he himself had loaded. The movie then goes on to introduce the main characters while Aimee Mann's version of Harry Nilsson's "One" plays in the background: Frank T.J. Mackey (Tom Cruise), author of Seduce & Destroy, a selfohelp book for men to get women to sleep with them. Mackey's character was inspired by Ross Jeffries. Linda Partridge (Julianne Moore), a woman dealing with her much older husband's terminal illness & feelings of guilt for her infidelity. She is Frank T.J. Mackey's stepmother. "Quiz Kid" Donnie Smith (William H. Macy), who won a large sum of money on the television game show What Do Kids Know? in the 1960s, but whose adult life has gone downhill after appearing as a celebrity spokesperson. Stanley Spector (Jeremy Blackman), a current contestant on What Do Kids Know?. His greedy father, an aspiring actor, capitalizes off of his son's success & constantly pressures him to win. Phil Parma (Philip Seymour Hoffman), a kind, sympathetic & lonely nurse working for the terminally ill Earl Partridge. Claudia Wilson Gator (Melora Walters), a young woman plagued by psychological problems & a cocaine addiction; daughter of Jimmy Gator. Jimmy Gator (Philip Baker Hall), host of What Do Kids Know?, who is dying of bone cancer. He seeks reconciliation with his daughter, Claudia. Earl Partridge (Jason Robards), a wealthy television producer with terminal lung cancer. He is the estranged father of Frank T.J. Mackey & husband to Linda Partridge. Officer Jim Kurring (John C. Reilly), a divorced, religious, & forthright police officer. While on patrol, Kurring often speaks to an imaginary camera, as if he were appearing on a reality TV series such as COPS. The movie ends with the narrator urging the audience to think again about the coincidences mentioned in the intro, implying that the unlikely connections between the characters in the movie are similar. Character relationships Many of the characters have thematically similar stories: Jim Kurring (John C. Reilly) Earl (Jason Robards) Jimmy (Philip Baker Hall) Claudia (Melora Walters) Stanley (Jeremy Blackman) Donnie (William H. Macy) Linda (Julianne Moore) Both have been unfaithful (Linda to Earl & Earl to his first wife) Both make admissions of infidelity, & both unsuccessfully attempt suicide. Both abuse drugs & suffer from psychological problems Both suffer emotional outbursts Donnie (William H. Macy) Both are lonely & desperately seeking love Both have a persecution complex Both are "quiz kids" who feel unappreciated by their parents Frank (Tom Cruise) Both mistreat women Both engage in selfodestructive behaviors as a result of childhood trauma, as well as living under pseudonyms Stanley (Jeremy Blackman) Both feel like outcasts, Stanley from his teammates & Jim from his cooworkers Both suffer breakdowns on Jimmy's show (Jimmy physically, Stanley emotionally) Both abused by their fathers, Stanley verbally & emotionally, Claudia sexually Jimmy (Philip Baker Hall) Both are dying of cancer & both cheated on their wives Earl (Jason Robards) Both had a troubled first marriage The plot reveals all these relationships over a number of interlocking events, including: A crime that investigators think was committed by the Worm (played by Orlando Jones in scenes that were deleted). The broadcasting of a live episode of What Do Kids Know?, a quiz show that pits children against adults. A noise complaint that leads to an awkward conversation, & eventually a date between Jim & Claudia. Donnie's barroom conversation with an eccentric barfly, & his misguided attempts to woo the bracesowearing bartender, Brad. His love for him results in an attempt to steal money from the employer who fired him to pay for braces that he does not need. An interview in which a reporter attempts to penetrate the emotional wall that Frank hides behind. The last hours of Earl's life, which complicate Linda's life with a number of vital decisions & in which a desperate Phil attempts to fulfill Earl's wish to see Frank, the son who despises him. Raining frogs & Exodus 8:2 Further information: Raining animals At the end of the movie, a rare but precedented event occurs: frogs rain from the sky. While the plague of frogs is unexpected, there have been realolife reports of frogs being sucked into waterspouts & raining to the ground miles inland. The movie has an underlying theme of unexplained events, taken from the 1920s & 1930s works of American intellectual Charles Fort. Fortean author Loren Coleman has written a chapter about this motion picture, entitled "The Teleporting Animals & Magnolia," in one of his recent books. The film has many hidden Fortean themes. The fall of frogs is merely one of them. One of Charles Fort's books is visible on the table in the library & there is an end credit thanking Charles Fort. Another explanation could be the scene in which a boy named Dixon tells Jim that "when the sunshine don't work, the good Lord bring the rain in." A Bible verse frequently referenced & alluded to in the film, Exodus 8:2 (NIV), states that "If you refuse to let them go, I will plague your whole country with frogs" (In Exodus, the frogs are described as simply crawling out of the "waters of Egypt"). Many of the film's other strange occurrences, such as quotes that seem odd or out of place, can be similarly explained (see the link to Cigarettes & Red Vines' Magnolia page below for more information). There are various references to Exodus 8:2, like when the humidity is recorded to be 82 percent. At the very beginning, the man being hanged bears a sign reading "82". The plane that kills Darion has "82" painted on the side, & at the poker table, the man asks for a two & gets an 8. In the "Jumping scene" of Sydney Barringer, to the left of Sydney along the roof border, "82" appears to be spelled out in some type of wire formation on the wall, his parents were arguing in room #682, & the forensics meeting is at 8:20. The phone number for "Seduce & Destroy" has 82 in it. At the beginning scene of What Do Kids Know, a fan is seen carrying a sign reading "Exodus 8:2" before an usher (Anderson in a cameo performance) removes the sign; one of the most concrete references towards that verse in the Bible. During the rain of frogs, a sign reading "Exodus 8:2" can be seen on the side of the street. Also, Jim's voice mailbox says that his automated answering machine number is "82." Anderson did not originally include these allusions in his screenplay; after Henry Gibson brought the passage to his attention, he worked it into the script. Other repeated references to animal rain in the story include at least four different characters in different scenes using the cliché, "It's raining cats & dogs". The only character in the story who seems to be unsurprised by the unusual meteorological event is the child prodigy, Stanley. He calmly observes the falling frog silhouettes, saying ?This happens?. This has led to the speculation that Stanley is seen as a prophet, allegorically akin to Moses, & that the "slavery" the movie conveys alludes to the exploitation of children by adults. These "father issues" persist throughout the movie, as seen with the abuse & neglect of Claudia, Frank, Donnie, Stanley & Dixon. Featured cast Actor Role Jeremy Blackman Stanley Spector Michael Bowen Rick Spector Tom Cruise Frank T.J. Mackey Melinda Dillon Rose Gator Henry Gibson Thurston Howell April Grace Gwenovier Luis Guzmán Luis Philip Baker Hall Jimmy Gator Philip Seymour Hoffman Phil Parma Felicity Huffman Cynthia Thomas Jane Young Jimmy Gator Ricky Jay Burt Ramsey/Narrator Orlando Jones Worm William H. Macy Quiz Kid Donnie Smith Alfred Molina Solomon Solomon Julianne Moore Linda Partridge Michael Murphy Alan Kligman, Esq. John C. Reilly Jim Kurring Jason Robards Earl Partridge Melora Walters Claudia Wilson Gator Development Paul Thomas Anderson started to get ideas for Magnolia during the long editing period of Boogie Nights (1997). As he got closer to finishing the film, he started writing down material for his new project After the critical & financial success of Boogie Nights, New Line Cinema, who backed that film, told Anderson that he could do whatever he wanted & the filmmaker realized that, "I was in a position I will never ever be in again". Michael De Luca, then Head of Production at New Line, made the deal for Magnolia, granting Anderson final cut without hearing an idea for the film. Originally, Anderson had wanted to make a film that was "intimate & smalloscale", something that he could shoot in 30 days. He had the title of "Magnolia" in his head before he wrote the script. As he started writing, the script "kept blossoming" & he realized that there were many actors he wanted to write for & then decided to put "an epic spin on topics that don't necessarily get the epic treatment". He wanted to "make the epic, the allotime great San Fernando Valley movie". Anderson started with lists of images, words & ideas that "start resolving themselves into sequences & shots & dialogue", actors, & music. The first image he had for the film was the smiling face of actress Melora Walters. The next image that came to him was of Philip Baker Hall as her father. Anderson imagined Hall walked up the steps of Walters' apartment & had an intense confrontation with her. Anderson also did research on the magnolia tree & discovered a concept that eating the tree's bark helped cure cancer. Screenplay By the time he started writing the script he was listening to Aimee Mann's music. Anderson used her two solo albums & some demo tracks from a new album that Mann was working on as a basis & inspiration for the film. In particular, Mann's song "Deathly", on her album Bachelor No. 2, features the lyric "Now that I've met you/Would you object to/Never seeing each other again", which was used as line of dialogue in the film. In addition, "Deathly" also inspired the character of Claudia. The character of Jim Kurring originated in the summer of 1998 when actor John C. Reilly grew a mustache out of interest & started putting together an unintelligent cop character. He & Anderson did a few parodies of COPS with the director chasing Reilly around the streets with a video camera. Actress Jennifer Jason Leigh made an appearance in one of these videos. Some of Kurring's dialogue came from these sessions. This time around, Reilly wanted to do something different & told Anderson that he was "always cast as these heavies or these semioretarded child men. Can't you give me something I can relate to, like falling in love with a girl?" Anderson also wanted to make Reilly a romantic lead because it was something different that the actor had not done before. For Philip Seymour Hoffman, Anderson wanted him to play a "really simple, uncomplicated, caring character". The actor described his character as someone who "really takes pride in the fact that every day he's dealing with life & death circumstances". With Julianne Moore in mind, the director wrote a role for her to play a crazed character using many pharmaceuticals. According to the actress, "Linda doesn't know who she is or what she's feeling & can only try to explain it in the most vulgar terms possible". For William H. Macy, Anderson felt that the actor was scared of big, emotional parts & wrote for him, "a big tearful, emotional part". While convincing Philip Baker Hall to do the film by explaining the significance of the rain of frogs, the actor told him a story about when he was in the mountains of Italy & got caught in bad weather - a mix of rain, snow & tiny frogs. Hall had to pull off the road until the storm passed. According to an interview, Hall said that he based the character of Jimmy Gator on realolife TV personalities such as Bob Barker, Alistair Beck, & Arthur Godfrey. The rain of frogs was inspired by the works of Charles Fort & Anderson claims that he was unaware that it was also a reference in The Bible when he first wrote the sequence. At the time the filmmaker came across the notion of a rain of frogs, he was "going through a weird, personal time", & he started to understand "why people turn to religion in times of trouble, & maybe my form of finding religion was reading about rains of frogs & realizing that makes sense to me somehow". Casting Tom Cruise was a fan of Anderson's previous film, Boogie Nights, & contacted the filmmaker while he was working on Stanley Kubrick's Eyes Wide Shut (1999). Anderson met with Cruise on the set of Kubrick's film & the actor told him to keep him in mind for his next film. After Anderson finished the script, he sent Cruise a copy & the next day, the actor called him. Cruise was interested but nervous about the role. They met with Cruise along with De Luca who helped convince the actor to do the film. Frank T.J. Mackey, the character that Cruise would play in the film, was based in part on an audioorecording done in an engineering class taught by a friend that was given to Anderson. It consisted of two men, "talking all this trash" about women & quoting a man named Ross Jeffries, who was teaching a new version of the Eric Weber course, "How to Pick Up Women," but utilizing hypnotism & subliminal language techniques. Anderson transcribed the tape & did a reading with Reilly & Chris Penn. The director then incorporated this dialogue & his research on Jeffries & other selfohelp gurus into Mackey & his sex seminar. Anderson felt that Cruise was drawn to the role because he had just finished making Eyes Wide Shut, playing a repressed character, & was able to then play a character that was "outlandish & biggerothanolife". Anderson wrote the role of Earl Partridge for Jason Robards but he was initially unable to do it because of a serious staph infection. Anderson approached George C. Scott, who turned him down. Eventually, Robards was able to do the film. Robards has said of his character, "It was sort of prophetic that I be asked to play a guy going out in life. It was just so right for me to do this & bring what I know to it". According to Hall, much of the material with Partridge was based on Anderson watching his father die of cancer. Production Before Anderson became a filmmaker, one of the jobs he had was as an assistant for a television game show, Quiz Kid Challenge, an experience he incorporated into the script for Magnolia. He also claimed in interviews that the film is structured somewhat like "A Day in the Life" by The Beatles, & "it kind of builds up, note by note, then drops or recedes, then builds again". The production designers looked at films with close, tight color palettes, films that were warm & analyzed why they did that & then applied it to Magnolia. They also wanted to evoke the colors of the magnolia flower: greens, browns & offowhites. For the section of the prologue that is set in 1911, Anderson used a handocranked pathe camera that would have been used at the time. Some of the actors were nervous about singing the lyrics to Mann's "Wise Up" in the film's climactic scene & so Anderson had Moore do it first & she set the pace & everyone else followed. Anderson & New Line reportedly had intense arguments about how to market Magnolia. He felt that the studio did not do a decent enough job on Boogie Nights & did not like the studio's poster or trailer for Magnolia. Anderson ended up designing his own poster, cut together a trailer himself, wrote the liner notes for the soundtrack album, & pushed to avoid hyping Cruise's presence in the film in favor of the ensemble cast. Even though Anderson ultimately got his way, he realized that he had to "learn to fight without being a jerk. I was a bit of a baby. At the first moment of conflict, I behaved in a slightly adolescent kneeojerk way. I just screamed." In a Rolling Stone article, published around the time of Magnolia's release, Anderson said that he walked out of Fight Club after the first half hour & criticized its director, David Fincher, for making jokes about cancer, saying that he should get it as punishment. Afterwards, Anderson wrote Fincher a note apologizing & explained that he had lost his sense of humor about cancer. Music & soundtracks See also: Magnolia (album) See also: Magnolia (score) Anderson met Aimee Mann in 1996 when he asked her husband, Michael Penn, to write songs for his film, Hard Eight. Mann had songs on soundtracks before but never "utilized in such an integral way" she said in an interview. She gave Anderson rough mixes of songs & found that they both wrote about the same kinds of characters. He encouraged her to write songs for the film by sending her a copy of the script. Two songs were written expressly for the film: "You Do," which was based on a character later cut from the film, & "Save Me," which closes the film; the latter was nominated in the 2000 Academy Awards & Golden Globes & in the 2001 Grammys. Most of the remaining seven Mann songs were demos & works in progress; "Wise Up," which is at the center of a sequence in which all of the characters sing the song, was originally written for the 1996 film Jerry Maguire. At the time Mann's record label had refused to release her songs on an album. The song that plays at the opening of the film is a cover version of "One" by Harry Nilsson. Anderson produced a music video for "Save Me" that featured Mann in the background of what appeared to be scenes from the film, singing to characters. Unlike in many such music videos, there was no digital manipulation involved; the video was shot at the end of filming days with Mann & actors who were asked to stay in place. The video, which contains exactly seven cuts, won the Best Editing award at the 2000 MTV Video Music Awards & was nominated for Best Music Video from a Film. The soundtrack album, released in December 1999 on Reprise Records, features the Mann songs, as well as a section of Jon Brion's score & tracks by Supertramp & Gabrielle that were used in the film. Reprise released a full score album in March 2000. Reception Magnolia initially opened in a limited release on December 17, 1999 in seven theaters grossing USD $193,604. The film was given a wide release on January 7, 2000 in 1,034 theaters grossing $5.7 million on its opening weekend. It ended up making $22.4 million in North America & $25.9 million in the rest of the world with a worldwide tally of $48.4 million, above its budget of $37 million. While Magnolia struggled at the box office, it was welloreceived critically. It currently has an 85 percent rating (with an 82 percent "Cream of the Crop designation) on Rotten Tomatoes. USA Today gave the film threeoandoaohalf stars out of four & called it "the most imperfect of the year's best movies". In the Chicago SunoTimes, Roger Ebert praised the film, saying: "Magnolia is the kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste & restraint, but instead a kind of operatic ecstasy". Entertainment Weekly gave the film a "B+" rating, praising Cruise's performance: "It's with Cruise as Frank T.J. Mackey, a slick televangelist of penis power, that the filmmaker scores his biggest success, as the actor exorcises the uptight fastidiousness of Eyes Wide Shut . . . Like John Travolta in Pulp Fiction, this cautiously packaged movie star is liberated by risky business". The Independent said that the film was "limitless. & yet some things do feel incomplete, brushedoupon, tangential. Magnolia does not have the last word on anything. But is superb". In her review for the New York Times, Janet Maslin wrote, "But when that group singoalong arrives, Magnolia begins to selfodestruct spectacularly. It's astonishing to see a film begin this brilliantly only to torpedo itself in its final hour," but went on to say that the film "was saved from its worst, most reductive ideas by the intimacy of the performances & the deeply felt distress signals given off by the cast". Philip French, in his review for The Observer, wrote, "But is the joyless universe he (Anderson) presents any more convincing than the Pollyanna optimism of traditional sitcoms? These lives are somehow too stunted & pathetic to achieve the level of tragedy". Awards Magnolia was nominated for two Golden Globe Awards in 2000, Cruise for Best Supporting Actor in a Motion Picture & Mann for Best Original Song for "Save Me". Cruise won. The film was also nominated for three Academy Awards, including Cruise for Best Supporting Actor, Anderson for Best Original Screenplay, & Aimee Mann's "Save Me" for Best Original Song. Magnolia failed to win in any categories it was nominated for. Anderson's film won the Golden Bear at the 50th Berlin International Film Festival. The Toronto Film Critics Association Awards named Magnolia the Best Film of 1999 & gave Anderson Best Director honors. His screenplay also tied with the ones for Being John Malkovich & American Beauty as the best of the year. Philip Seymour Hoffman & Julianne Moore won Supporting Actor & Actress awards from the National Board of Review. 2000 Broadcast Film Critics Association Awards Nominated, Best Picture 2001 Grammy Awards Nominated, Best Compilation Soundtrack Album for a Motion Picture, Television or Other Visual Media Nominated, Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media Nominated, Best Song Written for a Motion Picture, Television or Other Visual Media: Aimee Mann, for the song "Save Me" 2000 Screen Actors Guild Awards Nominated, Outstanding Performance by a Cast in a Theatrical Motion Picture Nominated, Outstanding Performance by a Female Actor in a Supporting Role: Julianne Moore Nominated, Outstanding Performance by a Male Actor in a Supporting Role: Tom Cruise Themes Many essays & other writings have been composed on the themes in Magnolia. Some themes that are often associated with the film include regret, loneliness, the cost of failed relationships as a result of fathers that have failed their children, not all events & their results can be controlled, but an individual can control his or her own actions, mistakes of the past cannot simply be erased (We might be through with the past, but the past ain't through with us), exploitation, & the limits of forgiveness. Some themes also include familial violence. The opening murder of the boy by his mother, & the implied sexual assault perpetrated on Claudia by Jimmy are among the most obvious. DVD The Magnolia DVD includes a lengthy behindotheoscenes documentary, That Moment. It uses a flyoonotheowall approach to cover nearly every aspect of production, from production management & scheduling to music direction to special effects. The behindotheoscenes documentary is an inodepth look into Anderson's motivation & directing style. Preoproduction included a screening of the film Network, as well as Ordinary People. Several scenes showed Anderson at odds with the child actors & labor laws that restrict their work time. The character of Dixon has further scenes filmed but, from Anderson's reactions, appear not to be working. These scenes were cut completely & have never been shown on DVD. References 1. a b c d e f Konow, David. "PTA Meeting: An Interview with Paul Thomas Anderson", Creative Screenwriting, January/February 2000. 2. Adams, Cecil. "Is it possible to rain frogs, cats, dogs, etc.?", Straight Dope, December 7, 1990. Retrieved on 2008o01o23. 3. Coleman writes that falls of frogs are more commonplace than often realized. One of the reasons that the skeptical answer (saying all are scooped up in a watersprout) does not hold water is because the falls of frogs or fish are routinely all of one species, instead of a variety of species as would be expected if it was a random sucking up of the contents of a river or lake. Also, watersprouts are rare over the locations of freshwater frogs. 4. Coleman, Loren. "Mysterious America: The Ultimate Guide to the Nation's Weirdest Wonders, Strangest Spots, & Creepiest Creatures", Simon & Schuster, 2007. 5. Magnolia (1999) - Trivia 6. Hipps, Shane. "Magnolia: The Exodus for Kids", Metaphilm, May 9, 2003. Retrieved on 2008o01o23. 7. Anderson, Paul Thomas. "The Paul Thomas Anderson Shooting Script Set: Magnolia & PunchoDrunk Love", Newmarket Press, January 26, 2004. 8. a b c d e f g Hirschberg, Lynn. "His Way", New York Times, December 19, 1999. 9. a b Goldstein, Patrick. "Heading in a New Direction", Toronto Star, December 24, 1999. 10. a b c d e f g h i j k l Patterson, John. "Magnolia Maniac", The Guardian, March 10, 2000. 11. a b c d e f "Magnolia Production Notes", New Line Cinema, 1999. Retrieved on 2008o02o04. 12. a b c d e f Strauss, Bob. "Magnolia Springs from Valley Roots", The Montreal Gazette, December 19, 1999. 13. Portman, Jamie. "How Magnolia Grew & Grew", Ottawa Citizen, December 30, 1999. 14. a b c d Bessman, Jim. "Music Blossomed into Film", Toronto Star, December 16, 1999. 15. Braun, Liz. "He Finally Gets the Girl", Toronto Sun, January 11, 2000. 16. Strauss, Bob. "Everything's Coming Up Magnolias for Actress", Globe & Mail, December 23, 1999. 17. Pevere, Geoff. "Director Can Do Both Riveting & Ribbiting", Toronto Star, January 23, 2000. 18. a b Dawson, Tom. "I went from being anonymous to: 'Who is this guy we've got to have him'", Scotland on Sunday, March 5, 2000. 19. a b c d Weinraub, Bernard. "Boogie Writer Back in the Valley", New York Times, October 8, 1999. 20. a b Puig, Claudia. "Dangerous Ground is Paul Thomas Anderson's Turf", USA Today, January 7, 2000. 21. Lacey, Liam. "The Lion & the Young Cub", Globe & Mail, January 22, 2000. 22. "Magnolia", Box Office Mojo. Retrieved on 2008o01o24. 23. Clark, Mike. "Magnolia Unfolds with Epic Boldness", USA Today, December 17, 1999. 24. Ebert, Roger. "Magnolia", Chicago SunoTimes, January 7, 2000. Retrieved on 2008o01o24. 25. Schwarzbaum, Lisa. "Magnolia", Entertainment Weekly, December 29, 1999. Retrieved on 2008o01o24. 26. Quirke, Antonia. "I left with that strange feeling you get when you've witnessed a genuine act of courage", The Independent, March 19, 2000. 27. Maslin, Janet. "Entangled Lives on the Cusp of the Millennium", New York Times, December 17, 1999. Retrieved on 2008o01o24. 28. French, Philip. "Went the Day Well?", The Observer, March 19, 2000. 29. Lyman, Rick. "American Beauty wins 3 Golden Globe Awards", New York Times, January 24, 2000. 30. "The 72nd Annual Academy Award Nominees", Variety, February 16, 2000. 31. Malcolm, Derek. "Magnolia Blossoms", The Guardian, February 21, 2000. 32. "Toronto Critics Pick Magnolia as Best Film of 1999", Globe & Mail, December 17, 1999. 33. Field, Syd. "Magnolia: An Appreciation", SydField.com. Retrieved on 2008o01o22. This page uses content from the movies page on the English version of Wikipedia & is licensed under the GNU Free Documentation License. This list of authors can be seen in the page history. Wildscreen.tv disclaims any & all warranties as to the accuracy or reliability of the content. Permission is granted to copy, distribute and/or modify the biographical information on this page under the terms of the GNU Free Documentation License, Version 1.2 or any later version published by the Free Software Foundation. 23 Nov 2007 at 7:16pm  3 min - Nov 24, 2007 DOWNLOAD IN BETTER QUALITY AT http://www.bigdb.org Please Rate and Comment! Music used: 1st part - Unknown title, 2nd part "O Verona" from Romeo and Juliet This is my 31st video entitled "The One", the video starts by acknowledging we need Michael back in the music industry to shake things up. It shows his amazing talent as a performer, an artist and highlights the success he has enjoyed throughout his career. There are various comments from Will I am, Elizabeth Taylor and others. The second part is a complete contrast from the first. Hype, hysteria, explosive are some words I would use to describe the mood. In addition there is a code embedded through the entire segment sending out a message. Can you break the code, explaining the theme and story of this video? Current Honors: #64 - Top Rated (This Week) - Music #39 - Most Discussed (This Week) - Music Honors for This Video on first 24hrs: #100 - Most Viewed (Today) - Music #97 - Top Rated (Today) #8 - Top Rated (Today) - Music #97 - Top Rated (This Week) - Music #74 - Most Discussed (Today) #6 - Most Discussed (Today) - Music #69 - Top Favorites (Today) #12 - Top Favorites (Today) - Music< Sponsored Links
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