The Associated Press
Thursday, May 29, 2008; 8:14 PM
LOS ANGELES -- Harvey Korman, the tall, versatile comedian who won four Emmys for his outrageously funny contributions to "The Carol Burnett Show" and played a conniving politician to hilarious effect in "Blazing Saddles," died Thursday. He was 81.
Korman died at UCLA Medical Center after suffering complications from the rupture of an abdominal aortic aneurysm four months ago, his family said. He had undergone several major operations.
"He was a brilliant comedian and a brilliant father," daughter Kate Korman said in a telephone interview with The Associated Press. "He had a very good sense of humor in real life. "
A natural second banana, Korman gained attention on "The Danny Kaye Show," appearing in skits with the star. He joined the show in its second season in 1964 and continued until it was canceled in 1967. That same year he became a cast member in the first season of "The Carol Burnett Show."
Burnett and Korman developed into the perfect pair with their burlesques of classic movies such as "Gone With the Wind" and soap operas like "As the World Turns" (their version was called "As the Stomach Turns").
Another recurring skit featured them as "Ed and Eunice," a staid married couple who were constantly at odds with the wife's mother (a young Vickie Lawrence in a gray wig). In "Old Folks at Home," they were a combative married couple bedeviled by Lawrence as Burnett's troublesome young sister.
Korman revealed the secret to the long-running show's success in a 2005 interview: "We were an ensemble, and Carol had the most incredible attitude. I've never worked with a star of that magnitude who was willing to give so much away."
Burnett was devastated by Korman's death, said her assistant, Angie Horejsi.
"She loved Harvey very much," Horejsi said.
After 10 successful seasons, Korman left Burnett's show in 1977 for his own series. Dick Van Dyke took his place, but the chemistry was lacking and the Burnett show was canceled two years later. "The Harvey Korman Show" also failed, as did other series starring the actor.
"It takes a certain type of person to be a television star," he said in that 2005 interview. "I didn't have whatever that is. I come across as kind of snobbish and maybe a little too bright. ... Give me something bizarre to play or put me in a dress and I'm fine."
His most memorable film role was as the outlandish Hedley Lamarr (who was endlessly exasperated when people called him Hedy) in Mel Brooks' 1974 Western satire, "Blazing Saddles."
"A world without Harvey Korman _ it's a more serious world," Brooks told the AP on Thursday. "It was very dangerous for me to work with him because if our eyes met we'd crash to floor in comic ecstasy. It was comedy heaven to make Harvey Korman laugh."
He also appeared in the Brooks comedies "High Anxiety," "The History of the World Part I" and "Dracula: Dead and Loving It," as well as two "Pink Panther" moves, "Trail of the Pink Panther" in 1982 and "Curse of the Pink Panther" in 1983.
Korman's other films included "Gypsy," "Huckleberry Finn" (as the King), "Herbie Goes Bananas" and "Bud and Lou" (as legendary straightman Bud Abbott to Buddy Hackett's Lou Costello). He also provided the voice of Dictabird in the 1994 live-action feature "The Flintstones."
In television, Korman guest-starred in dozens of series including "The Donna Reed Show," "Dr. Kildare," "Perry Mason," "The Wild Wild West," "The Muppet Show," "The Love Boat," "The Roseanne Show" and "Burke's Law."
In their '70s, he and Tim Conway, one of his Burnett show co-stars, toured the country with their show "Tim Conway and Harvey Korman: Together Again." They did 120 shows a year, sometimes as many as six or eight in a weekend.
Korman had an operation in late January on a non-cancerous brain tumor and pulled through "with flying colors," Kate Korman said. Less than a day after coming home, he was re-admitted because of the ruptured aneurysm and was given a few hours to live. But he survived for another four months.
"He fought until the very end. He didn't want to die. He fought for months and months," said Kate Korman.
Harvey Herschel Korman was born Feb. 15, 1927, in Chicago. He left college for service in the U.S. Navy, resuming his studies afterward at the Goodman School of Drama at the Chicago Art Institute. After four years, he decided to try New York.
"For the next 13 years I tried to get on Broadway, on off-Broadway, under or beside Broadway," he told a reporter in 1971.
He had no luck and had to support himself as a restaurant cashier. Finally, in desperation, he and a friend formed a nightclub comedy act.
"We were fired our first night in a club, between the first and second shows," he recalled.
After returning to Chicago, Korman decided to try Hollywood, reasoning that "at least I'd feel warm and comfortable while I failed."
For three years he sold cars and worked as a doorman at a movie theater. Then he landed the job with Kaye.
In 1960 Korman married Donna Elhart and they had two children, Maria and Christopher. They divorced in 1977. Two more children, Katherine and Laura, were born of his 1982 marriage to Deborah Fritz.
In addition to his daughter Kate, he is survived by his wife and the three other children.
5.28.2008
Remember the Declaration of Independence? Apparently not.
The Bush administration has arrogated powers to itself that the British people even refused to grant King George III at the time of the Revolutionary War, an eminent political scientist says.
“No executive in the history of the Anglo-American world since the Civil War in England in the 17th century has laid claim to such broad power,” said David Adler, a prolific author of articles on the U.S. Constitution. “George Bush has exceeded the claims of Oliver Cromwell who anointed himself Lord Protector of England.”
Adler, a professor of political science at Idaho State University at Pocatello, is the author of “The Constitution and the Termination of Treaties”(Taylor & Francis), among other books, and some 100 scholarly articles in his field. Adler made his comments comparing the powers of President Bush and King George III at a conference on “Presidential Power in America” at the Massachusetts School of Law, Andover, April 26th.
Adler said, Bush has “claimed the authority to suspend the Geneva Convention, to terminate treaties, to seize American citizens from the streets to detain them indefinitely without benefit of legal counseling, without benefit of judicial review. He has ordered a domestic surveillance program which violates the statutory law of the United States as well as the Fourth Amendment.”
Adler said the authors of the U.S. Constitution wrote that the president “shall take care to faithfully execute the laws of the land” because “the king of England possessed a suspending power” to set aside laws with which he disagreed, “the very same kind of power that the Bush Administration has claimed.”
Former Attorney General Alberto Gonzalez, Adler said, repeatedly referred to the President’s “override” authority, “which effectively meant that the Bush Administration was claiming on behalf of President Bush a power that the English people themselves had rejected by the time of the framing of the Constitution.”
Adler said the Framers sought an “Administrator in Chief” that would execute the will of Congress and the Framers understood that the President, as Commander-in-Chief “was subordinate to Congress.” The very C-in-C concept, the historian said, derived from the British, who conferred it on one of their battlefield commanders in a war on Scotland in 1639 and it “did not carry with it the power over war and peace” or “authority to conduct foreign policy or to formulate foreign policy.”
That the C-in-C was subordinate to the will of Congress was demonstrated in the Revolutionary War when George Washington, granted that title by Congress, “was ordered punctually to respond to instructions and directions by Congress and the dutiful Washington did that,” Adler said.
Adler said that John Yoo, formerly of the Office of Legal Counsel, wrote in 2003 that the President as C-in-C could authorize the CIA or other intelligence agencies to resort to torture to extract information from suspects based on his authority. However, Adler said, the U.S. Supreme Court in 1804 in Little vs. Barreme affirmed the President is duty-bound to obey statutory instructions and reaffirmed opinion two years later in United States vs. Smith.
“In these last eight years,” Adler said, “we have seen presidential powers soar beyond the confines of the Constitution. We have understood that his presidency bears no resemblance to the Office created by the Framers… This is the time for us to demand a return to the constitutional presidency. If we don’t, we will have only ourselves to blame as we go marching into the next war as we witness even greater claims of presidential power.”
“No executive in the history of the Anglo-American world since the Civil War in England in the 17th century has laid claim to such broad power,” said David Adler, a prolific author of articles on the U.S. Constitution. “George Bush has exceeded the claims of Oliver Cromwell who anointed himself Lord Protector of England.”
Adler, a professor of political science at Idaho State University at Pocatello, is the author of “The Constitution and the Termination of Treaties”(Taylor & Francis), among other books, and some 100 scholarly articles in his field. Adler made his comments comparing the powers of President Bush and King George III at a conference on “Presidential Power in America” at the Massachusetts School of Law, Andover, April 26th.
Adler said, Bush has “claimed the authority to suspend the Geneva Convention, to terminate treaties, to seize American citizens from the streets to detain them indefinitely without benefit of legal counseling, without benefit of judicial review. He has ordered a domestic surveillance program which violates the statutory law of the United States as well as the Fourth Amendment.”
Adler said the authors of the U.S. Constitution wrote that the president “shall take care to faithfully execute the laws of the land” because “the king of England possessed a suspending power” to set aside laws with which he disagreed, “the very same kind of power that the Bush Administration has claimed.”
Former Attorney General Alberto Gonzalez, Adler said, repeatedly referred to the President’s “override” authority, “which effectively meant that the Bush Administration was claiming on behalf of President Bush a power that the English people themselves had rejected by the time of the framing of the Constitution.”
Adler said the Framers sought an “Administrator in Chief” that would execute the will of Congress and the Framers understood that the President, as Commander-in-Chief “was subordinate to Congress.” The very C-in-C concept, the historian said, derived from the British, who conferred it on one of their battlefield commanders in a war on Scotland in 1639 and it “did not carry with it the power over war and peace” or “authority to conduct foreign policy or to formulate foreign policy.”
That the C-in-C was subordinate to the will of Congress was demonstrated in the Revolutionary War when George Washington, granted that title by Congress, “was ordered punctually to respond to instructions and directions by Congress and the dutiful Washington did that,” Adler said.
Adler said that John Yoo, formerly of the Office of Legal Counsel, wrote in 2003 that the President as C-in-C could authorize the CIA or other intelligence agencies to resort to torture to extract information from suspects based on his authority. However, Adler said, the U.S. Supreme Court in 1804 in Little vs. Barreme affirmed the President is duty-bound to obey statutory instructions and reaffirmed opinion two years later in United States vs. Smith.
“In these last eight years,” Adler said, “we have seen presidential powers soar beyond the confines of the Constitution. We have understood that his presidency bears no resemblance to the Office created by the Framers… This is the time for us to demand a return to the constitutional presidency. If we don’t, we will have only ourselves to blame as we go marching into the next war as we witness even greater claims of presidential power.”
You know what? You didn't have to accept it. But you did.
We chose not to contribute to the recession at my house. We didn't accept the bullshit stimulus check that was created out of thin air by the Fed. Didn't you people even stop for a second and wonder where that money was going to come from? I can only hope that you stocked up on food.
5.27.2008
Rest easy, Sydney Pollack
Sydney Pollack, 73, a director and producer of popular Hollywood movies for nearly four decades, including the comedy "Tootsie," and who won Academy Awards for "Out of Africa," died May 26 at his home in Los Angeles. He had cancer.
Mr. Pollack, who called himself "Mr. Mainstream," was wildly successful at moviemaking with mass appeal but drew mixed reviews during a prolific career.
His best-remembered work could be provocative, timely and sensitively crafted: "Tootsie" (1982) was hilarious and underscored aspects of the feminist struggle; the taut spy story "Three Days of the Condor" (1975) captured Nixon-era paranoia; "They Shoot Horses, Don't They?" (1969), though set at a Depression-era dance marathon, resonated with young ticket buyers who saw the rigged contest as a reflection of modern society.
Mr. Pollack's movies often emphasized the loner at conflict with society, whether a fur trapper in the wilderness in "Jeremiah Johnson" (1972) or a cowboy who tries to recover his soul after selling out in "The Electric Horseman" (1979) with Robert Redford and Jane Fonda.
He saw Redford as his ideal collaborator and cast him in seven movies, from "This Property Is Condemned" (1966) to "Havana" (1990), because of what he considered his "very internal, rather understated" acting style as well as a dark undercurrent he found appealing beneath Redford's "golden boy" exterior.
Redford returned the compliment, telling Film Comment magazine, "Sydney's the one director that seems to read me best. . . . Basically he's a romantic."
Audiences embraced two of Mr. Pollack's best-known romance stories: "The Way We Were" (1973) with Redford as a WASP writer and Barbra Streisand as a Jewish political activist during the Hollywood blacklist; and "Out of Africa" (1985), a $30 million production based on Danish author Isak Dinesen's years in Kenya and her complicated affair with a free-spirited and handsome pilot.
The latter film, which earned Oscars for Mr. Pollack for directing and producing, starred Meryl Streep and Redford against a backdrop likened by critics to a National Geographic spread.
Dave Kehr of the Chicago Reader complimented Mr. Pollack's craftsmanship and taste, saying that "although the denouement is a bit overextended, he never yields to facile, insistent sentimentality -- his effects are honestly won."
Many others found both films saccharine and ponderous, and Mr. Pollack spoke of his own "tendency by nature to be heavy-handed," which he attributed to his early training as a television director "where you have to grab the audience in the first 10 minutes."
Few disputed that Mr. Pollack was a master of pulling terrific performances from actors. Those who won Oscars under his direction included Gig Young as a cynical dance-marathon announcer in "They Shoot Horses, Don't They?" and Jessica Lange as an emotionally vulnerable actress in "Tootsie."
But even in his less-regarded works, many actors earned Oscar nominations, including Paul Newman and Melinda Dillon in the newspaper libel drama "Absence of Malice" (1981) and Holly Hunter in "The Firm" (1993), based on the John Grisham legal thriller.
Mr. Pollack's skill with performers has been credited to his start in show business as a theater and television actor in the 1950s. With his glasses and curly hair, he became a recognizable presence over the years, thanks to memorable cameo appearances in films and on television.
As a young man, he had been a student of Sanford Meisner, who taught the acting technique known as "the Method," which uses the performer's emotional memory to add realistic touches to a role.
"He was the most influential person in my life in terms of my thinking about drama, about life itself," Mr. Pollack said of Meisner in 1993.
"Everything I do is from the point of view of acting," he added. "I think of cinematography from an actor's point of view. My scripts are from an actor's point of view. Once you find the spine of a part, it becomes a wonderful mold for the whole movie. You measure every single thing against it."
In later years, Mr. Pollack had a significant impact as a producer by using his reputation for commercial success to support other directors, some of them untested. Last year, he backed screenwriter and first-time director Tony Gilroy on the critically praised "Michael Clayton," a thriller with George Clooney.
He also teamed with writer-producer-director Anthony Minghella to produce such films as "The Talented Mr. Ripley" (1999), "Iris" (2001), "The Quiet American" (2002) and "Cold Mountain" (2003).
Movie critic and historian David Sterritt said Mr. Pollack's "main importance was as a kind of hyphenate -- someone who produced, directed and sometimes acted."
"He was one of the consummate professionals of the last 40 years or so in Hollywood," Sterritt said. "On his own films, or those he supported as a producer or actor, he reached a high level of achievement, if not always a high level of art."
Sydney Pollack was born July 1, 1934, in Lafayette, Ind., and raised in South Bend.
He once described himself as an "unpopular and rather sad kid" while growing up in Indiana and made awkward attempts to fit in socially by playing sports. He once took up boxing but, with his poor vision, "didn't see the punches until they were too close."
Movies enchanted him, but he vividly recalled that his father, a boxer-turned-pharmacist, discouraged his ambitions as an actor as an unmanly trade. Sydney Pollack's two siblings went into entertainment: Bernie became a costume designer, and Sharon became a dance instructor.
After high school, Sydney Pollack went to New York in 1954 and studied acting at the Neighborhood Playhouse under Meisner, who was so impressed with Mr. Pollack that he made him his assistant. Mr. Pollack's students included Robert Duvall, Rip Torn, Brenda Vaccaro and Claire Griswold, whom he married in 1958.
In addition to his wife, of Los Angeles, survivors include two daughters, Rebecca Pollack and Rachel Pollack, both of Los Angeles; a brother; and six grandchildren. A son, Steven Pollack, died in a small-plane crash in 1993.
In the 1950s, Sydney Pollack began making regular appearances on TV anthology programs such as "Playhouse 90." Director John Frankenheimer brought Mr. Pollack to Hollywood in 1961 to work as a dialogue coach on the juvenile delinquency drama "The Young Savages."
Mr. Pollack said he bonded with the film's star, Burt Lancaster, over the fact that neither had been to college. Lancaster smoothed the way for Mr. Pollack's entry into Hollywood by urging powerful agent and mogul Lew Wasserman to hire him as a director.
He said Lancaster told Wasserman: "He can't be worse than some of those bums you got workin' for you now."
Mr. Pollack directed many TV series and won the 1966 best directing Emmy Award for an episode of "Bob Hope Presents the Chrysler Theatre." He also took occasional acting jobs and made his movie debut in the supporting role of a sergeant in "War Hunt" (1962), a drama set during the Korean War that featured the largely unknown Redford.
In 1965, Mr. Pollack won his first movie directing credit for "The Slender Thread," a suicide help-line drama with Sidney Poitier and Anne Bancroft. Mr. Pollock later dismissed the melodramatic film as "a dreadful picture," and he was not contradicted by reviewers.
He also bombed critically with his next three films, including "This Property is Condemned" (1966), based on a Tennessee Williams one-act play; the satiric western "The Scalphunters" (1968), starring Lancaster; and the anti-war drama "Castle Keep" (1969), based on a William Eastlake novel.
He began his first long run of hits with "They Shoot Horses, Don't They?," a grim film with Jane Fonda. The movie proved an unexpected commercial success and brought Pollack an Oscar nomination for directing and launched him to the front rank of directors.
Most reviewers found "Tootsie," with Dustin Hoffman as an out-of-work actor masquerading as a woman to get a job on a TV soap opera, probably his finest achievement.
Critic Pauline Kael wrote that Mr. Pollack seemed to direct with less self-consciousness, especially in opening scenes showing what she called "a crackling, rapid-fire presentation of the hopes versus the realities of out-of-work actors' lives."
Mr. Pollack's most notable acting role may have been as Hoffman's long-suffering agent in "Tootsie," a part he was said to have taken only reluctantly after Hoffman, in female character, hounded him with notes that read, "Please be my agent! Love, Dorothy."
He had key supporting roles in Woody Allen's "Husbands and Wives" (1992) as an adulterer, Robert Altman's "The Player" (1992) as a Hollywood lawyer and Stanley Kubrick's "Eyes Wide Shut" (1999) as a creepy doctor, parts he took because he was curious about how other famous directors worked.
He also had a stint as a wife-killing oncologist on the HBO mob drama "The Sopranos."
Directing and production credits included "The Yakuza" (1974) with Robert Mitchum as an American private eye in Japan; "Bobby Deerfield (1977) with Al Pacino as a race car driver who falls for a woman with cancer, Marthe Keller; "Random Hearts" (1999), a romantic drama with Harrison Ford and Kristin Scott Thomas falling in love after their spouses die in a plane crash; and "The Interpreter" (2005), a thriller with Nicole Kidman and Sean Penn set at the United Nations.
In 2005, he made his first documentary, "Sketches of Frank Gehry," after meeting the celebrated architect at a Los Angeles party.
Mr. Pollack told the Christian Science Monitor that he hoped his own films, made for broad audiences, would follow the tradition of many movies of the 1930s and 1940s dismissed as "standard studio fare" but are now seen as great art.
He added that he was motivated by two factors: "First, I have to satisfy the needs of popular art. Second, I don't want to be intellectually insulting. I want to raise issues and questions that are sufficiently intriguing -- so people I care about will like them, too."
Mr. Pollack, who called himself "Mr. Mainstream," was wildly successful at moviemaking with mass appeal but drew mixed reviews during a prolific career.
His best-remembered work could be provocative, timely and sensitively crafted: "Tootsie" (1982) was hilarious and underscored aspects of the feminist struggle; the taut spy story "Three Days of the Condor" (1975) captured Nixon-era paranoia; "They Shoot Horses, Don't They?" (1969), though set at a Depression-era dance marathon, resonated with young ticket buyers who saw the rigged contest as a reflection of modern society.
Mr. Pollack's movies often emphasized the loner at conflict with society, whether a fur trapper in the wilderness in "Jeremiah Johnson" (1972) or a cowboy who tries to recover his soul after selling out in "The Electric Horseman" (1979) with Robert Redford and Jane Fonda.
He saw Redford as his ideal collaborator and cast him in seven movies, from "This Property Is Condemned" (1966) to "Havana" (1990), because of what he considered his "very internal, rather understated" acting style as well as a dark undercurrent he found appealing beneath Redford's "golden boy" exterior.
Redford returned the compliment, telling Film Comment magazine, "Sydney's the one director that seems to read me best. . . . Basically he's a romantic."
Audiences embraced two of Mr. Pollack's best-known romance stories: "The Way We Were" (1973) with Redford as a WASP writer and Barbra Streisand as a Jewish political activist during the Hollywood blacklist; and "Out of Africa" (1985), a $30 million production based on Danish author Isak Dinesen's years in Kenya and her complicated affair with a free-spirited and handsome pilot.
The latter film, which earned Oscars for Mr. Pollack for directing and producing, starred Meryl Streep and Redford against a backdrop likened by critics to a National Geographic spread.
Dave Kehr of the Chicago Reader complimented Mr. Pollack's craftsmanship and taste, saying that "although the denouement is a bit overextended, he never yields to facile, insistent sentimentality -- his effects are honestly won."
Many others found both films saccharine and ponderous, and Mr. Pollack spoke of his own "tendency by nature to be heavy-handed," which he attributed to his early training as a television director "where you have to grab the audience in the first 10 minutes."
Few disputed that Mr. Pollack was a master of pulling terrific performances from actors. Those who won Oscars under his direction included Gig Young as a cynical dance-marathon announcer in "They Shoot Horses, Don't They?" and Jessica Lange as an emotionally vulnerable actress in "Tootsie."
But even in his less-regarded works, many actors earned Oscar nominations, including Paul Newman and Melinda Dillon in the newspaper libel drama "Absence of Malice" (1981) and Holly Hunter in "The Firm" (1993), based on the John Grisham legal thriller.
Mr. Pollack's skill with performers has been credited to his start in show business as a theater and television actor in the 1950s. With his glasses and curly hair, he became a recognizable presence over the years, thanks to memorable cameo appearances in films and on television.
As a young man, he had been a student of Sanford Meisner, who taught the acting technique known as "the Method," which uses the performer's emotional memory to add realistic touches to a role.
"He was the most influential person in my life in terms of my thinking about drama, about life itself," Mr. Pollack said of Meisner in 1993.
"Everything I do is from the point of view of acting," he added. "I think of cinematography from an actor's point of view. My scripts are from an actor's point of view. Once you find the spine of a part, it becomes a wonderful mold for the whole movie. You measure every single thing against it."
In later years, Mr. Pollack had a significant impact as a producer by using his reputation for commercial success to support other directors, some of them untested. Last year, he backed screenwriter and first-time director Tony Gilroy on the critically praised "Michael Clayton," a thriller with George Clooney.
He also teamed with writer-producer-director Anthony Minghella to produce such films as "The Talented Mr. Ripley" (1999), "Iris" (2001), "The Quiet American" (2002) and "Cold Mountain" (2003).
Movie critic and historian David Sterritt said Mr. Pollack's "main importance was as a kind of hyphenate -- someone who produced, directed and sometimes acted."
"He was one of the consummate professionals of the last 40 years or so in Hollywood," Sterritt said. "On his own films, or those he supported as a producer or actor, he reached a high level of achievement, if not always a high level of art."
Sydney Pollack was born July 1, 1934, in Lafayette, Ind., and raised in South Bend.
He once described himself as an "unpopular and rather sad kid" while growing up in Indiana and made awkward attempts to fit in socially by playing sports. He once took up boxing but, with his poor vision, "didn't see the punches until they were too close."
Movies enchanted him, but he vividly recalled that his father, a boxer-turned-pharmacist, discouraged his ambitions as an actor as an unmanly trade. Sydney Pollack's two siblings went into entertainment: Bernie became a costume designer, and Sharon became a dance instructor.
After high school, Sydney Pollack went to New York in 1954 and studied acting at the Neighborhood Playhouse under Meisner, who was so impressed with Mr. Pollack that he made him his assistant. Mr. Pollack's students included Robert Duvall, Rip Torn, Brenda Vaccaro and Claire Griswold, whom he married in 1958.
In addition to his wife, of Los Angeles, survivors include two daughters, Rebecca Pollack and Rachel Pollack, both of Los Angeles; a brother; and six grandchildren. A son, Steven Pollack, died in a small-plane crash in 1993.
In the 1950s, Sydney Pollack began making regular appearances on TV anthology programs such as "Playhouse 90." Director John Frankenheimer brought Mr. Pollack to Hollywood in 1961 to work as a dialogue coach on the juvenile delinquency drama "The Young Savages."
Mr. Pollack said he bonded with the film's star, Burt Lancaster, over the fact that neither had been to college. Lancaster smoothed the way for Mr. Pollack's entry into Hollywood by urging powerful agent and mogul Lew Wasserman to hire him as a director.
He said Lancaster told Wasserman: "He can't be worse than some of those bums you got workin' for you now."
Mr. Pollack directed many TV series and won the 1966 best directing Emmy Award for an episode of "Bob Hope Presents the Chrysler Theatre." He also took occasional acting jobs and made his movie debut in the supporting role of a sergeant in "War Hunt" (1962), a drama set during the Korean War that featured the largely unknown Redford.
In 1965, Mr. Pollack won his first movie directing credit for "The Slender Thread," a suicide help-line drama with Sidney Poitier and Anne Bancroft. Mr. Pollock later dismissed the melodramatic film as "a dreadful picture," and he was not contradicted by reviewers.
He also bombed critically with his next three films, including "This Property is Condemned" (1966), based on a Tennessee Williams one-act play; the satiric western "The Scalphunters" (1968), starring Lancaster; and the anti-war drama "Castle Keep" (1969), based on a William Eastlake novel.
He began his first long run of hits with "They Shoot Horses, Don't They?," a grim film with Jane Fonda. The movie proved an unexpected commercial success and brought Pollack an Oscar nomination for directing and launched him to the front rank of directors.
Most reviewers found "Tootsie," with Dustin Hoffman as an out-of-work actor masquerading as a woman to get a job on a TV soap opera, probably his finest achievement.
Critic Pauline Kael wrote that Mr. Pollack seemed to direct with less self-consciousness, especially in opening scenes showing what she called "a crackling, rapid-fire presentation of the hopes versus the realities of out-of-work actors' lives."
Mr. Pollack's most notable acting role may have been as Hoffman's long-suffering agent in "Tootsie," a part he was said to have taken only reluctantly after Hoffman, in female character, hounded him with notes that read, "Please be my agent! Love, Dorothy."
He had key supporting roles in Woody Allen's "Husbands and Wives" (1992) as an adulterer, Robert Altman's "The Player" (1992) as a Hollywood lawyer and Stanley Kubrick's "Eyes Wide Shut" (1999) as a creepy doctor, parts he took because he was curious about how other famous directors worked.
He also had a stint as a wife-killing oncologist on the HBO mob drama "The Sopranos."
Directing and production credits included "The Yakuza" (1974) with Robert Mitchum as an American private eye in Japan; "Bobby Deerfield (1977) with Al Pacino as a race car driver who falls for a woman with cancer, Marthe Keller; "Random Hearts" (1999), a romantic drama with Harrison Ford and Kristin Scott Thomas falling in love after their spouses die in a plane crash; and "The Interpreter" (2005), a thriller with Nicole Kidman and Sean Penn set at the United Nations.
In 2005, he made his first documentary, "Sketches of Frank Gehry," after meeting the celebrated architect at a Los Angeles party.
Mr. Pollack told the Christian Science Monitor that he hoped his own films, made for broad audiences, would follow the tradition of many movies of the 1930s and 1940s dismissed as "standard studio fare" but are now seen as great art.
He added that he was motivated by two factors: "First, I have to satisfy the needs of popular art. Second, I don't want to be intellectually insulting. I want to raise issues and questions that are sufficiently intriguing -- so people I care about will like them, too."
5.26.2008
5.21.2008
An unending appreciation of dungarees.
135 years ago today, Levi Strauss and Jacob Davis received a patent for work pants reinforced with metal rivets.
Thanks guys.
Thanks guys.
5.20.2008
Hey Kentucky!
You're going to vote for Clinton because you're not smart enough to vote for Ron Paul and too fucking racist and bigoted to vote for Obama... Shades of WV. You deserve your fate when these fucking neo-socialist fucks gather a Democratic Congress and White House and completely repeal the 2nd Amendment among other issues.
I better never hear any of you fucks say anything derogatory or negative about WV again.
I better never hear any of you fucks say anything derogatory or negative about WV again.
5.18.2008
Tomorrow, or whenever you're failing yourself and you say you can't do "it"...
Keep in mind there's a fifteen year-old, blind kid, named - Tommy Carroll who is smoking your weak, "I can't do it", ass.
Of all the things that I've done in my life...
being a Philadelphia Flyers fan is one of the hardest.
Maybe next year.
Maybe next year.
5.17.2008
Can anyone tell me...
Why the POW/MIA organization and all the former POWs of the United States of America are not kicking John McCain in the balls on a daily basis? Anyone who has even the slightest education on the issue knows where he stands.
EXCEPT BY JOHN McCAIN
EXCEPT BY JOHN McCAIN
5.15.2008
I made a difference this week. What did you do?
just moments ago, by a near-unanimous vote, the Senate stood up to Big Media. They voted to throw out the FCC decision to let the largest media companies swallow up even more local media.
This is simply an astounding victory, and it would not have happened without the massive grassroots effort by you and thousands of others who called their senators, sent more than a quarter million letters, posted thousands of pictures and stories on StopBigMedia.com, and testified at public hearings held by the FCC.
It was your dedication that made today's Senate win possible.
Today was a huge step forward, but there is still much to do. The fight against the FCC now moves to the House, where our elected representatives need to hear from us.
President Bush has promised that he will try to veto this bill. But tonight the Senate and the American people have spoken with one voice. This historic vote sends a clear message that the only people who support more media consolidation are Big Media lobbyists and the White House.
We are in this struggle to bring more minority ownership, diverse perspectives and independent voices to the media. We need to make media consolidation an election-year issue. And we need to start talking about how to break up the giant conglomerates.
Corporate news today -- with its propaganda pundits, horse-race election coverage, and celebrity gossip -- undermines our democracy. We must continue to speak out and demand that the public airwaves be used to actually serve the public.
In just three weeks, thousands of people will be gathering together in Minnesota to build the movement for better media. You can join them at the National Conference for Media Reform, just visit www.freepress.net/conference.
For today, know that you played a key role in the fight for better media for all.
Thank you,
Josh Silver
Executive Director
Free Press Action Fund
This is simply an astounding victory, and it would not have happened without the massive grassroots effort by you and thousands of others who called their senators, sent more than a quarter million letters, posted thousands of pictures and stories on StopBigMedia.com, and testified at public hearings held by the FCC.
It was your dedication that made today's Senate win possible.
Today was a huge step forward, but there is still much to do. The fight against the FCC now moves to the House, where our elected representatives need to hear from us.
President Bush has promised that he will try to veto this bill. But tonight the Senate and the American people have spoken with one voice. This historic vote sends a clear message that the only people who support more media consolidation are Big Media lobbyists and the White House.
We are in this struggle to bring more minority ownership, diverse perspectives and independent voices to the media. We need to make media consolidation an election-year issue. And we need to start talking about how to break up the giant conglomerates.
Corporate news today -- with its propaganda pundits, horse-race election coverage, and celebrity gossip -- undermines our democracy. We must continue to speak out and demand that the public airwaves be used to actually serve the public.
In just three weeks, thousands of people will be gathering together in Minnesota to build the movement for better media. You can join them at the National Conference for Media Reform, just visit www.freepress.net/conference.
For today, know that you played a key role in the fight for better media for all.
Thank you,
Josh Silver
Executive Director
Free Press Action Fund
5.14.2008
5.12.2008
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