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Still Mean in Las Vegas

Casino (1995) starts with a bang, literally. The third of Scorsese's Mafia trilogy begins with an explosion that, like the gruesome murder of Billy Batts that opens GoodFellas, is not explained until near the end of the story. As we will discover, the booby-trapped car belongs to Ace Rothstein (Robert DeNiro), an elegant manager of the Tangiers, one of the most successful casinos in Las Vegas, and the story backs up to tell the story of his rise and fall in the family. In this respect, the plot structure is similar to that of GoodFellas. Likewise, it chronicles the disintegration of the old-time Mafia, whose demise Scorsese again views with some regret. Despite these obvious structural and thematic similarities, in several respects Casino represents a departure from the earlier mob films. In this film Scorsese and the Mafia have completed their migration from Sicilian roots. Charlie in Mean Streets belonged to the Sicilian clan and was destined to inherit his position as proprietor of...

Leaving Las Vegas

I was in postproduction on The Browning Version, which was about the time of the really big earthquake here, and it was a strange time to be in Los Angeles. A friend of mine by the name of Stuart Regen gave me a book to read. Stuart Regen runs a gallery here in Los Angeles and is a really, really great guy. It was one of those awkward situations that all filmmakers have experienced when a friend buys a book at the airport, says, You know, you should read this. I read it on the plane, and I think it'll make a great movie. You always know that if people are reading it, it's already optioned by someone else or something like that. If it's not, it probably is no good to begin with. So he gave me this book called Leaving Las Vegas by John O'Brien, and I had it in my bag for months and months and months. I kept saying I must read that book. And Stuart would ring up and say, Did you get a chance to read the book And I'd say, Oh, no. But it's on my list. I'll read it this weekend, and I never...

Work with a Partner

If you are pitching your project with a partner, practice who will be doing and saying what. Don't come to the pitch meeting with a Las Vegas routine, for example, unless the act is genuinely relevant to your project. Rehearse your roles before the meeting, and come in with an attitude that is relaxed, respectful, and enthusiastic.

Mike Figgis Filmography

The House (TV, 1984) Stormy Monday (1988) Internal Affairs (1990) Women & Men 2 In Love There Are No Rules (TV 1991) Liebestraum (1991) Mr. Jones (1993) The Browning Version (1994) Leaving Las Vegas (1995) One Night Stand (1997) Flamenco Women (1997) The Loss of Sexual Innocence (1999) Miss Julie (1999)

Crime Wave stCentury Cops

Crime movies have used many settings, from the slums of Rio, the terraces of Newcastle and the towering neon palaces of Las Vegas, to the streets of San Francisco, the back streets of Paris and the mean streets of New York. To begin the movie gangster's story, we must look back to the thirsty thirties of Prohibition, when the public enemies first appeared, riding the crest of a crime wave

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Plans to kill Michael on his way home from the New Year's Eve party in Cuba, even when Roth is professing friendship and a business partnership. Roth was the childhood friend of Moe Green, the casino owner killed by the Corleones in The Godfather (Green loosely resembles real-life Lansky associate Gus Greenbaum, who ran the Flamingo for Lansky in Las Vegas). Roth laughs that his American criminal fraternity is 'bigger than US steel', with Michael's slice of the cake, the gambling operations, representing 'leisure and tourism' the 'US steel' quip was made by Meyer Lansky.

The Corrupt City and CSI Storylines

CSI is set in Las Vegas, a city represented as catering to extremes of self-interest and desire. Las Vegas instantiates the noir trope of the corrupt city. It is the sort of place where even some of those charged with upholding the law have selfish motives. For instance, the sheriff is concerned only about the optics of a crime and how they might affect his career, not about justice ( Table Stakes ). CSI makes it appear as though Las Vegas is a city where everything is possible and, nearly everyone, whether citizen or tourist, with the money to finance it or the will to achieve it, seems to be pursuing his or her own ends, often by whatever means necessary. Many prominent citizens for example, the owners of the casinos and even some of the most successful former showgirls are rich and powerful. At the same time, most tourists can operate anonymously and thus do nearly anything they want without drawing attention to themselves unless they commit a crime. The city is driven by commerce...

Mean Streets of Brooklyn and Queens

Over the years since Mean Streets, Scorsese developed a reputation for his unflinching, or as he would call it, his anthropological, look at the rougher side of New York City life in films like Taxi Driver (1975), New York, New York (1977), Raging Bull (1980), The King ofComedy (1982), After Hours (1985), and 'Life Lessons, a segment in the trilogy New York Stories (1988), yet he never really returned to the mob until GoodFellas (1990), which is set mainly in Brooklyn and Queens. Five years later, in Casino (1995), he will follow the mob to its headquarters in Kansas City and its operations in distant Las Vegas. No matter how far he removed his gangsters from Little Italy, the scents of Elizabeth Street still clung to their polyester suits.

Creating Environments

Naming the environment, however, is just the beginning. It is a common trap for improvisers to assume that the audience sees the environment as clearly as they do. But, they don't. While the improviser in the scene might see that elaborate Las Vegas casino, with mirrored walls, flashing lights, thick red carpeting, rows and rows of flashing slot machines, and hundreds of people milling about, the audience sees an empty stage with a few generic set pieces and a couple of those ubiquitous black, wooden cubes.

Post Modern Glamour A Postscript

By 1967 the pop revolution in design, art and film had passed, along with Britain's brief leadership of glamour. The Beatles appeared on the cover of Sergeant Pepper's Lonely Hearts Club Band in June 1967 with unkempt hair reaching their shoulders and Victorian military uniforms made from acid-coloured satins. This form of post-modern styling reworked past looks in an ironic and self-conscious manner as an effective challenge to mainstream modernism. Hollywood glamour was revived as part of this challenge and worn by both men and women -it remained a feminine attribute, and was exploited by men in a deliberate attempt to appear effeminate. The centre of leadership for this dangerous and edgy glamour was the west coast of America, not Los Angeles as in the 1930s, but San Francisco. The 1930s Hollywood glamour was revived by film-makers, fashion designers and interior decorators to represent the spirit of hedonistic disdain for all the established values of the previous generation....

Do Strasbergs Performances On Film Illuminate What He Taught

October 1988 Adams, 1980 374), reviewers saw Roth as a truthful portrait of the famous Jewish mobster, Meyer Lansky. Anna Strasberg reported that her husband's portrayal had been so accurate that Lansky himself telephoned to 'praise' the likeness (Los Angeles Herald Examiner, 25 October 1988). Columnist James Bacon avowed the same. 'I used to know Meyer back in the days when he hung around the Flamingo in Las Vegas, and Strasberg's performance is so close to the real thing, it is eerie' ('Academy Award Caliber', Los Angeles Herald Examiner, 13 December 1974). moments in Strasberg's films function as if they were emotional memories. The first occurs when Roth accuses Corleone of backing out of their Havana deal by relating a parable from the early days of Las Vegas about the mysterious murder of a young prot g . Telling the story revives the painful memory and reignites the anger which Roth felt at the murder. Strasberg then displays the way in which Roth characteristically represses...

Postmodernism and Crime Story

As Miami Vice, 24, Carnivale, and The Sopranos illustrate, a number of the styles and themes found in TV noir extend the models found in classic film noir in their indebtedness to existentialism. But Miami Vice also departs from the existentialist model and can be classed with other series that are determinedly subversive because they owe something to the influence of postmodernist philosophies.23 And just as Miami Vice is noteworthy for its visual realization, showcasing a tropical deco palette in its wardrobe and set design, Crime Story (1986-1988), a series not covered in the essays included in this volume, vividly recalls early-1960s Chicago and Las Vegas. Crime Story combines its site-specific format with a radical postmodernist critique of government power and corruption. The series begins its first season in Chicago where police detective Mike Torello battles his own demons and his personal nemesis, Ray Luca. The master narrative of Crime Story is a Manichean one of the...

Relationships And Gender

Coupled with this affectionate parody are occasional patches of more biting satire, such as Ben Hecht's frequent comic diatribes against journalism in his Nothing Sacred script, or onetime lawyer McCarey derailing the courtroom in both The Awful Truth and My Favorite Wife (1940). Joining journalism and law as an especially popular screwball satirical target, is academia and intellectual pretension the ''dean'' of this approach is Howard Hawks, with his winning trilogy Bringing Up Baby, Ball of Fire (1941), and Monkey Business (1952). Other skewered subjects include the upper class, in My Man Godfrey Las Vegas and the mob, in Honeymoon in Vegas (1992) gay stereotypes, in In & Out (1997) and the makeover mentality in Bridget Jones's Diary (2001).

Film Commissioner

In Nevada, the film office director is Charlie Geocaris, and it's his office Steven Soderbergh went through to get permission to film Ocean's 11 on the Las Vegas city streets. But the greatest responsibility of a film commissioner is to balance what the client (the production company) needs with what the community will tolerate. You can't have huge explosions on a residential street at three o'clock in the morning without causing some complaints. And in Las Vegas, where 70 percent of Nevada filming is done, the balance is especially important. The office of the film commission works as a liaison with the hotels and resorts of the city to accommodate film crews whenever possible.

The Browning Version

I had to sit with Mark and Ridley Scott and try and convey my musical ideas to somebody else altogether, which is a most strange experience, and then watch my score be replaced. The music of any movie in my opinion is the psychological fabric of the film, and I had to watch it be replaced by someone else, who now is speaking not just to me but also to the producer, and he's getting his notes from the studio, not from me. Again, rather like my earlier story about Mara and the HBO producer. The theme that I wrote for Albert Finney became the theme for Leaving Las Vegas, a much-lauded musical score. It was, I believe, in the Top 50 Album Charts for two years and was played at the Oscars in front of about 50 million or so viewers. Once again, there are small compensations. But I do, to this day, regret the fact that I wasn't allowed to complete the score, because it was, you know, just keyboards and temps stuff that I first showed them. I really felt that music was the key to Albert...

Johnny Carson

In the meantime, Carson continued his work as a top-billed nightclub act in the 1960s. It was the way he hedged his bets against the kind of sudden cancellation he had experienced on his 1955 CBS show, and it kept him in touch with his audience by bringing him not only to Las Vegas but to arenas, auditoriums, and fairgrounds around the country. His experience on the road, and the figures he was commanding to perform, convinced him that he had become by this point a star, not just a hired voice. He had been an interested observer of Jack Paar's walk off the air in 1960, and he knew that NBC would be convinced, in the final analysis, only by confrontation.

Do The Rice Thing

Form a picture of Chow Yun-Fat in your head large dove's eyes, cute dimples, toothy grin. Perhaps the image you have is more than this, however perhaps it is an image of him totin' guns and mowing down throngs of adversaries, as in A Better Tomorrow (1986, HK), Hard Boiled (1993, HK) and countless other Hong Kong action rides. Or maybe you are thinking of Chow wearing slick suits and carrying a large wad of cash, as in God of Gamblers (1989, HK) and God of Gamblers' Return (1995, HK). Perhaps you are even struggling with the question of why you cannot quite recall having seen Chow Yun-Fat have sex in a movie - certainly not with Cherie Cheung in An Autumn Tale (1988, HK), Jodie Foster in the Hollywood production Anna and the King (1999, USA), or Michelle Yeoh in the US-China collaboration Crouching Tiger, Hidden Dragon (2000, US China), and definitely not with Danny Lee in The Killer (1989, HK) or Simon Lam in Full Contact (1992, HK). Not with anyone, ever, in fact.

Back to the future

Once the world's most powerful film studio, the proud producer of Ninotchka and scores of other prestigious motion pictures in the 1930s and 1940s, MGM was in dire financial straits by the late 1970s. The victim, like other studios, of dwindling audiences and wavering production policies, it looked as though it was going out of business. In the early 1980s, MGM's principal owner, the reclusive Las Vegas financier Kirk Kerkorian, gambled. He expanded the studio's production system by purchasing United Artists, and appointed the bullish, egotistical Frank Yablans as CEO. Yablans had earned a reputation as a miracle worker while serving as Paramount's president in the seventies, and set about trying to save MGM UA by attracting new, creative talent to the company. One of his first major 'make-or-break' projects was Red Dawn, a 17 million anti-communist action-adventure movie that made Hollywood's McCarthy-era Red-baiting material look positively restrained.11 Red Dawn was filmed between...

Spectacle Economy

Since Debord's theorization of the society of the spectacle in the 1960s and 1970s, spectacle culture has expanded in every area of life. In the culture of the spectacle, commercial enterprises have to be entertaining to prosper and as Michael J. Wolf (1999) argues, in an 'entertainment economy,' business and fun fuse, so that the E-factor is becoming a major aspect of business. Via the 'entertainmentization' of the economy, television, film, theme parks, video games, casinos, and so forth become major sectors of the national economy. In the U.S., the entertainment industry is now a 480 billion industry, and consumers spend more on having fun than on clothes or health care (Wolf 1999 4).

Chapter Epilogue

At Timecode's premiere it was projected on a digital video projector, but since most theaters do not yet have digital projectors, it had to be transferred onto 35mm film for release in theaters. Figgis had the clout to make such an experimental film because of the enormous success of his Leaving Las Vegas (1995).

Benefit Of Friends

I arrived again that second morning at FUBAR around 8 30, and just missed my old friend Victoria's performance. Victoria had flown in from Las Vegas for the day to play herself as an insane date who blithely terrorizes the camera Michael's point of view. Seventeen years ago, she had been funny in a cameo in Street Trash, screaming shrilly as her screen husband was pulled out of a car window by a malevolent wino and smashed through the front windshield.


Triangulation is a device whereby the main character explores two opposing relationships. Those two relationships can be viewed as the two opposing choices. They can also be viewed as two opposing means for the character to achieve his or her goal. In either case, the exploration of these two relationships gives the melodrama amplitude. It prevents the drama from flattening out, as occurs in Leaving Las Vegas and in The Truman Show described above.

Case Studies

To investigate some of the philosophical themes raised by CSI, we will examine the episode in which Grissom and his team are challenged by Grissom's former mentor ( The Accused Is Entitled ), the three episodes that feature the serial killer Paul Millander (the pilot episode, Anonymous, and Identity Crisis ), and the three featuring the dominatrix Lady Heather ( Slaves of Las Vegas, Lady Heather's Box, and Pirates of the Third Reich ). The Accused Is Entitled features a movie star who reports a dead woman in his bed after a night of high-stakes gambling at a casino and blames her death on her girl friend, both of whom were picked from a group of adoring fans in the casino and invited to his suite. This episode takes a unique perspective on CSI investigative procedure, since the movie star's lawyer decides, as Grissom remarks, that when you can't attack the evidence itself, you attack the method of gathering it. The forensic expert hired to attack the CSIs turns out to be Grissom's own...

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