“There are dark comedies. There are screwball comedies.
But there aren’t many dark screwball comedies.
And if Nora Ephron’s Lucky Numbers is any indication,
there’s a good reason for that.”
— Todd Anthony, South Florida Sun-Sentinel
“There are dark comedies. There are screwball comedies.
But there aren’t many dark screwball comedies.
And if Nora Ephron’s Lucky Numbers is any indication,
there’s a good reason for that.”
— Todd Anthony, South Florida Sun-Sentinel
Writer Robert Avrech on director Brian De Palma —
“Both Brian and I greatly admire Alfred Hitchcock so we were
pretty much on the same page aesthetically. That’s how I came
to write Body Double , a superb thriller that immediately thrust
me into the Hollywood limelight.”
— https://www.opednews.com/populum/page.php?
f=Behind-the-Scenes-with-Hol-by-Joan-Brunwasser-
American-Jews_Hollywood_Interviews_Judaism-Jewish-
131219-897.html
Writer Robert Avrech on director Brian De Palma —
“Both Brian and I greatly admire Alfred Hitchcock so we were
pretty much on the same page aesthetically. That’s how I came
to write Body Double , a superb thriller that immediately thrust
me into the Hollywood limelight.”
— https://www.opednews.com/populum/page.php?
f=Behind-the-Scenes-with-Hol-by-Joan-Brunwasser-
American-Jews_Hollywood_Interviews_Judaism-Jewish-
131219-897.html
See also Avrech in this journal —
“There are dark comedies. There are screwball comedies.
But there aren’t many dark screwball comedies.
And if Nora Ephron’s Lucky Numbers is any indication,
there’s a good reason for that.”
— Todd Anthony, South Florida Sun-Sentinel
Perhaps another indication — De Palma's Body Double .
"Like a rose under the April snow . . . ." — Streisand
"The Demolished Man was a novel that had fascinated De Palma
since the late 1950s and appealed to his background in mathematics
and avant-garde storytelling. Its unconventional unfolding of plot
(exemplified in its mathematical layout of dialogue) and its stress on
perception have analogs in De Palma's filmmaking." — Wikipedia
This, together with the Cuernavaca balcony in Deschooling MIT, is
perhaps enough of a clue for mystified theologians on St. Peter's Day.
In memory of actress Linda Cristal — The New York Times today —
“After a modest film career, followed by guest roles on television,
Ms. Cristal auditioned for ‘The High Chaparral,’ a western
developed by David Dortort, the creator and producer of ‘Bonanza.’
In her telling, it was a memorable occasion.”
Judy Carne and Hoss in NBC’s “Bonanza,” a nemesis of
CBS Sunday programming.
The New York Times on “Bonanza” in 2010 —
“Mr. Dortort oversaw production of the show for most of its run. In addition
to telling stories based on historical events involving the Comstock Lode and
the oncoming Civil War, the show dealt with themes like racial prejudice and
religious tolerance. Mostly, though, its drama, and its popularity, were because
of its focus on the Cartwrights and their tightknit bond.
‘What is the message?’ Mr. Dortort said. ‘Love is the message.’
David Solomon Katz was born in Brooklyn to Jewish immigrant parents from
Eastern Europe on Oct. 23, 1916, and grew up in a neighborhood famous for
the gangsters of Murder Inc. …”
New York Times opinion yesterday from a professor at M.I.T. —
* For some background on Deschooling, see (for instance) . . .
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