Mike Tyson, however, shows no such reticence—about Robin Givens, Don King or cell memories in general—in Tyson, James Toback’s much buzzed-about 90-minute profile. Called to the stage by festival director Thierry Frémaux, Tyson, joining Toback, entered not with Bengal tigers, not with a huge entourage, but with a display of deep gratitude and humility. With a white kerchief blooming from his suit pocket, the former heavyweight champ, as tall as he is wide, recalled that he was on his way to an AA meeting when Toback called to pitch the project. “I thought it would be a bootleg DVD,” he joked. Far from it—Tyson is a fascinating portrait that reaches a sublime moment of incongruity when the boxer reads from Oscar Wilde’s poem “The Ballad of Reading Gaol” (both men were imprisoned for sexual deviancy, Wilde with Lord Alfred Douglas, Tyson with Desiree Washington). “Each man kills the thing he loves,” goes the most famous line from Wilde’s verse. Tyson nearly kills his own soul: “I wanted leeches to suck my blood,” he says in the doc about his handlers. “I allowed it to happen.” In therapy-speak, international or otherwise, this recognition might be called the first step.

"Hello everyone—we’re very sorry to have to cancel the party on our first night of the season, but there’s a certain amount of rain & cold that simply forces us to make this decision.  Up until recently, it looked like the rain was going to taper off, but now it’s looking like it’ll be steady through the night and into the morning (over a 1/2 inch and around 50 degrees). Things will be way too cold & wet, so looks like our real opening night will be May 23rd and 25th with a big lineup all weekend!!!  The full info is at turntablesonthehudson.com."

CATIE, 33
Manhattan, finance

Learn more about her:

Says Catie: “I like to surround myself with great friends, people who understand that life’s not that bad. I consider myself to be outgoing and witty; at least every other joke I tell is funny. I had hopes of becoming a newscaster but ended up in finance, where I sold my soul to the devil. I’m still working on getting it back. Oh, and I grew up in New Jersey, but no jokes, please. Some of us turn out just fine.”

Says Melissa Keller, advertising director: “Catie somehow manages to be cute and sexy at the same time. She’s a smart, talented, feisty, totally funny woman—all wrapped up in a perfect pint-size package. Why no man has nabbed her, I have no idea. Did I mention that she writes poetry, too?”

Contact her at tonysingles.catie@gmail.com.

“Blind is the new chic,” a friend and colleague joked at the opening-night party for Blindness, held on the beach across from the Carlton Hotel, a pier extending out into the Mediterranean to hold another table of tiny skewered vegetables, éclairs and meringues. The entrance to the fete—once you got past the butch gendarmes and various besuited security—was meant to evoke the white, milklike light that the characters in the film “see” before losing their vision. If one were charitable, one might liken it to David Bowie’s “Heroes” video. Or one could just call it tacky.

My peepers were sufficiently restored to take in four films today, with a couple more to go. Two—one fiction, one fact—take vastly different approaches to life behind bars (a third, Nuri Bilge Ceylan’s Three Monkeys, finds its patriarch in prison, but the details of his time in stir never figure into the narrative).

The heroine of Pablo Trapero’s Leonera, sent to the slammer for her participation in a love triangle gone horribly awry, raises her baby alongside other mothers in jail with young children. It’s a solid melodrama for the first half, after which it becomes the Argentine Sherrybaby. On the other hand, Hunger (left), about Bobby Sands and other imprisoned IRA members, by British video artist Steve McQueen, might be the most assured, devastating first (or second, third or last) film I’ve ever seen in the three years I’ve attended Cannes. A seamless, breathtakingly beautiful, brilliantly thought-out recapitulation of a political figure whose death by hunger strike ignited outrage around the world, McQueen’s feature debut may prove to be the superior biopic to Steven Soderbergh’s four-and-a-half-hour Che, which screens next Wednesday.

Well, here’s a Q&A with the writer Peter Iliff we did last year.

And we’ll go ahead and start another rumor: Keanu Reeves and Patrick Swayze will not star in the film!

Bonjour, mesdames et messieurs.

Some may argue that sight is the most important of the five senses. But what about common sense? That virtue is found infrequently at press conferences, moderated by festival perennial Henri Behar, a rotund Euro-dandy, this morning decked out in a denim vest. Behar is the paragon of a certain kind of festival politesse, introducing his guests with the most obsequiously charming circumlocutions. At the Blindness press conference, Behar referred to Meireilles as “Mr. Director” and Don McKellar, the writer and one of the actors in the film, as “Mr. Scriptwriter.” Where Behar is deferential, others are merely moronic. One journalist asked Julianne Moore, who stars as the only sighted person in the ward, if she thought her performance was “the first step in the race for the Oscars”; another asked the actor, who is blond in the film, if she liked her new hairstyle. “Cinema destroys imagination,” Meireilles quoted Saramago as saying when he first approached the novelist about adapting the book. It may wipe out thoughtful questions as well.

Some journos went beyond probing and expected political endorsements at the press conference for the members of the jury, a group of nine presided over by Sean Penn (other members include Natalie Portman, Jeanne Balibar, Marjane Satrapi and Sergio Castellitto). A Dutch critic asked Penn and Portman if they were endorsing Barack Obama; Portman demurred and Penn talked about hope, later referring to “the absolute evil” of George W. Bush. With the majority of questions directed at him, Penn expounded on the qualities of an ideal jury member: one who “listen[s] to heart of the film” and one who is “wide awake with an empty bladder at the start of every film.” President Penn referred to Satrapi, whose Persepolis won the Jury Prize at Cannes last year, as a “brilliantly talented fire-starter of a woman.” Satrapi must have taken him literally. Clearly wishing to alleviate the tedium of the proceedings, Satrapi presented a question of the questioners: “For some members of the jury, for some medical reason, we need to smoke. Is it okay?” With the nod by Behar, Satrapi lit up; Penn matched Balibar; Castellitto puffed away. Who knows what they’ll see when the smoke clears.

It’s TONY here with a Gossip Girl reaction that is admittedly superlate. But you know what? We had a great excuse; we were finalizing an amazing package about the upcoming Sex and the City movie that’s going to make you pine for the innocence of 2004, when sex-crazed females were at least old enough to vote. Check with us Thursday when it’s live exclusively at timeoutnewyork.com. What’s included in it? That’s a secret we’ll never tell…

xoxo,
TONY

Kelsey Rahn, online designer: OKAY HI! GOSSIP TIME!!!!
so my favorite person in this episode was lily!

Lindsey Unterberger, TONY Kids Web editor: Me too! let’s actually start there–at the end
when Rufus won’t let Lily leave
it’s about time he did that!

Rahn: yes it definitely needed to happen and that was kinda a steamy make-out scene
for adults anyway
and it’s also about time that she was a good mother

Unterberger: agreed

Rahn: but i was freaking out when she watched that video
no mother should have to see that! eeeek

Unterberger: me too! i’m glad she turned it off
lol

Rahn: same phew!

Unterberger: ok, but here’s what’s really irking me about the episode
i sort of felt like it had Full House syndrome
like Serena does this really bad, horrible thing and lets this dude die
and she tells the truth, and her mom goes with her to the boy’s parents’ house

Rahn: hahaha great great point…. everyone works together for a solution like one big happy family!

Unterberger: and she apologizes to them, and that’s it?!?
there’s no consequences to her actions? wtf?
there’s no police involvement?
the dude’s parents just forgave her outright?

Rahn: yeah that was a little unbelievable, but it WAS a long time ago! and i love how the old gang stuck together
HE WAS A DRUG ADDICT FOR 10 YEARS

Unterberger: yeah, but she left him to DIE

Rahn: hahaha but he looked about 18…. so since he was 8?

Unterberger: i know, right?!?
lol

Rahn: he clearly wouldve died regardless if she stayed or went
and it’s very believable because when you are a teenager, whenever something goes wrong, you run!

Unterberger: i guess, but still. anyway, i did love how the old gang was back together, too
my favorite line of the night?

Rahn: i’d say let’s go get the bitch!
ah chuck! or um…. charles, as lily says!

Unterberger: oh no, mine is when they’re trying to convince S to spill her secret and they’re all talking about what horrible things they’ve done
and Chuck goes
"I’m Chuck Bass."
f*ing classic.

Rahn: yes! chuck always has those good one-liners! LOVE IT.
so on to dan……

Unterberger: ugh dan

Rahn: UGH such a mess!

Unterberger: he’s just so self-righteous
even his dad thinks so!

Rahn: first of all do you really think he has the guts to sleep with georgina?!

Unterberger: and to fall for Georgina like that? ick.

Rahn: yeah rufus told him

Unterberger: i think she’s very manipulative
and could make just about anyone do anything

Rahn: how stupid is he going to feel when its all revealed next episode

Unterberger: omg, totally

Rahn: i mean let’s not forget, he’s practically a virgin! sex is still sacred to him!

Unterberger: i just hope he never has to watch the video of Serena and the dead dude
and almost-virgin or not… he’s still a guy
and for how much I hate Georgina, she is pretty

Rahn: yeah but he’s also level-headed, overthink-everything dan!
im all for the drama, but i just hope there is a happy (ish) ending for the season finale next week!

Unterberger: okay, let’s make predictions for next week!
what do you think will happen with Lily?
I think she’ll leave Mr. Bass at the altar

Rahn: well it looks like she has a juicy affair with rufus the week of her wedding!
he better not let her again away again!
there has to be a serena-dan make-up scene once all the drama unravels!

Unterberger: but don’t you think G will ruin all of that?

Rahn: no no there are too many people involved now! she has no control anymore!
then everyone will live happily ever after…… until NEXT SEASON!

Unterberger: no way, there’ll be some HUGE cliffhanger
ahhh, can’t wait!

Rahn: you might be right….. but just let me hope!

Unterberger: p.s. chuck desperately needs a new stylist
how ugly were those plaid pants??
maybe during the finale, he’ll wear those pants, the fish sweater and the orange trench
all at the same time

.

Steven Alan Showroom
87 Franklin St between Broadway and Church St (212-219-3305). Thu 15, 16 8:30am–8pm; Sat 16 noon–7pm; Sun 18 noon–5pm.

 

Just one stinking nomination for Top Girls…and nothing for Elizabeth Marvel?!?
Maybe the Tony nominating committee thinks it’s so very with-it for lavishing noms on Passing Strange and In the Heights. We loved them too. But Tony’s taste in plays is painfully square. Or more specifically, revivals of plays. Manhattan Theatre Club produced an excellent revival of the 1982 Caryl Churchill play Top Girls (see the TONY review here). The play reportedly has grumbling subscribers leaving in droves at intermission ’cause they just can’t understand that durned postmodernism. Martha Plimpton got a nom for Featured Actress and that’s great, but Elizabeth Marvel should be on the list too. And Top Girls wasn’t even nominated for Best Revival of Play. And its superb director, James Macdonald, was snubbed too. Instead, Tony noms the boring, bland Les Liaisons Dangereuses, a stillborn Roundabout production if ever there was one.

Cheyenne Jackson got screwed (not in the good way)
Nobody expects Xanadu to nab much Tony gold on June 15. But it’s a campy good time, and more than half the fun is due to superhunk Cheyenne Jackson as struggling-artist himbo Sonny. With his velvety pop croon and those tight cutoff jeans, how is it possible that Tony overlooked this wonderful performer?

Black Cat means bad Tony luck
Again, Tony committee members are tone-deaf when it comes to play revivals. This black-cast Cat on a Hot Tin Roof may be rough around the edges (sets and lights are weak), but the ensemble work is terrific, and director Debbie Allen does a fine job of keeping the actors on the same page. And yet, Cat was completely shut out. Not even a nod to Anika Noni Rose, whose sultry, soul-baring performance as sex-starved Maggie the Cat is at least worth consideration.

Phooey. See all the details here.

Martinez’s work has ranged from what some might consider incendiary to structurally radical. In this discussion, Martinez, his usual garrulous and revolutionary self, called for moving art beyond the binaries that have motivated artmaking of the past 15 years, particularly those of the market. He traced the conditions in which artists make work today (especially an obsession with either belonging to or defining oneself against the institution of privilege) back to the early ’90s, which witnessed the advent of the art market and the Internet, both of which contribute to highly polarized hierarchies in their reliance on a base of exchange-value for success in operation. The concurrent decline of nonprofits and their support of creative endeavors without commerical concerns removed a crucial buffer zone for experimentation.

Martinez advocates that any work that claims to be antiestablishment must recognize it is steeped in the language into which it was born. Citing Descartes’s wax argument as a starting point for his discussion, Martinez blasted the contemporary linguistic framework for discussing art (particularly arguments based on racial and social divides, and such binaries as political-nonpolitical and establishment–avant-garde) as inherently flawed and precluding the evolution of ideas. Just as Descartes found language to be limiting in expressing the nature of experience, so Martinez claims our current popular language for discussing and making art is too grounded in exchange-value. He exhorted those in the audience to come up with new ways of discussing and making work; while unfortunately, the discussion was cut short after a little over an hour, he and Levi-Strauss enumerated the advantages of teaching and the arena of the classroom, in which lateral intellectual movement is fostered and, ideally, hierarchies can be subsumed by a process of learning. The idea of disintegrating a system of binary approach to problems is thick in the air. To cite one instance: Anyone who listened to Barack Obama’s race speech knows that his mandate is that we dissolve certain polarities, race among them, that preclude the type of social unification necessary to tackle the formidable problems that face the country and the world today. On a structural level, both Martinez and Obama are calling for an end to the polarized categories that have formed the basis of our social and political rhetoric of the past decade.

Given its age, Alice Tully Hall was about due a face-lift. But the building is getting much more than that and, if the artist sketches are to be believed, it’s going to look rather spiffy. At the corner of 65^th Street and Broadway, it will reappear from behind the current gray scaffold in all its sleek, gleaming newness on February 22, 2009. One glass corner will be sheered off to a triangular point, and an enormous flat-screen television is to be built into the apex.

The actual Alice Tully, a singer who loved chamber music, was the granddaughter of Amory Houghton, the founder of Corning Glass Works. Tully died in 1993 at the ripe old age of 91. When she gave money to build the hall, which opened in 1963, entry into the common parlance and lore of New York City was hers for the paltry sum of $4.2 million. Today, according to Jane S. Moss, the Lincoln Center’s vice president of programming, the construction costs will ratchet up to about $165 million.

As was Tully’s original intent, the hall will be revamped with chamber music in mind. What’s most important to cinephiles, of course, is not string quartets but the New York Film Festival, which has called the hall home for the past 45 years and, for a couple of weeks a year, finds itself at the center of world cinema.

Tully was a fan of all things French (she once famously wooed Olivier Messiaen away from Paris to New York and commissioned him to write Des canyons aux étoiles). Perhaps with this in mind, the Film Society of Lincoln Center will celebrate the reopening of the hall with “Rendez-Vous with French Cinema.” The details of the Rendez-Vous programming have not yet been decided. Moss said of the planned festival: “I was sort of hoping for the Human Rights Watch festival, so that we could get Angelina Jolie and Brad Pitt here, but we had to go with the French.” She was probably only half joking.

Richard Peña, the program director of the FSLC (and chair of the selection committee of the NYFF), noted that the inclusion of film has always been vital. He sees it as extraordinary that, when Lincoln Center opened the hall in 1963, it “saw fit to include film within the same area as opera and ballet,” adding that “film deserves a place at the table of the arts.”

By all accounts, the movie screen itself in Alice Tully Hall will be brand new. The old screen used to be installed and then packed away after each movie, but the new one is retractable and will be a permanent fixture (it’s also got digital-projection capabilities). It will be mechanically deployed, however, with springs and cables. They’ve still got to roll the thing up, but now they’ll be able to do it without a crank. Still not laser-beam high-tech, but a vast improvement.

The tall and gangly among you will be pleased to learn that the legroom will remain famously spacious, as per Tully’s original demands, with the same number of seating rows. Right now, though, the place is a total mess (think BAM’s delightfully tatty Harvey Theater, but without the seats or stage). Despite this, the soaring curve of the original balcony can be seen, with hints of the original red peeping through. According to Moss, this red coloring, inspired by Messiaen, will be enhanced, with lighting to illuminate it from behind. Come February, it’s going to be a great place to sit back, stretch your limbs and watch beautiful French people cavorting.

Alice Tully Hall Opening Nights Festival will take place Feb 22–Mar 8, 2009. Programming will include the opening night of “Rendez-Vous with French Cinema.” Details to be announced.

One of the perks of working at Time Out (besides the swag) is that you’re surrounded by smart, cultured people who have strong opinions about the most random of topics. A case in point: As we put the finishing touches on our second annual Horny issue, I noticed that Film writer Josh Rothkopf was reliving his admiration for Phoebe Cates in a story titled "Scrotal recall." Which caused me to pose the question, "Hey, Josh, who do you think was the bigger teen sex icon—Phoebe Cates or Shannon Tweed?" At this point he professed unwavering admiration for Cates, I admitted a sweet spot for Tweed (I remember Night Eyes 2 like it was yesterday) and suddenly a debate was raging. It continues below:

Dustin Goot, Web editor: Okay, are you ready to rumble?

Josh Rothkopf, Film writer: Yes, a feud must be settled.
it must be nice playing for Team Tweed. Because there’s also Tracy

Goot: apparently so, though i can honestly say i’d never heard of her before looking shannon up on wiki
shannon was the icon

Rothkopf: shannon IS an icon—and let’s just be clear; we’re not exactly rejecting one for the other

Goot: no no we should let people know that - we both admire the other’s lady
but there can only be one greatest teenage sex object from the ’80s/early ’90s

Rothkopf: right
you mean phoebe

Goot: and she plays for team tweed

Rothkopf: see? i think you lose a little steam on your argument simply because shannon is still around, on gene’s reality show, polluting her former glory.
all i think of, when i think of phoebe, is a period of roughly 1981-1985

Goot: it’s always disappointing when one’s heroes stoop to reality tv
but phoebe went on to make family fare, and has denounced her nude scenes in Paradise
that ain’t so hot either

Rothkopf: this is true.
she’s now, like, a supermom

Goot: my argument is this, if a meteor is hurtling toward the earth, and you’re 15, and you can bed one of them (in her prime) before the armageddon, i’m saying it’s shannon

Rothkopf: see? you can add all the armaggedon scenarios you want.
it’s still Phoebe in Private School or Fast Times
simply because even as a horny teen, i wanted to talk to a human being who would pretend to laugh at my jokes

Goot: you’re looking to make an emotional connection before the meteor hits??!!
say it ain’t so, josh

Rothkopf: and let’s not even pretend the above downplays phoebe’s considerable physical charms

Goot: they’re both hot, no question

Rothkopf: when i think of Skinemax, i think of Shannon
she like owned that network

Goot: i’d even say phoebe is more, what you’d call, beautiful
shannon is trampish

Rothkopf: and available

Goot: but that’s the point

Rothkopf: oh so available

Goot: you want your sex objects to be crazy tramps
that’s what makes them sex objects and not cute women you’d like to get to know better

Rothkopf: or rather, YOU do (more than me)
i mean i love crazy tramp, as an option.
but can’t you see crazy, dirty, private naughty, etc in Phoebe’s turn in Fast Times?

Goot: it’s always controlled naughty with her
when i’m filling in my fantasies, i want to imagine a woman who loses control

Rothkopf: as if shannon has control to begin with
she’s a wild canadian force of nature

Goot: now you’re talking the talk
stop this fuss and take your rightful place in team tweed

Rothkopf: i must stay true to phoebe
unless, of course, you’re willing to consider…Ally Sheedy…

Goot: whoa whoa, now you want to swap out your woman?
now i know you’re not true to phoebe

Rothkopf: so unfair.
i’m merely suggesting a compromise.

Goot: right now, there’s a single tear rolling down her motherly cheek

Rothkopf: we’re talking types:
shy ’80s brunet vs brazen ’80s blond

Goot: i’m defending my crazy lusty canadian until the meteor burns us both up

Rothkopf: i salute that
i’ll be in the bunker with phoebe and our pet gremlin
we will all survive you

ADAM, 23
Brooklyn, graphic designer

Learn more about him:

Says Adam: “I have done many things, good and bad, but my ideas have always proved memorable. I’m a gentleman and a scholar—an amateur pedagogue of all things and a student of human nature. I have a tendency to mix metaphors like I mix drinks; they’re delicious, heavy and hit you when you stand up.”

Says Angela Sundstrom, assistant circulation manager: “The setting: a dim Tokyo bar. The protagonist: an eccentric steampunk detective with a penchant for sake and typography. The plot: He works his way into the heart of a Kraftwerk-loving, vodka-chugging dame. If that’s you, I guarantee you the most interesting date of the year."

Contact him at tonysingles.adam@gmail.com.

Cindy Sherman’s work really turns me on, no joke—even that creepy clown series. Always the subject of her own work, Sherman maintains that her photos aren’t at all about self-portraiture. Using makeup and props, she takes on radically different personae, from characters in Renaissance paintings to archetypal secretaries donning pillbox hats. Sherman turns Method acting on its head; instead of drawing on real-life emotional conditions, she empties herself completely and becomes whomever and whatever she wants. By transforming herself into anyone and everyone, she renders herself completely anonymous. I find that kind of mystery incredibly seductive.—Quinn Marquardt

Okay, maybe it isn’t all that severe—everyone knew that My Bloody Valentine wouldn’t be dropping in for just September’s ATP New York festival. And I guess ATP did book a few other bands. But still…but anyway. My Bloody Valentine will play Roseland Ballroom September 22 and 23; tickets go on sale tomorrow (Friday May 9) at the unrockly hour of 10am, and you’ll pay $52 plus a lot of bullshitty lack-of-service charges that will buy more planes and houses for the already rich.

Pretty in prep

Has Flight of the Conchords gotten too big for its own good? Though the duo once referred to themselves as "New Zealand’s fourth-most popular folk-parody duo," it is clear that Bret and Jemaine are now the first-most popular musical comedy act in the world. If a well-received HBO series and forthcoming album from Sub Pop weren’t enough evidence of this, there was the crowd last night at the the Town Hall—which, in my unscientific analysis, seemed about 65 percent female and about 95 percent ready to throw their panties onstage.
 
Hightlights after the jump.

Perhaps it was no coincidence that the Conchords leaned on their mock-sexy crowd-pleasers—including "Business Time," "Part-Time Model," "If You’re Into It," "Ladies of the World" and a new song about gettin’ freaky.
 
Bret and Jemaine deserve their rock-star success, but underground status seems to suit their comedy better. Tenacious D was all bluster and brimstone, but Flight of the Conchords is a quiet, self-deprecating affair. At one point in the set, Bret gets "body-conscious," and Jemaine has to revive his bandmate’s self-confidence with a song called "Bret, You’ve Got It Goin’ On." This nerdy, slightly homoerotic conceit doesn’t quite work when ladies are catcalling you between every song.
 
Personally, I like it best when the Conchords stick to "the issues," as they do in "Think About It." If their presong banter last night was any indication, they are a bit confused about which "issues" they’re sticking to—though they seemed to settle on whales’ lack of opposable thumbs, AIDS and imaginary children. (Bret imagined his children, because it was less expensive than adopting.)
 
Their encore, "There Are Angels," split the difference between the two strategies. It tackled serious issues, but without taking them too seriously: "There are angels / In the clouds / Doin’ it."

Flight of the Conchords performs one more show tonight at the Town Hall; it’s sold out, but you know what to do if you really want in. Thanks to Amelia Handscomb for the hilarious photo.

Lindsey Unterberger, TONY Kids Web editor: hey!!!
let’s GOSSIP!

Kelsey Rahn, online designer: OMG
i know what serena did last summer!!!!!

Unterberger: you were soooo right!

Rahn: SHE KILLED SOMEONE!

Unterberger: she totally killed someone!
ok, so WHO do you think she killed?

Rahn: seriously, she killed someone?

Unterberger: and how?
is she going to go to jail?

Rahn: it’s no one we or anyone else knows….. or else we wouldve heard about it already

Unterberger: i mean, obvi. not
but still
it’s clearly a guy

Rahn: yeah what was with that video
i thought there was going to be a sex video plot line!

Unterberger: i think it’s BOTH!

Rahn: FABULOUS!
i love LOVE that she went to blair at the end for help. i almost teared up a little….

Unterberger: i bet it’s her hooking up with the dude, and he tries to take things too far and she kills him or something
i know, me too

Rahn: yeah it’s SO friday night lights!!!

Unterberger: and how awful was that thing with Serena’s brother??
poor kid

Rahn: the rest of the show was fabulous also

Unterberger: i sort of loved that Little J’s boyfriend was gay, too

Rahn: omg i did NOT see the part involving jenny’s bf coming
it was awesome

Unterberger: totally. my only gripe with the episode though
i didn’t get my Chuck and Nate fix!

Rahn: WHERE WAS CHUCK?????
did you see him in TONY this week???

Unterberger: at his dad’s bachelor party!
yes, so fun!
wait, is the link up yet?

Rahn: yeah i think so
it looks like they are back in it next week though when serena goes out of control! haha

Unterberger: i don’t understand why she doesn’t just TELL dan

Rahn: and there are still fireworks with rufus and serenas mom!!!
i love when the parents hook up too……

Unterberger: i sorta just want to shake S and be like, "this is going to blow up in your face!"
as long as they’re cute parents

Rahn: yeah it does not look good for her and dan next week

Unterberger: ok, but what i didn’t like about the rufus/lillie thing was that, like, WHY

Rahn: OH AND im so glad i can go back to liking jenny now!

Unterberger: did lillie make rufus see her in the wedding dress???

Rahn: do you think she really gave up? i mean that was getting old

Unterberger: how mean is that?
who, Jenny?
i was kind of liking her as a bitch

Rahn: yes yes jenny! is she back to her old self???

Unterberger: just until she meets her next boy toy, i bet

Rahn: omg no i hated it! poor rufus! his daughter is a raging bitch and the love of his life is teasing him by prancing around in a wedding dress!

Unterberger: i know, awful!

Rahn: OMG AND WHO DOES S HAVE SEX WITH NEXT WEEK????
is it a new character??

Unterberger: waiiiit
i didn’t think it was someone she had sex with lately
i thought it was the guy she killed

Rahn: at the end dan said, did you have sex with someone else. and she was like yes
and he was like "im done!"

Unterberger: yeah, but i thought that was in reference to what she had done earlier

Rahn: didnt you see that part? or were those cinco de mayo cocktails getting to you! haha

Unterberger: i don’t think she would cheat on dan now…

Rahn: well why would he be done, if it was from a long time ago?
omg omg i dont know! i just cant wait for next week!

Unterberger: b/c he’s dan, and he’s self righteous like that

Rahn: hahaha true

Unterberger: UNLESS Georgie made her hook up with some guy
or at least, like, enabled it
then, maybe, i could see her cheating on him

Rahn: oh yeah…. we havent talked about georgie

Unterberger: hate. that. girl.

Rahn: TOTALLY! first she outs eric, THEN she is buddy buddy with dan…. it’s not looking good

Unterberger: nope, not at all
i was super proud of Eric for being kind of a badass about the whole thing tho

Rahn: yeah since when did he get so mature???

Unterberger: right?!?
ok, gtg!

1. Tap into the local talent pool: NYC has some of the best film schools in the world. Why not sponsor a batch of TFF film trailers and commercials created by these emerging NYC auteurs?
2. Keep the focus on film: How about expanding the ASCAP Music Lounge to include actual film music? Don’t get me wrong, the music events are inspiring and offer a much-needed alternative to sitting in a dark room, but some interesting collaborations among the musicians, directors, film composers, actors and set designers (to name a few of the many collaborators on a film) would bring the focus back to film without feeling like a plug for an album.
3. Play it again: Wouldn’t a Tribeca soundtrack CD or signature iPod filled with music from the festival’s films be a memorable way to relive your favorite TFF entries?
4. On second thought: In addition to the exhibits of inspiring artwork that Tribeca featured this year, contributed by acclaimed NYC-based artists, perhaps audiences could get another look at the handiwork of the costume designers, set designers and makeup artists of these films. Their artistry could be on display at the parties, lounges, events and maybe even a celebrity auction or fashion show.
5. Lobby heroes: Film scores featured in the TFF films could be playing in the lobbies and theaters before the screenings, to whet the audience’s appetite and add some magical drama to the popcorn-laced air.
6. Cause a stir: Some of the more unique, outlandish and recognizable costumes seen in TFF films could be shown off by some of the many talented NYC actors and models as they walk among the festival’s crowds at screenings and events.
7. Set to go: Unlike most festival cities, New York produces some of the best films and TV shows in the world. Film fans would love a behind-the-curtain tour of an NYC production set (e.g., Silvercup Studios) and postproduction facility (e.g., Sound One). Ever see yourself on a green screen? How about watching and hearing how an action movie’s blasts and rumbles are made to travel around your theater seat in true surround sound?