About Andrew Hearst

I'm Andrew Hearst, a New York-based writer, editor, designer, musician, and gadabout. You can learn a bit more about me here.

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The Pound of Flesh
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Such Exquisite Dumbness
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Blue Laws and Black Markets
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The Unimaginative Imaginatist
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Can't Stop the Bleeding
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Land of the Lost
my right thumb
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Erlend Øye, DJ-Kicks

Grandaddy, Sumday

Röyksopp, Melody A.M.

Phoenix, Alphabetical

Van Halen, Van Halen

Fountains of Wayne, Utopia Parkway

Freaks and Geeks
Arrested Development
The Office
The Daily Show
Curb Your Enthusiasm


July 13, 2008
High-Def Backyard Shootout

Amateurs are doing amazing things these days with consumer-grade high-def camcorders, especially Canon’s HV30 MiniDV unit (which retails for about $800) and its predecessor, the HV20. The impressive clip below is the work of a Memphis college student named Kyle Shields, who acquired a new audio library and wanted to test out some of the gunshot sounds. So he used his HV20 to film a short backyard shootout with a friend. The ominous music, the well-crafted audio track, the Saving Private Ryan-style green filter, and Shields’s talent with the camera combine to make this a very cool little experiment. I wish video technology had been this advanced when I was his age.

To watch this in actual high-def, go to the Vimeo page.

There’s a whole channel on Vimeo devoted to people’s experiments with Canon’s HV30 and HV20 camcorders. The selection is hit or miss, but some of it is quite good indeed.

[via my pal Jonathan Hayes.]

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categories: TV and Video

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July 2, 2008
Mikhail Gorbachev: Smiter of Zombies, Bringer of Twinkies

I guarantee this is the weirdest and yet most rewarding thing you’ll see all day. It’s a video for a Russian metal band’s tribute to Mikhail Gorbachev. On the video’s Vimeo page, the director, Tom Stern, writes:

I did this video for a Russian Metal Band called ANJ. It is pretty crazy. When I saw the lyrics it seemed to be an earnest tribute to Mikael Gorbachov (that’s how the Russians spell it), so I was a bit confounded about what the video concept should be, but then I had a brainstorm to take it way over the top and I think it was just the thing. Suffice to say it’s half Russian History allegory as told through an old zombie movie made in the Soviet Union, and half animated Soviet Propaganda posters.

(Vimeo videos can stutter when they haven’t loaded completely, so let this finish loading before watching it.)

[via Mark Lisanti.]

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categories: Music and Audio, TV and Video

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June 10, 2008
Eveready Harton in Buried Treasure, One of the First Pornographic Cartoons Ever Made

Created anonymously by a group of professional animators in about 1929, the silent short Eveready Harton in Buried Treasure is a gleeful exploration of the penetrative arts. The four-and-a-half-minute short follows the travails of the uncomfortably well-endowed title character as he wanders a barren landscape in search of satisfaction. Along the way, he encounters a self-pleasuring maiden, various sexually aroused animals, a surprised husband, and a donkey-humping farmer, whom Harton challenges to a duel. A penis duel.

Eveready Harton in Buried Treasure is one of the earliest examples of an animated porn film. According to its Wikipedia page, several famous animators supposedly made the short for a private party in honor of the pioneering animator Winsor McCay, whose work greatly influenced Walt Disney and is still held in high esteem by Maurice Sendak, Chris Ware, and other luminaries.

This totally isn’t safe for work, so be careful.

I’m pretty sure the intertitles in this copy are not the originals.

The Wikipedia page includes this backstory quote from Disney animator Ward Kimball: “The first porno-cartoon was made in New York. It was called ‘Eveready Harton’ and was made in the late 20’s, silent, of course—by three studios. Each one did a section of it without telling the other studios what they were doing. Studio A finished the first part and gave the last drawing to Studio B. … Involved were Max Fleischer, Paul Terry and the Mutt and Jeff studio. … A couple of guys who were there [at the party] tell me the laughter almost blew the top off the hotel where they were screening it.”

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categories: Film, TV and Video

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May 30, 2008
The Y2K Empire State Building Flash-a-Thon

For its latest cool project, the merry pranksters of Improv Everywhere arranged for hundreds of people to stand along the Brooklyn Bridge at night and fire camera flashes in sequence, capturing everything on video from a fair distance away. I love the increasingly larger scale of Improv Everywhere’s missions.

But I thought I should note that on two different occasions back in 1999 and 2000, a group of my friends organized a very similar project at the top of the Empire State Building. Led by my pal Tom Igoe, a world-class tinkerer who teaches at New York University’s Interactive Telecommunications Program, a group of several dozen people gathered on the skyscraper’s southern observation deck to do waves of sequenced camera flashes.

The Y2K Empire State Building Flash-a-Thon

The New York Times ran a story about the 2000 event a couple of weeks later. Both Flash-a-Thons were captured on video, the second from two locations downtown: one at the Tisch School of the Arts on Broadway and Waverly, the other from an apartment on East 18th Street. In the low-res compilation video below, the flashes go left to right and then right to left, and then there’s some assorted mayhem at the end.

You can read more about the 1999 and 2000 Flash-a-Thons on Tom’s site.

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categories: Science and Technology, TV and Video

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April 29, 2008
Photos of Boston, Massed

A guy in Boston took 3,000 photos over the course of three days and then stitched them together into this excellent stop-motion video:

The music is “Dry Lips,” by Lightspeed Champion.

[via The Big Noob, again.]

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categories: TV and Video

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Best End-Credits Blooper Reel Ever

Here is Peter Sellers in the hilarious outtakes sequence at the end of Being There, the 1979 Hal Ashby film that was the second-to-last film Sellers made. When I was a kid I thought this was the funniest thing ever. Blooper reels were rare in major Hollywood films back then, so I’d never seen anything like it. I remember feeling amazed that I got to see secret scenes that weren’t in the movie. Quaint, I know.

According to the Wikipedia page for the film, Sellers supposedly didn’t want the outtakes to be included in the movie, “since, by all accounts, it was his attempt to show his skills as an actual actor as opposed to just a comedian. The inclusion of the blooper reel is sometimes blamed for Sellers’ failure to win that year’s Academy Award for Best Actor.” I find that last sentence hard to believe, but who knows.

[via Coudal Partners.]

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categories: Film, TV and Video

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March 20, 2008
Cool Photos From the Set of Lost

Brad Smith of The Big Noob went to Hawaii for a vacation in January, and his Flickr set has a bunch of excellent photos from the set of Lost. He was there during the writers’ strike, so production was shut down, and he was able to wander into or near locations that have played a major role in the show, including Jacob’s shack, the main beachfront camp, and the pier where Kate, Jack, and Sawyer were captured at the end of season 2. Here is Mr. Eko’s church:

Mr. Eko's church from Lost

I hadn’t seen a single episode of Lost until last November, and then I watched the first three seasons in three weeks. It was fun, and now I’m all caught up. Here’s my little Lost obsession, and I haven’t seen any major analysis of this anywhere: What’s with the whole doppelgänger thing involving Juliet, Penny, and Jack’s ex-wife? They all look very similar, and it’s clearly not an accident. The resemblance has been noted in a few places, even on the show itself, in passing, but the larger issue of what this means has not been deeply explored, as far as I know. What does it mean?

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March 17, 2008
Raiders of the Lost Ark: The Shot-for-Shot Remake

Here’s an excellent treat, and it’s something I’ve been wanting to find for years. Raiders of the Lost Ark: The Adaptation is a shot-for-shot remake that two Mississippi kids made over the course of eight years in the 1980s. A few weeks ago a complete copy was floating around on one of those secret BitTorrent sites. Here’s the first ten minutes. (The audio level is low throughout, so you may have to turn up the volume.) Enjoy.

Jim Windolf wrote about the remake in the 2004 Vanity Fair feature “Raiders of the Lost Backyard.” That same year, the producer Scott Rudin bought the rights to the boys’ story, and Daniel Clowes is apparently working on a script (or he was at one point, anyway).

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categories: Film, TV and Video

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March 16, 2008
Eric Clapton Is All Thumbs

Late last year a Finnish media artist named Santeri Ojala got a lot of attention for a series of hilarious YouTube videos in which he lifted concert footage of various guitar heroes and overdubbed his own intentionally awful playing. The bad musicianship was funny enough, but the verisimilitude made it even funnier: Ojala was great at matching each player’s hand movements and timing, and he sprinkled lukewarm applause and other sound effects throughout. The videos were like alternate-universe versions of rock-god cliches.

A month or two ago, YouTube yanked the videos and suspended Ojala’s YouTube account, apparently due to copyright complaints from several of the guitarists. Many of the videos have now resurfaced on YouTube, and because I never got around to posting them the first time, here’s one of the best. Eric Clapton does jazz:

More: Stevie Ray Vaughan, Steve Vai, Slash, Eddie Van Halen, Metallica, Jake E. Lee with Ozzy Osbourne. Also, Yngwie Malmsteen, complete with symphony orchestra!

Inspired by Ojala, someone else contributed this Oscar Peterson-Joe Pass train wreck:

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categories: Music and Audio, TV and Video

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February 2, 2008
New on PBS Kids—2 Girls, 1 Cup: The Show

This hit the web a few days ago and hasn’t gone wide yet, which is a surprise, because it’s hilarious. It’s the latest top show at Channel 101, the L.A.-based web-video operation also responsible for such brilliant goofballery as House of Cosbys, Yacht Rock, and The ’Bu. This is by excitable House of Cosbys creator Justin Roiland, the funniest writer-actor-animator-director-pervert-scatologist working on the web today. Ladies and gentlemen, 2 Girls, 1 Cup: The Show.

(If you’re unaware of the 2 Girls, 1 Cup phenomenon, make sure you read this Wikipedia entry before deciding to watch this.)

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November 12, 2007
Trampoline Typography

A music video featuring “trampoline gymnasts simulating typical video effects.” Filmed in one take. I can’t stop giggling when I watch this.

[Not sure where I found this; Design Observer, I think.]

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September 29, 2007
Lower-case N, Standing on a Hill

Hello. You may notice that I’ve made some subtle changes to Panopticist over the last month or two. I’ve widened the layout, locked many page elements to a grid (thanks partly to the awesome Blueprint CSS framework), and upgraded Movable Type to version 4, among other things. If anything seems horribly awry, you might email me at hearst [at] nyc.rr.com and let me know.

I’ve also turned comments on, starting with this post, so chime in if you feel like it.

And now, a post:

After a couple of years of occasional YouTube searches, I recently found one of my favorite old Sesame Street songs. It’s called “Lower-case N,” and it’s a melancholy but ultimately redemptive ballad about a lonely letterform.

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September 4, 2007
The Bogeyman Is Coming Up the Stairs

Last month I spent a weekend in my hometown, Bloomington, Indiana, and I finally got my hands on a video I’ve been wanting to find for years: Haunted Indiana, a classic low-budget horror compilation that ran on Bloomington public access starting in the early ’80s. Created by a couple of local filmmakers, it was an 18-minute-long collection of Indiana-themed paranormal tales, each one accompanied by music lifted from Psycho or another archetypal horror film. One story was about three young campers who pitch a tent in an empty clearing and wake up to find themselves in the middle of a graveyard; another was about a stretch of rural road that is haunted by the spirit of a man who was killed in an accident.

Like the Sleestaks, Haunted Indiana seems very silly to me today, but I found it pretty frightening when it was first broadcast, partly because a few of the stories played into my own childhood fears, as good horror stories often do. Seeing it now, I’m impressed by how effective most of the tales are, and I’m also struck by the flat Indiana accent of the narrator, whose calm delivery is funny and a little bit chilling.

Here’s the story I remember most:

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August 29, 2007
The World Is a Camera

Check out this astonishing TED presentation by Blaise Aguera y Arcas, a Microsoft researcher who is leading the development of an amazing visual technology called Photosynth. As Arcas’s bio on the TED site explains:

Photosynth itself is a vastly powerful piece of software capable of taking a wide variety of images, analyzing them for similarities, and grafting them together into an interactive three-dimensional space. This seamless patchwork of images can be viewed via multiple angles and magnifications, allowing us to look around corners or “fly” in for a (much) closer look. Simply put, it could utterly transform the way we experience digital images.

This is a revolution.

[via NewsDesigner.com.]

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categories: Art and Design, Science and Technology, TV and Video

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August 5, 2007
Ben Stiller on Freaks and Geeks: Raw Footage

It is a truth not quite universally acknowledged that Ben Stiller is a lazy hack whose schtick ceased being amusing long ago. As I’ve mentioned before, I’m not a fan. But he’s had his funny moments in the past. Take the clip below, a compilation of footage from Stiller’s appearance in the penultimate episode of Freaks and Geeks. The clip opens with a minute or so of footage that actually aired, then segues into a seven-minute uncut take from the filming of the scene. I pulled the raw footage off of one of the two extra DVDs included with the special eight-disc F&G fan edition. (The collection sold in stores only has six discs.)

In the episode, Stiller guest-stars as a disgruntled Secret Service agent assigned to Vice President George H.W. Bush, who has traveled to McKinley High for an appearance. Stiller’s character becomes suspicious of the school’s longhaired guidance counselor, Mr. Rosso, and escorts him down the hall to Rosso’s office.

Stiller’s riffing in the raw footage is very funny; it’s interesting to watch him try out different approaches to various lines, and to see him react to the coaching from the episode’s director, Jake Kasdan. There’s also a good George W. Bush reference, made more hilarious by the fact that the scene was filmed in early 2000, when Bush’s blundering numbskullery hadn’t yet affected the world.

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July 15, 2007
The Chevy Chase Show, Revisited

In March 2006 I posted a stellar clip from the first episode of Chevy Chase’s defective 1993 talk show. In that clip, Chase pals around with his first guest, Goldie Hawn, and then the two of them engage in some ill-conceived slapstick shenanigans. It was truly unfortunate for all involved.

This morning I discovered another clip from that debut episode, and it’s even better than the one I originally shared here on Panopticist. The Chevy Chase Show’s misguidedness was evident in every frame of the clip I posted last year, but at least Chase had his good friend Hawn on stage with him to act as a buffer. This new clip is the first 10 minutes of the show, and Chase is entirely, existentially alone. The phrase “deer caught in the headlights” is a cliche, but it really applies here. He rubs his hands together; he repeats himself; his eyes dart around. After he’s introduced, he doesn’t have the slightest idea how to silence the crowd’s applause so he can begin his monologue; he’s almost angry that they won’t shut up. He seems acutely aware that the next hour is going to go very very badly.

This is fantastic. Pay attention to his hands.

[via YouTube member MrSitcom2.]

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April 30, 2007
This Office Is More Fun Than Yours

The gang at Collected Ventures has some excellent fun with “Flagpole Sitta” by Harvey Danger. Whee!

[via Coudal Partners.]

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April 21, 2007
Robert Hays’s Fermata

In 1980, the same year Airplane! was released, Robert Hays starred in a made-for-TV movie called The Girl, the Gold Watch, and Everything, a sci-fi comedy about a man who inherits a magic pocket watch that can stop time. I thought this was the coolest thing ever; what kid hasn’t dreamed of having the power to stop time, especially when that power is used to make a girl’s bikini top fall off, as happens in the movie? I’ve always remembered The Girl, the Gold Watch, and Everything, and in recent years I’ve poked around the web a few times trying to find a copy. Finally, a few weeks ago, I stumbled onto a pirated file on one of those secret BitTorrent sites. I am somewhat amazed that other people remember this silly thing and would go to the trouble of uploading it to the world.

The movie is far, far worse than I remembered, a low-budget extravaganza with an aesthetic that’s distinctly A-Team. Hays plays Kirby Winter, a lazy guy who inherits an heirloom watch—and, much to his initial chagrin, nothing else—from an uncle who was a wildly successful businessman. Kirby eventually discovers the watch’s incredible powers, which allow him to freeze a scene and physically alter it in big and small ways. (This same ability was the driving gimmick in Nicholson Baker’s erotic novel The Fermata.) With the help of a ditzy Southern damsel played by Pam Dawber, of Mork and Mindy, Kirby fights off several bad guys who want to steal the watch; he uses its powers to escape parking tickets, evade the police and the villains, and halt bullets in midair. Just like Neo in The Matrix!

In the scene below, Kirby discovers what the watch can do.

(The movie was based on a novel by John D. McDonald. A sequel, The Girl, the Gold Watch, and Dynamite, was aired the following year, but Hays and Dawber were not in the cast.)

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January 29, 2007
Rip Torn Kicks Norman Mailer's Ass

On the set of the 1970 film Maidstone, Rip Torn assaults Norman Mailer with a hammer, and Mailer retaliates by biting off a piece of Torn’s ear:

Some backstory:

Norman Mailer created a film in the late 60s called MAIDSTONE. He played the part of a famous movie director who is considering a run for the presidency. Rip Torn played his potential assassin. At the end of filming, Rip appeared to get a little too far into his role, and he attacked Mailer on camera with a hammer, drawing blood. Mailer retaliated by viciously biting into Torn’s ear, drawing even more blood. This is the fight. It’s debatable how “surprised” that Mailer was by the attack, but it should be noted that he still had the camera crew hanging around and filming, the day after production had allegedly “ended” on the picture. However, the blood from both men is undeniably real, as are the horrified reactions of Mailer’s children (his wife, on the other hand, seems to be overacting badly).

More backstory here.

[via iFilm.]

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categories: Books, TV and Video

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January 8, 2007
See the 24 Season Premiere a Week Early

The sixth season of 24 begins next Sunday and Monday, the 14th and 15th, with two one-hour episodes each night. But you can watch the four episodes right now: Someone has uploaded torrents from a preview DVD that Fox will be offering for commercial sale starting on the 16th. You might be able to find them here.

season 6 of 24

For details about how to download torrented videos, go here.

[thanks to Al Abut for the tip.]

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November 30, 2006
A Charlie Brown Christmas: The Alternate Ending

In this reworked ending to the classic holiday special, Charlie Brown is sentenced to death by Linus. Brilliant.

[via my pal Joey X.]

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November 19, 2006
John Hodgman Is Turning Japanese

This is funny: Apple has adapted their classic John Hodgman commercials for the Japanese market. I discovered this through John’s blog:

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Brian Atene Returns—for Real

When I posted the video of Brian Atene’s Full Metal Jacket audition tape last month, I knew it was possible his performance was a joke, not a serious attempt to impress Stanley Kubrick. After watching the video a few more times, I became fairly convinced that Atene made the tape simply to amuse himself … and I got a sinking feeling that I had fallen for a prank. Whatever his motivations were, the tape is hilarious: If it was a joke, it’s a funny one; if it wasn’t a joke, the hubris and scenery-chewing are stunning to watch.

Well, Brian Atene himself has posted a video response to his 1984 tape, and he more or less admits that the video wasn’t a joke. This isn’t one of the lame fake Atene videos that popped up on YouTube in the wake of the original video—it really is Atene this time.

If you skip the first two (very weird) minutes, this new video is pretty entertaining. Atene seems off his rocker, but he’s also weirdly charismatic. Among other things, he says he didn’t actually send the famous tape to Kubrick; he made two tapes and ended up submitting the other one.

[via someone on Echo.]

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October 27, 2006
Good Day, Mr. Kubrick

Okay, I’ve been AWOL for a while, but I’m coming back atcha with something truly marvelous. It’s a screen test some talentless young actor sent in when Stanley Kubrick was casting Full Metal Jacket in 1984. The hubris on display here is magnificent and awe-inspiring.

[via Defamer.]

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September 17, 2006
The Video for Röyksopp's "Remind Me"

This has gotten passed around a bit over the last few months, so forgive me if you’ve seen it already. It’s the incredible animated video for “Remind Me,” a 2002 track by Röyksopp, the brilliant electronic duo from Norway. In the past year I’ve listened to Röyksopp’s The Understanding more than any other album. They’re kind of like Air except more electronic and dancey—and not quite so French. They’re also a bit Boards of Canada-ish at times.

The guest singer on this track is Erlend Øye, one half of another great Norwegian group, the folk-pop duo Kings of Convenience. Do you like good music? Of course you do! So go buy the 2001 debut album by Kings of Convenience, Quiet Is the New Loud. It’s perfect.

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categories: Music and Audio, TV and Video

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August 20, 2006
Robby Benson’s Star Wars Audition

A couple of years before his late-’70s ascension to teen idolhood, Robby Benson auditioned for the Luke Skywalker role in Star Wars. He was as ill-suited for the role as you’d expect, given his subsequent success as a geeky but adorable moptop in such sports-themed movies as One on One and Ice Castles. In the clip below, 20-year-old Benson spends nine minutes reading turgid George Lucas dialogue with a mostly off-camera Harrison Ford.

[via YouTube member Ghyslain, with an indirect assist from All the Little Live Things. Ghyslain’s profile contains links to several other Star Wars audition tapes, including Mark Hamill’s.]

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Not So Fast, Claude Lelouch!

Claude Lelouch exposed!

Quel scandale! In response to my item last week about Claude Lelouch’s classic short film C’etait un rendezvous, my friend Peter Dizikes has provided the following smackdown of the widely reported claim that the car sustained a speed of 140 miles per hour for some or most of the film:

I decided to do a little research for you on the Claude Lelouch film, along with a back-of-the-envelope calculation. As you mentioned, it is said the driver of the car, whoever it was, hit speeds of up to 140 mph driving through Paris. Sounds pretty fast, right? I decided to test this claim. The distance from the point where you turn onto the Avenue Foch from the Bois de Boulogne, to the point where the Champs Elysees feeds into the Place de la Concorde, is right about 2.25 miles. Yes, I’m including the curve around the Arc de Triomphe. By my count, the car covers this distance in 1:50 in the film, from the 0:44 mark to the 2:34 mark. That averages out to about 74 miles per hour. So the car was going fast, but it’s just about impossible it could have been going 140 at any point. Moreover, this is the part of the route most conducive to driving at high speeds, so the car could not have been going faster later in the film, which is also obvious from watching it. A more likely high speed would thus be in the 80s — almost as fast as Princess Di’s driver supposedly was going when they crashed in the underpass at the Place d’ Alma in 1997, of course. Aren’t you glad I took the time to figure this out?

Others have apparently come to a similar conclusion. I just noticed that the C’etait un rendezvous page on Wikipedia contains the following passage:

Calculations made by several independent groups showed that the car never exceeded 140 km/h (85 mph), Lelouch himself cited that the top speed achieved was 200 km/h. Comments from Lelouch prove that the vehicle that carried the camera was his 6.9L Mercedes-Benz, with automatic transmission and a top speed of 230 km/h. The gear changes up into 5th and high-revving engine sounds indicate speeds of well over 200 km/h, yet the picture often does not match, as visual speed does not change as much as the sound does. This is due to the fact that the sound track was dubbed with the sound from a Ferrari 275GTB to give the impression of much higher speeds, as confirmed by Lelouch.

I’m not sure if this passage is accurate; at the very least, “comments from Lelouch” do not “prove” anything. But the Wikipedia page does include a link to this photo of Lelouch playing with a camera attached to the front of a Mercedes:

Claude Lelouch's Mercedes

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categories: Film, TV and Video

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August 14, 2006
Lelouch’s Rendezvous With Google Maps

Early on a summer morning in 1978, the French filmmaker Claude Lelouch attached a gyro-stabilized camera to the front of a Ferrari 275GTB. He turned on the camera and handed the car keys to a professional racecar driver, who fired up the engine and then sped through the center of Paris at about 140 miles per hour. The resulting eight-minute film, C’etait un rendezvous, is a classic. Thanks to Google Video and YouTube, it’s gotten a lot of web attention in recent months. But here’s something new: A blogger named Brian Hendrix has created a Google Maps mashup that displays the car’s location on a map as the driver rockets himself through Paris:

Google Maps mashup with Claude Lelouch's 'C'etait un Rendezvous'

Lelouch has apparently claimed that it was he who was behind the wheel; he supposedly also said that the car was a Mercedes, not a Ferrari, and that the sounds of a Ferrari were overdubbed later. But I don’t have the energy to investigate whether (a) he actually claimed these things or (b) the claims are actually true.

[via someone on Echo.]

UPDATE: I posted a follow-up to this item a few days later.

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categories: Film, TV and Video

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July 24, 2006
Fred Rogers Likes to Be #!?&$%

This is several months old, and I’m putting it up several days after Jason Kottke linked to it, but it’s so good I’m going to post it anyway. It’s a compilation of clips from The Week in Unnecessary Censorship, a regular segment on Jimmy Kimmel Live in which innocuous TV clips are doctored with well-timed bleeps and pixelation.

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July 9, 2006
Bert and Ernie’s Tragic Gay Romance

Here's a YouTube gem: the rarely seen 2002 short film Ernest and Bertram, which tells the sad and ultimately violent tale of the doomed relationship between those two closeted Muppets. Lawyers at Sesame Workshop forced the eight-minute film out of circulation right after its well-received showing at the 2002 Sundance Film Festival. The minor-key rendition of the Sesame Street theme song is hilarious.

[via one of the smart people on Echo.]

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categories: TV and Video

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June 26, 2006
Risking Death, Arthur Fonzarelli Leaps Over a Large Cartilaginous Fish

Here it is, the actual scene from Happy Days that inspired one of the more durable pop-culture metaphors of the last couple of decades. I remember watching this episode the night it was originally broadcast, in September 1977. I think I found the sequence tremendously exciting—“What if Fonzie DIES?”—but hey, I was only eight years old. My critical faculties were not yet fully developed.

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June 12, 2006
Rare Clips From At Last the 1948 Show, John Cleese and Graham Chapman’s Pre-Python Show

In 1967, two years before the first episodes of Monty Python’s Flying Circus, John Cleese and Graham Chapman starred in a loopy sketch program called At Last the 1948 Show. Also in the cast: Marty Feldman! Master tapes of many of the episodes were destroyed a few years later, but several of them were eventually salvaged and released on DVD last year. And now some good fellow has put a couple of dozen short clips onto YouTube. The clips are pretty tame stuff, and not really all that funny, but they’re fascinating artifacts. In the clip below, Marty Feldman plays a neurotic train passenger who annoys the always annoyable John Cleese.

[via a friend on Echo.]

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May 21, 2006
“Drop the Serif and Put Your Hands in the Air! Now! Damn It!!!”

Wow, the 24 post from last week is one of the most-trafficked items I’ve ever posted here. A lot of people obviously find such an analysis to be freakish and obsessive, but honestly, those of us who care about type and design can’t help but notice those sorts of things. Most people don’t even know the difference between a serif font and a sans serif font; naturally many of those people are going to say, as one person did on Dave Barry’s blog, “WTF is he talking about?” The post has been called “astounding” and “rad” and “a great find,” but also “nutty” and “admittedly dull.” And then there’s this comment that was posted on CNet’s blog, which I can’t resist quoting in full:

CNet, you have officially reached the bottom. Not only did you come across this absolutely ridiculous blog posting, but you actually felt the need to torture us by linking us to it and making us think it actually contained even a tiny bit of relevant information. I can never have those few minutes back. I hate you.

Needless to say, I do not want to get a beer with that guy. I’d rather get a beer with Stephen Coles of the excellent site Typographica, who wrote to tell me that the font used for the 24 clock is a commercially available typeface called “LCD,” which you can buy here for $34.50. As you can see, the kerning of the 1’s is built into the font:

LCD, the font used for the clock on 24

I’d also rather get a beer with my pal Lindsay, who wrote to say this: “Finally, something so nerdy that it’s travelled through a worm hole and come out on the other side as cool. … This post is what the internet is FOR.” Right on!

I would also like to call your attention to the fact that Dave Barry has been liveblogging 24 regularly over the last few months, and it’s pretty hilarious.

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categories: Art and Design, TV and Video

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May 14, 2006
There Is Something Weird Going on With the Clock on 24

Okay, I am a TOTAL FREAK for having noticed this weird typographic pattern on 24. You have been warned. My discovery of this bizarre typographic anomaly took place in a few steps over the course of several episodes, so bear with me as I explain.

I loved the first season of 24, but I gave up on the show after the second season, because the pulled-out-of-thin-air plot twists, the hammy acting, and the fluid-as-water loyalties of the characters became increasingly maddening. “This show is ridiculous,” I eventually said to myself, perhaps when drunk, because I don’t usually talk to myself. “I refuse to watch it anymore.” But thanks to recommendations from a few enthusiastic friends, I returned to the show late in the fourth season, and now I’m totally hooked again. The fifth season has been fantastically entertaining. The producers have worked out most of the kinks in the format and now know exactly what they’re doing. The show is still ridiculous sometimes, but that’s part of the fun.

A few months ago I began to notice something unusual about the 24 clock—the timer that appears onscreen at regular intervals throughout each episode. It’s modeled on a standard LED clock, the kind you’ll see on the radio next to your bed or the microwave in your kitchen or inside a ticking rogue nuclear weapon once you’ve pulled off the face plate. You know—the standard workaday places. On a typical such clock, each number is rendered within a matrix of two vertical bars on either side and three horizontal bars in the middle. At first glance, the 24 clock appears to be based around exactly that sort of matrix. Here’s a screenshot from last Monday’s episode:

24 clock, 03:40:29

A couple of months ago, I noticed that the 24 clock renders the numeral 1 with a short serif at the top. Here’s another screenshot from last Monday’s episode, with the serif circled:

24 clock, 03:51:57

That serif is a needless typographic flourish. A normal clock wouldn’t have a serif there, and in fact it’s totally illogical for the 24 clock to have one: None of the other numerals show evidence that the LEDs on top are split in half and can render a serif. The LED bars along the top are always solid when used in the other numerals, and the light that illuminates the top bars in the other numerals is consistent and unbroken.

So I noticed this and it amused me, but I didn’t think much of it, because why should the 24 clock have to be logical and believable? Every episode of the show contains a lot of stuff that’s illogical and unbelievable. This typographic inconsistency is no more ridiculous than, say, Jack Bauer sneaking onto a diplomatic flight, hijacking the plane in midair, finding the evidence that implicates the president, forcing the bad-guy copilot to land the plane on a Los Angeles freeway, and then eluding the president’s military goons once the plane comes to a halt on the makeshift runway. To mention just one recent half-hour sequence.

[Continue reading "There Is Something Weird Going on With the Clock on 24"...]

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categories: Art and Design, Best Of, TV and Video

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April 2, 2006
William F. Buckley Interviews Jack Kerouac

I’ve been finding so much amazing stuff on YouTube the last few weeks. Plugging random famous names into the site’s search field often reveals great obscure clips. Below is a seven-minute Jack Kerouac compilation that contains excerpts from a couple of prominent interviews. The first excerpt is from his 1959 appearance on The Steve Allen Show, wherein Kerouac reads pretentiously from On the Road and Allen apologizes for asking “square questions.” The second excerpt is a brief clip from a late-’60s interview conducted by William F. Buckley, wherein Kerouac looks bloated and awful and complains about “communists” who have criticized him. In between is footage of Walter Cronkite reporting Kerouac’s death on The CBS Evening News in 1969.

[via YouTube member Tarco.]

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categories: Books, TV and Video

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March 25, 2006
The Electric Company: We’re Gonna Turn It On

A couple of weeks ago I bought the new four-DVD Electric Company box set. The Electric Company originally ran on PBS from 1971 to 1977, and then a small handful of the episodes were broadcast in reruns until 1985. By the time I was seven or eight, in the mid-’70s, I thought The Electric Company was way more entertaining than Sesame Street. The two shows were similar in a lot of ways—they both used songs, comedy skits, animation, and wordplay to get kids excited about reading and learning—but The Electric Company was so much cooler. (It was intentionally aimed at a slightly older audience than Sesame Street was.) How could The Electric Company not be cooler, with Morgan Freeman in the cast? No one was cooler than Easy Reader:

One of the best segments was, of course, The Adventures of Letterman, a series of animated shorts about a burly but nebbishy superhero who saves people from a villain called Spellbinder, who possesses the evil ability to transform reality by transforming words. Until I started watching the DVDs, I hadn’t seen an episode of Letterman in at least 20 years. So imagine my surprise yesterday when I discovered on Wikipedia that the three main voices were provided by Zero Mostel (Spellbinder), Gene Wilder (Letterman), and Joan Rivers (the narrator). I had NO IDEA.

The box set was produced by the brilliant people at Shout! Factory, the company responsible for the best DVD collection ever. I’ve only watched a small amount of what’s on the discs, but I’ve already encountered a bunch of gems. Check out all the amazing signage displayed in this singalong:

As I watch these discs, I’m constantly struck by the overt fetishization not just of letters, but of the letterforms themselves. I imagine at least one or two typography careers owe something to the childhood sight of gigantic letterforms on The Electric Company. Look, next to Spidey, it’s 10,000-point Franklin Gothic Condensed:

The Electric Company

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March 21, 2006
A Clip From Chevy Chase’s Extraordinarily Dismal 1993 Talk Show

In 1993, some very dumb Fox executives had a very very dumb idea: Let’s give an over-the-hill hack comedian his own late-night talk show! And let’s do it right at the peak of the talk show wars, when the competition will be even fiercer than usual!

The stink bomb that was The Chevy Chase Show first wafted over the airwaves on September 7, 1993, a week after David Letterman’s CBS debut and a week before Conan O’Brien took over as the host of Late Night. If you blinked—or if you were rubbing your eyes because you couldn’t quite believe the awfulness of what you were seeing—then you missed it: The show was cancelled after only five weeks. The end came when the show was ambushed by a Murdoch-funded black-ops team whose members hung Chase upside down from a par can before riddling his sad, humor-free body with automatic weapons. As the stagehands were mopping the blood off the floor and picking up all the tiny bits of Chase’s flesh and brain matter, I turned to my companion and said, “This is the only funny thing that has ever happened on this show.” I was almost sorry to see him go.

I watched The Chevy Chase Show that first night, and the scar on my chin is still healing. Everything about the show screamed “Unprepared! Unwise! Uncomfortable!” Chase was unprepared, the producers were unprepared, the writers were unprepared. Chase twitched so much that he almost transformed himself from a solid into a gas. The four-minute clip below contains part of Chase’s interview with the show’s first-ever guest, Goldie Hawn, as well as their truly unfortunate attempts to get the audience dancing—to “La Bamba”—as the show went to commercial break. Sandwiched in between is a humiliating episode involving a birthday cake and Hawn’s then-adolescent son, Oliver Hudson, who was sitting in the front row of the audience. Notice that Chase can’t even be bothered to put his heart into the obviously planned pratfall with the cake.

(This clip is from one of my Media Shower tapes.)

[UPDATE: In July 2007, I posted another clip from the debut episode.]

See this page for a related 1998 story from The Onion.

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The 1962 Film That Inspired Terry Gilliam’s 12 Monkeys

La Jetée, the experimental New Wave short by the French director Chris Marker, is probably best known today for having served as the inspiration for Terry Gilliam’s 12 Monkeys. But Marker’s 26-minute masterpiece is by far the more important and original work, and not just because 12 Monkeys was almost ruined by Brad Pitt’s awful—but Oscar-nominated!—performance as a deranged animal-rights activist.

Except for one brief clip of a blinking eye, La Jetée (1962) is comprised entirely of black-and-white still images, voiceover narration, and unobtrusive minor-key music. The action, such as it is, takes place in the aftermath of World War III. Paris has been destroyed, along with much of the rest of the civilized world, and all survivors were long ago forced underground. A group of scientists is attempting to find food and energy by subjecting prisoners to rudimentary time-travel experiments. The film’s time-traveling protagonist, identified simply as “the man whose story we are telling,” is haunted by a childhood memory of an incident he witnessed on a pier (a jetée) at Orly Airport. He is sent again and again to prewar Paris, where he spends time with a beautiful young woman whose significance to him he can’t quite grasp.

La Jetée is about time, memory, and longing, among other things, and it’s incredibly complex and powerful. This seven-and-a-half-minute clip is from the first half of the film. (I taped it off of the Sundance Channel a few months ago.) The voiceover has been rerecorded in (French-accented) English.

The film seems to be hard to find on DVD, but Amazon can hook you up with used copies of a DVD compilation that includes it. And ooh, I just discovered that someone has uploaded the entire original French version to Google Video.

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categories: Film, TV and Video

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March 11, 2006
Tom Waits Helps Deliver Your Dog From the World of Temptation

Raspy-voiced troubadour Tom Waits is famous for his refusal to do commercial voiceovers—and for his willingness to sue advertisers who use Waits soundalikes. But back in 1981, he did the voiceover for a Purina dog food commercial. It’s apparently the only commercial he’s ever done. Here are some details and context. And here’s the commercial:

[via YouTube member doctasax, with an assist from iFilm’s Viral Video channel.]

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categories: Music and Audio, TV and Video

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February 27, 2006
Yacht Rock Episode 7

The latest episode of Yacht Rock, the near-perfect Channel 101 series, was put online a few hours ago, and it’s a classic. It’s the tale of how the rapper Warren G used the smooth sounds of yacht rock to climb the charts in the mid-’90s—and of how this reappropriation helped a gray-haired Michael McDonald win a dollar bet with his old friend Kenny Loggins. Go check out episode 7—and if you’ve missed some or all of the other episodes, you can watch them here. I wrote about the debut episode of Yacht Rock in this post last July.