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April 8, 1990
With respect to the best-actor Oscar, one can only surmise that Daniel Day-Lewis won over Morgan Freeman because the academy was impressed with his portrayal of a physically handicapped character. (So was I.) However, I wonder if any academy member could even fathom the difficulty inherent in Freeman's extraordinarily believable portrayal of a character whose imposed disadvantages were more visceral than visual. HARRIET J. BLACKMAN Los Angeles
December 23, 2013 | By Kelly Marcel
Every writer who sits down and begins a screenplay thinks they know why they're doing it. Knowing why is essential to the process. But sometimes - maybe all of the time - we're fooling ourselves. We don't truly understand why we've written something until long after we're done. From the moment Alison Owen, our British producer, came to me with a preexisting script of P.L. Travers' story (by Sue Smith) and shared her ideas for how it could become the movie that's in theaters as we speak, I was enthralled.
May 19, 1985
Gutsy presentation by Calendar and David Crook on the Ron Rewald, CIA, ABC case ("Adventures in Paradise," May 5). Agency bashing has become so facile, I thrilled to read it. Solid presentation of facts, minus the visceral anti-intelligence editorializing. The challenge for broadcast media as the First Amendment is sensationalized will be to retain the spirit of information without taking title to disinformation. ANTHONY WAYNE Long Beach
September 6, 2013 | By Brian Thevenot
The sharp left appeared out of nowhere. Blasting down a mountain road, surging with adrenaline, I flashed back to the first rule of driving a Porsche 911: Never let off the gas in a turn. Unless, that is, you want to travel backward into the nearest ditch. Such are the physics of a rear-engine layout, the defining characteristic of the 911 since forever. With all that weight behind the rear axle, standing on the accelerator drops the tail into an aggressive crouch. Lifting off at the wrong moment has the opposite effect - separating the rear tires from terra firma.
November 11, 1990
Scorsese professes affection for "The Naked Kiss" and its startling opening sequence. True to the auteurist party line, he credits directors Sam Fuller while failing to mention other key contributors to the scene's visceral impact: Stanley Cortez and his bravura camera work, the fierce, fearless acting of Constance Towers and particularly the frenzied, full-throttle jazz music of brilliant, unsung movie composer Paul Dunlap. Let us not forget that it takes more than one artist's passion to create a film canvas.
August 7, 2004
Re "Dissent From Left to Write," by David L. Ulin, Aug 3: The explosion of hateful political books hitting the bookstores and bestseller lists disguised as nonfiction is further evidence of the unseemly methods in which presidential elections and political games are being played. Simply put, it's like the political teams are playing dirty in a visceral baseball game, leaving the majority of voters in the stadium muted and getting the short shrift in democracy because the extreme right and left are hitting foul balls called fair.
June 23, 1997
I think a governmental apology for slavery is a wonderful idea (June 13-14). In fact, it's such a wonderful idea that it's already enshrined in the 13th, 14th and 15th amendments of the Constitution. Those who do not regard this as sufficient might want to check out such locales as Shiloh, Antietam, Gettysburg--and a certain mausoleum in Illinois--where the apology was issued in blood. On a less visceral note, it should be pointed out that the U.S. government never enslaved anyone.
July 15, 1994
The Times' teary-eyed article ("Clinton's Visceral Opposition," July 5) about big, bad Republicans and their alleged abuse of the President and Mrs. Clinton breaks my heart. For almost 50 years liberal Democrats in and out of the media have indulged in nonstop, unfounded, mindless vilification of the late Richard Nixon. Oh, poor, poor Bill and Hillary! Boo hoo hoo . . . STEPHEN McKINLEY MITCHELL Sherman Oaks What has happened to "innocent until proven guilty"? And how many courageous, thoughtful steps to improve the lives of U.S. citizens need be taken before unproved allegations can be appropriately set on the back burner?
March 19, 2003 | Chris Pasles, Times Staff Writer
Music, for the Penderecki String Quartet, is a necessity, not an option, and the quartet plays it avidly. First violinist Jeremy Bell fixates on the score but bounces off the chair to make vigorous attacks. Opposite him, violist Christine Vlajk takes in her colleagues with a half-smile that lights up the whole room. Cellist Paul Pulford is a quiet, stoic presence, but his fingers fly. Second violinist Jerzy Kaplanek's face crackles with energy and ideas.
August 14, 1985 | DOUG SMITH
Twenty comedians who covet the title of "Funniest Person in the Valley," and the $500 prize that goes with it, took a shot at it Sunday at the L.A. Cabaret, a comedy house tucked away in a shopping center in Encino. It was the second of five Sunday night contests sponsored by Valley Magazine that will lead to the selection of the winner on Sept. 1. And it was a visceral test for performer and audience alike. The L.A.
February 25, 2012 | By Laura King, Los Angeles Times
The spasm of violence that has shaken the country since copies of the Koran were dumped in a trash incinerator at a U.S. military base is emblematic of a culture war among Afghans themselves, one that is likely to grow more intense as the Western military presence wanes. Five days of chaotic street battles have left more than 30 people dead, including two U.S. military officers killed Saturday in a heavily guarded Afghan government ministry. The unrest over the desecration of the Muslim holy book illustrated not only the depth of religious fervor felt by many here, but also a visceral distaste for Western behavior and values among a far broader swath of Afghan society.
December 4, 2011 | By Nicole Sperling and John Horn, Los Angeles Times
It was the last day of a speedy, 30-day shoot for Jason Reitman's "Young Adult" and the crew was ready to escape the cutting cold of suburban New York last November. But Reitman wasn't yet satisfied, even though all the scene he was shooting required was that his star, Charlize Theron, pull an audiocassette out of a bag and stick it into her car's tape player. Theron was playing the unstable ghost writer Mavis Gary, and the tape was a talisman of a life she once led that had vanished along with her youth, leaving Mavis a sad, 37-year-old singleton.
January 19, 2011 | By Jeffrey Fleishman, Los Angeles Times
In cafes and living rooms across the Middle East, the whirling montages and breathless journalists of Al Jazeera are defining the narrative of Tunisia's upheaval for millions of Arabs riveted by the toppling of a dictator. The Qatar-based television network, as it does with the Iraq war and the Palestinian-Israeli conflict, is airing visceral, round-the-clock coverage in a region of authoritarian states that rarely allow government-controlled media to show scenes of unrest. Al Jazeera is a messenger, pricking the status quo, enraging kings and presidents.
June 30, 2010 | James Rainey
Sadness, revulsion, pride, anger and compassion are sure to follow. But an initial look at James Nachtwey's massive photo collage from military field hospitals in Iraq first provokes simple curiosity. Could that charred nub really be a human nose? What part of pale flesh is that hidden beneath a knot of plastic surgical tube? Is that doctor's slippery, gloved finger really probing inside someone's skull? "The Sacrifice" is the powerful centerpiece of a new exhibition at the J. Paul Getty Museum that celebrates the ability of still images to seize and command our attention, even in an era when digital video streams scream at us 24 hours a day. When the Nachtwey piece debuted three years ago at a New York City gallery, it overwhelmed one ex-Marine.
September 7, 2008 | Chloe Veltman, Special to The Times
Deep IN the womb of the San Francisco War Memorial Opera House, a famous novelist is giving a world-class mezzo-soprano a piece of her mind. Dressed in loose-fitting black pants and a matching T-shirt, lots of heavy, silver jewelry and eccentric-looking orthotic sneakers, Amy Tan makes explosive, diagonal slicing movements with her arms. "My mother used to do this," says Tan, tapping into her past. "Now you try." Charged with playing the role of the mother figure, LuLing Liu Young, in San Francisco Opera's adaptation of Tan's 2001 novel "The Bonesetter's Daughter," which will have its world premiere here Saturday, the glamorous Chinese opera singer Ning Liang nods her head.
January 1, 2006 | Suzanne Muchnic, Times Staff Writer
J. PAUL GETTY'S favorite statue of Hercules dominates a breathtaking space -- as usual. Clenching a lion skin in one hand and hefting a club over the opposite shoulder, the life-size marble figure presides over a round, shrine-like gallery inspired by a room in an Italian seaside estate that perished when Mt. Vesuvius erupted.
The work of Paula Santiago has an uneasy beauty. It's intimate beyond the level of comfort--viscerally intimate. For the last few years, she has been making images and objects using her own blood and hair. Her previous show at Iturralde Gallery featured tiny, tragic garments fashioned of blood-soaked rice paper, trimmed and embroidered with hair.
How base was "Basic Instinct" meant to be? A new Pioneer Special Edition laser disc version offering the movie as director Paul Verhoeven "had originally planned it" reveals why the director's vision would have resulted in an NC-17 rating. In its theatrical-release R form, with some of the more intense aspects of the love scenes, and some violence, eliminated, it nonetheless drew plenty of attention and box office.
March 21, 2005 | Chris Pasles, Times Staff Writer
Prokofiev and Shostakovich, like Mozart and Haydn, can be seen as opposite sides of a single coin. Prokofiev is the cool, hard-edged, objective composer; Shostakovich, the anguished personal conscience of his time. But occasionally, Prokofiev let the mask slip, as he did in the Sinfonia Concertante, the centerpiece of the Los Angeles Philharmonic program Saturday at the Walt Disney Concert Hall.
December 4, 2004 | Scott Timberg, Times Staff Writer
By rights, "Visceral Bukowski" by Ben Pleasants should be a pretty joyless affair. The world hardly needs another tome about Charles Bukowski -- this volume's tiny Michigan-based publisher has no less than five books built around the poet laureate of booze, broads and woozy hangovers. This one is uneven and at times seems unedited.
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