Quotulatiousness

February 25, 2013

What Argo doesn’t show about “The Canadian Caper” of 1979

Filed under: Cancon, History, Middle East, USA — Tags: , , , , , — Nicholas @ 13:15

In Maclean’s, one of the American diplomats who took part in the actual hostage drama in Tehran provides a bit of supplementary material to the film Argo:

Ben Affleck’s Argo has stormed box offices, collected awards [. . .] yet Canadians of a certain age may find themselves thinking: This is not quite how I remember those days. I was there when Iranians took over the American Embassy in Tehran, and it is not quite how I remember them either. Argo is terrific entertainment, but it tells only a part of our story, and says nothing at all about many of the real heroes — most Canadian — who helped rescue us. Before Argo came along, our rescue was routinely called the “Canadian Caper.” It still should be. The operation consisted of four distinct phases. Three were almost entirely Canadian, and only one involved significant U.S. assistance.

For those not of a certain age, a brief summary is a good starting point. Nov. 4, 1979 brought cold rain and hinted of trouble of a different sort. Two weeks earlier, then-president Jimmy Carter decided to admit the former shah of Iran to the U.S. for cancer treatment. Iranians were outraged; many suspected it was a plot by the U.S. Central Intelligence Agency to remove Iran’s new ruler, Ayatollah Ruhollah Khomeini, and put the shah back in charge. Protests outside Tehran’s U.S. Embassy had become daily occurrences. That November morning, demonstrators climbed the gate and soon controlled the compound.

[. . .]

Phase four always receives the least attention. The U.S. government was desperate to keep the CIA’s role secret, rightly fearing its disclosure might endanger the hostages (who weren’t freed until 1981). This concern was sufficiently real that we were asked to live under false names in Florida until the hostages were set free. I was looking forward to seeing how many speeding tickets my alter ego could accumulate, but La Presse decided to publish Jean Pelletier’s story once the Canadian Embassy in Tehran had closed. We came home to a rousing reception and the Canadians were asked to claim complete credit for our escape. That job understandably fell to ambassador Taylor, who spent the better part of a year on the rubber chicken circuit at receptions to honour the Canadian government and people for helping us. Some have said he did the job too well, or failed to share the credit with other embassy staff. My own experience contradicts this. I heard Taylor speak several times. He always mentioned his staff. I also tried, during press interviews I gave, to mention others, particularly the Sheardowns. My comments were edited out. It seemed the press could handle only one hero at a time. Unfortunately, this meant John Sheardown, who was indispensable in phase one, became invisible in phase four. I truly believe John did not care. He did his duty as he saw it. For those who loved and respected him, it was painful.

[. . .]

As I wrote at the beginning, Argo is a wonderful film. Not because it is historically accurate, but because, aside from its technical brilliance, it reminds us of a time when ordinary people performed great deeds, and two neighbours that feud over many small and not so small things came together and did something magnificent. Maybe it didn’t change history, but for we six house guests it was truly life changing. And it was, and should always remain, the Canadian Caper.

Hollywood’s addiction problem

Filed under: Business, Government, Media, USA — Tags: , , , — Nicholas @ 09:19

It’s not addiction to drugs — although we can be sure there’s more than enough of that — it’s addiction to government subsidies, tax credits, and special privileges not available to ordinary businesses:

With campaign season over, you’re not likely to hear stars bringing up taxes at [the] Academy Awards show. But the tax man ought to come out and take a bow anyway. Of the nine “Best Picture” nominees in 2012, for example, five were filmed on location in states where the production company received financial incentives, including The Help (in Mississippi) and Moneyball (in California). Virginia gave $3.5 million to this year’s Oscar-nominated Lincoln.

Such state incentives are widespread, and often substantial, but they don’t do much to attract jobs. About $1.5 billion in tax credits and exemptions, grants, waived fees and other financial inducements went to the film industry in 2010, according to data analyzed by the Center on Budget and Policy Priorities. Politicians like to offer this largess because they get photo-ops with celebrities, but the economic payoff is minuscule. George Mason University’s Adam Thierer has called this “a growing cronyism fiasco” and noted that the number of states involved skyrocketed to 45 in 2009 from five in 2002.

In its 2012 study “State Film Studies: Not Much Bang For Too Many Bucks,” the Center on Budget and Policy Priorities found that film-related jobs tend to go to out-of-staters who jet in, then leave. “The revenue generated by economic activity induced by film subsidies,” the study notes, “falls far short of the subsidies’ direct costs to the state. To balance its budget, the state must therefore cut spending or raise revenues elsewhere, dampening the subsidies’ positive economic impact.”

February 21, 2013

From the sublime to the ridiculous, warship edition

Filed under: Humour, Media, Military, Russia — Tags: , , — Nicholas @ 09:56

One of the most influential propaganda films of all time meets one of the least. BATTLESHIP POTEMKIN: a mashup trailer created by Josh Nelson.

H/T to Mary Ann Johanson, via John Scalzi.

February 20, 2013

Rare praise for obscure movie director of the 1970’s

Filed under: Humour, Media — Tags: , , — Nicholas @ 13:30

He apparently goes by the same name as one of the most reviled movie figures of the last 20 years:

It’s hard to imagine now, but the original Star Wars movie was more than just a star-spanning, kid-pleasing action flick. It was also a rule-breaking, expectation-thwarting one-film rebel alliance.

For instance, remember how the movie starts with a blare of trumpets and the title, followed the text crawl, followed by the actual movie? Notice how there aren’t three minutes of “Doopdy Doo Pictures and Skippity-Skip Entertainment Present … A Furfty Fur/Yonker Boo Production … A Glarpton Spitcake Film … Elwee Groodicle … Robbles Pancake … Spankster Carmont … and Bliss Underham … Casting by Arhop Maser, C.S.A … Music by Hambone Jury … Cheese Table Relocation by Hollywood Dairy Movement L.L.C.” and so forth? Lucas was fined $250,000 for that. Specifically, he was fined by the Director’s Guild for not having an opening director credit. That’s right, he was fined for not giving himself credit before the film even starts.

Or take the fact that there are two main characters who not only don’t speak English, but whose growlings and bleepings aren’t even translated into subtitles.

Oh, and one more thing. It’s science fiction. These days you can’t swing a large popcorn without hitting a science-fiction blockbuster right in the hyperdrive, but at the time there hadn’t been a really successful science fiction movie in nearly a decade. Just by setting his film in a galaxy far, far away — not to mention long, long ago — Lucas was defying the conventional movie-making wisdom of the time.

The point is that while Star Wars is the spaceship that launched a thousand clichés, it achieved its success by being something profoundly original. So here’s my unsolicited advice to Abrams, and moreover to the hundreds of entertainment bureaucrats who are going to want to have their meddling incorporated into the upcoming Star Wars VII: Action of the Noun: Don’t give into the Dark Side. Don’t incorporate the following clichés that have increasingly infested sequels for the past 35 years.

January 22, 2013

The broken window fallacy in Middle Earth

Filed under: Books, Economics, Media — Tags: , , — Nicholas @ 10:36

Yes, even in the Third Age, there were Keynsian apologists:

Over on the Guerrilla Economist blog, Ust Oldfield discusses the economic consequences of the dragon Smaug on Tolkien’s fictional universe, Middle Earth. He argues that the net effect on Middle Earth’s economy may well have been positive. Both Dwarves and dragons hoarded the gold, so there would have been no monetary shock from the rapid withdrawal of so much precious metal from the economy. The Dwarves were then forced to offer their labour and skills to the outside world as refugees, contributing to the economy at large.

Perhaps. But there is something wrong with this picture. Ust neglects to mention that much of the Dwarven kingdom of Erebor and nearby Dale were utterly destroyed. Thousands of years’ worth of accumulated physical, human (or should that be Dwarven?) and social capital incinerated. In order to have a net positive effect on the economy of Middle Earth, the Dwarves’ integration with the wider economy must outweigh this massive destruction of wealth. This is unlikely, to say the least. For a start, the human city of Dale existed because of its trade with Erebor. Therefore the Dwarves were already engaging in peaceful and mutually beneficial exchange with the rest of Middle Earth. The Dwarves’ actions as refugees can only have created less value if their highest-value, voluntary choices were forcibly eliminated.

January 21, 2013

Should Bilbo have consulted his solicitor?

Filed under: Books, Law, Media — Tags: , , — Nicholas @ 09:23

In Wired, James Daily analyzes the contract between Bilbo Baggins and Thorin’s company:

Ordinarily I don’t discuss legal issues relating to fictional settings that are dramatically different from the real world in terms of their legal system. Thus, Star Wars, Star Trek, Tolkien’s Middle Earth, etc. are usually off-limits because we can’t meaningfully apply real-world law to them. But the contract featured in The Hobbit: An Unexpected Journey was just too good a topic to pass up, especially since you can buy a high-quality replica of it that is over 5 feet long unfolded.

First, it seems fairly clear (to me, anyway) that Tolkien wrote the Shire (where hobbits live) as a close analog to pastoral England, with its similar legal and political structures. For example, the Shire has a mayor and sheriffs, and there is a system of inheritance similar to the common law. The common law fundamentals of contract law have not changed significantly since the time that the Shire is meant to evoke, so it makes sense that the contract would be broadly similar to a modern contract (and likewise that we could apply modern contract law to it).

So, without further ado, let’s get to it.

January 9, 2013

The only movie awards that really matter: The Razzies

Filed under: Media — Tags: , — Nicholas @ 09:03

The BBC gives us the highlights of the nominations for the Razzies:

The final instalment of the Twilight saga has dominated the shortlist for this year’s Razzies, which single out the worst movies of the last 12 months.

Twilight: Breaking Dawn Part 2, which made $814m (£507m) at the box office, has 11 nominations in 10 categories, including worst film and worst sequel.

Its stars Kristen Stewart and Robert Pattinson are also listed in the “worst screen couple” category.

Critically-reviled blockbuster Battleship received seven nominations.

Among them was worst supporting actress for pop star Rihanna, who made her acting debut as a US Navy Seal in the film, which was based on the classic grid-based boardgame.

Other notable nominations included actor-director Tyler Perry, who was cited for worst actor and worst actress — thanks to his cross-dressing role in Madea’s Witness Protection.

Comedian Adam Sandler won both categories last year, for playing a twin brother and sister in Jack and Jill. His latest film, bad-taste comedy That’s My Boy, picked up eight nominations in this year’s shortlist.

December 26, 2012

“Quentin Tarantino finally comes of age as a filmmaker”

Filed under: History, Media, USA — Tags: , — Nicholas @ 12:04

While I doubt I’ll catch this in the theatre, Kurt Loder makes this sound like an interesting film:

With Django Unchained, Quentin Tarantino finally comes of age as a filmmaker. Tarantino’s brilliance as a writer and craftsman have always been clear. But even his last picture, the Holocaust revenge fantasy Inglourious Basterds, was overwhelmed by his geeky obsession with vintage genres (in that case, old war movies). When he showed us a group of Jews huddled in a basement being shot through the floorboards above, but declined to go below and show them actually dying (it might have clouded the film’s comedy), he shortchanged the movie’s putative subject.

With Django, the director has brought off a perfect marriage of style and history. He has appropriated the universe of another beloved genre, the spaghetti western (in particular Sergio Corbucci’s brutal 1966 cult film, Django), and set within it an unsparing tale of American slavery. The movie is outrageously funny, but it’s also unflinchingly committed to a full exploration of the horrors of its subject. Where many movies about black bondage are diluted by liberal hankie-wringing, this one feels fueled by a black rage that still simmers today. It might be the most savage cinematic depiction of slavery ever made.

Some early reviewers have expressed dismay about the movie’s extensive deployment of the word “nigger.” (“It’s a nigger on a horse,” says one marveling cretin as a black man rides by on his mount.) It’s hard to know what to say about such a reaction, except to point out that, hey, it’s a movie about slavery.

December 24, 2012

What is the French for “voting with your feet”?

Filed under: Europe, Government, Media, USA — Tags: , , , — Nicholas @ 10:03

Put your tax rates up too high and people start to look at alternative living and working arrangements:

Actor Gérard Depardieu’s decision to flee France for Belgium to avoid a 75 percent marginal tax rate on incomes above $1.3 million sends a message we here in America should heed: Those who are singled out for tax increases are not stationary targets. The means of avoiding and evading the taxman are legion.

U.S. government agencies routinely issue estimates of how changes in the tax code will affect the flow of revenues to the treasury. President Obama says the tax changes he has been seeking will bring in $1.6 trillion over a decade. But such estimates assume taxpayers are something other than human beings who engage in purposive action. People like to keep the money they make — why shouldn’t they? — and they typically avail themselves of every legal (and not-so-legal) strategy to do so. Change the tax environment by raising rates or adversely modifying the rules, and taxpayers, especially those in the upper echelons of earners, can be counted on to modify their conduct accordingly; there’s no reason to think their wish to hold on to their money has diminished just because the tax code has changed.

Economists as far back at J. B. Say and Gustave de Molinari in the 19th century understood this. As Molinari wrote in his 1899 book, The Society of To-morrow, “The laws of fiscal equilibrium set a strict limit to the degree within which it is possible to impose new taxes, or to increase the rates of those already in force. The relative productivity of taxes soon shows when this point has been overstepped, for then returns not only cease to rise, but immediately begin to fall.”

December 22, 2012

The NRA tries fighting hysteria with even more hysteria

Filed under: Law, Media, Politics, USA — Tags: , , , , , — Nicholas @ 09:23

Jacob Sullum on the tone-deaf response of the NRA to criticism arising from the Sandy Hook tragedy:

Not exactly the voice of calm reason. [NRA Executive Vice President Wayne] LaPierre evidently wants people to panic, as long as they stampede in the direction he prefers. Yet the fact remains that mass shootings of any kind, let alone mass shootings at schools, are rare events, and we should be cautious about making any major policy changes in an effort to reduce an already tiny risk. I don’t know what LaPierre means by “an active national database of the mentally ill,” and I’m not sure he does either. But since there is no indication that Adam Lanza was ever declared mentally incompetent or committed to a mental institution, such a database could prevent people like him from buying guns (leaving aside the fact that he used his mother’s weapons) only if the criteria for rejecting buyers are expanded to cover many people who pose no threat of violence (potentially including half the population, if a psychiatric diagnosis is all that’s required).

LaPierre wildly shoots at several other targets, including our allegedly lenient criminal justice system, which supposedly coddles “killers, robbers, rapists and drug gang members”; “vicious, violent video games with names like Bulletstorm, Grand Theft Auto, Mortal Kombat and Splatterhouse“; and “blood-soaked slasher films like ‘American Psycho‘ and ‘Natural Born Killers‘” (which were released 12 and 18 years ago, respectively). There is some sense in there too (about the “assault weapon” bogeyman and the puzzling progessive aversion to armed self-defense), but it is drowned in the flood of foam flying off LaPierre’s lips. And while letting teachers or other staff members with concealed carry permits bring their guns to school seems like a better policy than advertising “gun-free zones” to armed lunatics, the National School Shield Emergency Response Program that LaPierre recommends, featuring “a protection plan for every school,” a potentially smothering “blanket of safety,” and congressional appropriations, including “whatever is necessary to put armed police officers in every school,” seems utterly disproportionate given the level of risk that children (yes, including my own) actually face when they go to school.

Last night I suggested that Piers Morgan’s televised faceoff with Larry Pratt “pretty accurately reflects the general tenor of the current gun control debate, with raw emotionalism and invective pitted against skepticism and an attempt at rational argument.” The NRA and Wayne LaPierre seem determined to prove me wrong.

December 20, 2012

Half in the Bag: The Hobbit

Filed under: Books, Humour, Media — Tags: , , , — Nicholas @ 09:30

Mike and Jay talk about Peter Jackson’s latest trip to Middle-Earth, The Hobbit, and frustrate both Tolkien fans and HFR projection supporters in the process.

December 18, 2012

QotD: Time to look at repeal

Filed under: Law, Liberty, Media, Quotations, USA — Tags: , , , , — Nicholas @ 10:32

Is America ready to repeal the first Amendment and regulate Hollywood and the video game industry? Free speech absolutists point to their peaceful enjoyment of action-packed Blockbuster movies where protagonists of those films are often portrayed slaying hundreds of people in simulated scenes of violence.

Yet, journalists are broadcasting America’s call for an end to the tragedies through the regulation of this so-called freedom that has already killed too many. “The debate is long overdue. The mass-killing perpetrated by America’s free-speech culture is our hottest story today,” said one network reporter. “Adam or Ryan Whats-His-Name was just another face. The real problem that must be addressed is America’s sick love affair with unsanctioned ideas and unfettered access to violent imagery.”

The founding fathers could not have imagined high-capacity mass-communications networks when they wrote the Constitution. Thomas Paine was a pamphleteer, not a mass merchant of kill porn on iTunes. Indeed, in the age of quills and parchment, Thomas Jefferson could not have imagined tweeting, or using the cable news industry to launch into the superstardum of American’s celebrity culture overnight.

“I’m a free speech moderate,” said one New York Times reporter reflecting upon the recent tragedy, “I’m in the news business because of free-speech. But, I’m also here to make a difference. If, because of this overdue regulation, it becomes more difficult to speculate wildly about the identity of the shooter based on an intern’s cursory scan of social media, so be it.”

Stephen Taylor, “Time to look at repeal”, Stephen Taylor, 2012-12-17

December 17, 2012

The Hobbit: “The company of Dwarves isn’t the hand-picked band of mighty warriors … but ordinary (if short) blokes united by faith and loyalty”

Filed under: Books, Media — Tags: , , — Nicholas @ 10:05

We went to see The Hobbit on the weekend, with a bit of foreboding thanks to the numerous advance reviews warning us that Jackson had sold out his film-making heritage for shiny 48fps gadgetry that made everything look fake. Thankfully, we didn’t find that to be the case at all: all four of us loved the movie to a greater or lesser extent. I plan on seeing it again while it’s still in the theatres (which I rarely do).

A Very British Dude was also impressed:

Those who loved Sir Peter Jackson’s adaptation of JRR Tolkien’s Lord of the Rings trilogy will love this movie. Those who didn’t, won’t. It’s as simple as that.

[. . .]

There are those critics who will think the movie “plodding” and over-long. That’s a complaint with Tolkien’s utter disregard for narrative arc. Indeed, it’s this lack of tidy endings, and profusion of sub-plot lines that make the mythology so compelling. It’s more like reality than many gritty cop-dramas or action movies today. There may even be purists who may take issue with the additions to the book’s tale, but as these are telling back-stories and tying the Hobbit deeper into the Lord of the Rings narrative, it didn’t bother me. [. . .]

The company of Dwarves isn’t the hand-picked band of mighty warriors that the Fellowship of the Ring was, but ordinary (if short) blokes united by faith and loyalty. This is a thread which runs through all Tolkien’s work: the idea that free people thrust into extraordinary situations will do remarkable things. Tolkien never claimed to have been influenced by his experiences on the Western Front in 1916, but it’s clear he was. He asserted there to be no analogy to the second world war in his books.

Gandalf’s greatest insight is that Hobbits — a sort of idealised rustic Englishman were a better bulwark against evil than the great princes and warriors of greater strength and fame, who’re too easily corrupted by power. This is perhaps the reason the mythological cycle of which the Hobbit forms a part is so appealing to the Anglo-Saxon world: it speaks to a dimly remembered folk-memory of doughty farmers and nascent local democracy dating from the dark-ages. The idea that we’re free, and they’re not.

December 14, 2012

“… a landscape so breathtaking, it’s as if New Zealand and Photoshop had a baby”

Filed under: Humour, Media — Tags: , — Nicholas @ 00:01

Chris Knight carefully puts on Snarkya, the ring of criticism, and reports on The Hobbit:

Their leader is Thorin, son of Thrain, son of Thror. (These are the kind of spittle-producing introductions that will nicely boost a film’s running time, especially if you travel with 12 other dwarves, each with his own proud lineage, which is exactly what Thorin, son of Thrain, son of Thror, does.) Played by Richard Armitage, he’s a redoubtable dwarf, 5-foot-2 if he’s an inch.

The company arrives on the doorstep of Bilbo Baggins, perfectly embodied by Martin Freeman. He’s become known of late at Dr. Watson on TV’s modern-set Sherlock Holmes series, but his quintessential (or at least most relevant) role is probably that of Arthur Dent, Englishman and homebody, from The Hitchhiker’s Guide to the Galaxy. Middle-earth and middle-Essex are each home to a certain kind of reticent hero, and Freeman plays both with ease.

Gandalf and the rest of the dwarves — whose names, if you must know, are Balin and Dwalin, Bifor, Bofur and Bombur, Fili and Kili, Oin and Gloin, Nori, Dori and Ori — convince Bilbo that a spot of adventure would be just the thing to write home about, and they set off across a landscape so breathtaking, it’s as if New Zealand and Photoshop had a baby.

[. . .]

You’ve also got a host of excellent performances from the likes of Ian McKellen as Gandalf; Hugo Weaving as Elrond; and Cate Blanchett as token female, also known as Galadriel, whose flowing white robes are so artfully composed that she must have been sky-craned into her every scene.

November 22, 2012

Creating Aston Martin DB5s to blow up real good

Filed under: Media, Technology — Tags: , , , — Nicholas @ 11:40

3D printing to the (budget) rescue for 007:

Sean Connery first rocked the iconic James Bond Aston Martin DB5 in 1964’s Goldfinger. That vehicle made a reappearance in this year’s blockbuster Skyfall with Daniel Craig at the wheel.

Spoiler alert: Craig’s DB5 meets an untimely end involving flames. You can’t just take a priceless real DB5 and blow it up on film, so the filmmakers turned to a high-tech prop solution: 3D printing.

Voxeljet, a 3D printing company in Germany, created three 1:3 scale models of the rare DB5. Each model was made from 18 separate components that were assembled much like a real car. The massive VX4000 printer could have cranked out a whole car, but the parts method created models with doors and hoods that could open and close.

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