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Arts
Monday, April 11, 2016 — 5A
Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Spaghetti or ziti
6 In different places
11 What a
steamroller
steamrolls
14 Moral standard
15 Capital of Yemen
16 Thrilla in Manila
winner
17 Understand,
finally
19 Caboodle go-with
20 Bill at the bar
21 Tehran native
22 German auto
engineer Karl
23 Zone out
27 Mined rock
28 Ticklish Muppet
29 Boom’s opposite
32 ID card feature
35 Point de __:
opinion, in Paris
38 Revival leader’s
query ... and hint
to the starts of
17-, 23-, 49- and
60-Across
42 Corp. ladder
leader
43 En __: as a
group
44 Spoken
45 WWII female
enlistee
47 Org. with a “100
Greatest Movie
Quotes of All
Time” list
49 Photographer’s
instruction
56 Had a bawl
57 Track jockey, e.g.
58 Building wing
59 Swiss peak
60 “Didn’t think I
could do it, did
ya?!”
63 Under the
weather
64 Speck in the
ocean
65 Beethoven’s
“Für __”
66 Lao-__: Taoism
founder
67 Heart rate
68 Thin coins
DOWN
1 Ones who won’t
leave you alone
2 Really bugged
3 Biblical queen’s
land
4 Little songbird
5 More sore
6 Lion of Narnia
7 Sherwin-Williams
product
8 Cardio procedure
9 Word of support
10 Skin art, briefly
11 Seek shelter
12 Flared skirt
13 Big name in
hotels and
crackers
18 Buffalo’s lake
22 Emeril catchword
24 __ de boeuf:
French roast
25 Alien-seeking org.
26 Underhanded plan
29 Secretly keep in
the email loop,
briefly
30 Abu Dhabi’s fed.
31 Suspected
McIntosh relative
with pure white
flesh
32 TD’s six
33 Gives birth to
34 What borrowers
do
36 __ Today
37 Subj. for some
green-card
holders
39 Former auto
financing co.
40 A pop
41 Roulette color
46 Verizon rival
47 Aid in a felony
48 Solidified, as
plans, with “up”
49 H.G. who wrote
“The War of the
Worlds”
50 Internet forum
troublemaker
51 Backpacking
outings
52 Online social
appointment
53 Jeans material
54 Admission of
defeat
55 Cary of “Glory”
56 Cool one’s heels
60 One of a kissing
pair
61 Buckeyes’ sch.
62 Yale Blue wearer
By Nancy Salomon
©2016 Tribune Content Agency, LLC
04/11/16
04/11/16
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Monday, April 11, 2016
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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‘O.J.’ nails it on finale
By SAM ROSENBERG
Daily Arts Writer
What a season it has been.
“The Verdict,” the miniseries
finale of “American Crime Story:
The People v.
O.J.
Simpson,”
wrapped up an
outstanding 10
episodes
that
covered almost
every
signifi-
cant detail of the
1994 O.J. Simp-
son trial, from
the
invasive
media
cover-
age to the tense
atmosphere surrounding current
racial
politics.
Dramatizations
and small inaccuracies aside, Ryan
Murphy and Co. have built a mas-
terful depiction of one of the most
infamous cases of the 20th cen-
tury. What’s even more impressive
is how the show transformed “The
Verdict” into a stellar, breathtak-
ing ending, even when we already
knew what the outcome was going
to be.
Other than the actual verdict
itself, the finale touches on sev-
eral important aspects regard-
ing the trial, particularly with the
closing statements of prosecution
duo Marcia Clark (Sarah Paulson,
“Carol”) and Christopher Darden
(Sterling K. Brown, “Supernatu-
ral”) and defense attorney Johnnie
Cochran (Courtney B. Vance, “Joy-
ful Noise”). Considering how all
three lawyers were able to develop
compelling points for and against
O.J. Simpson, it’s amazing to see
how their arguments make the
case even more complex. Addition-
ally, it provides another showcase
for Paulson, Brown and Vance’s
consistently outstanding perfor-
mances.
After the statements are fin-
ished, the remaining jury members
are left to determine O.J.’s fate.
The sequence of the trial’s ulti-
mate decision between the jury
is telling of what the case is also
really about: race. Following the
horrific Rodney King beating and
the subsequent 1992 L.A. riots, the
O.J. trial divided both Black and
white americans. In terms of the
actual decision, this racial divide
reigned true as well: the Black
jury members all believe O.J. is
innocent, while the two remaining
white members think he is guilty.
Whether or not this was actu-
ally what happened, it’s still very
unnerving to watch. However,
with only four hours until final-
izing their decision, this is where
things get interesting.
The titular climax of “The Ver-
dict” encompasses pretty much
every reaction possible before,
during and after O.J. is found not
guilty for the murders of Nicole
Brown Simpson and Ron Goldman.
Thanks to some fantastic editing
and clever use of archival footage,
a split-screen displays the polar-
ized response from the lawyers,
the courtroom audience and those
watching on TV screens around
the country. The Black community
is shown as relieved and cheer-
ing in the streets, while the white
community is in total disbelief and
shock. Though the verdict didn’t
incite a resurgence of the ‘92 riots,
there’s no doubt that the trial left
some residues of tension among
Americans.
Once the dust settles, “The
People v. O.J. Simpson” captures
some of the final glimpses of its
characters, strengthened espe-
cially by the tremendous effort
from Murphy’s direction and Scott
Alexander and Larry Karasze-
wski’s writing. First, Darden and
Cochran share a passive aggres-
sive exchange about the distortion
of the truth behind the case and
its lasting effect. Cochran believes
Americans are finally recogniz-
ing Black civil rights, but Darden
counters him, saying that “police
in this country will keep arresting
us, keep beating us, keep killing us”
and tells him straightforwardly
that Cochran hasn’t “changed
anything for Black people here.”
This, of course, is a sobering truth
that continues to resonate today
with police brutality against Black
people in America. Later, Darden
meets up with Clark and the two
discuss their frustrations with not
bringing justice to Nicole and Ron.
But even in their disappointment,
they still have each other.
Then comes O.J. (Cuba Good-
ing Jr., “Jerry Maguire”), relishing
in his freedom but realizing that
things are different now. He’s no
longer “The Juice” that every foot-
ball fan loved; he’s still in shackles.
The final seconds of “The Verdict”
concludes with a haunting image
of O.J. walking alone in his back-
yard and hopelessly gazing at the
marble statue of himself, knowing
that his reputation will be forever
tarnished by this murder, regard-
less of his race, fame or fortune.
Coupled with Bill Withers’s “Ain’t
No Sunshine” scoring an epilogue
montage of each character, “The
People v. O.J. Simpson” finishes
on a rather devastating, eerie note:
pictures of a smiling Nicole Brown
Simpson and Ron Goldman, igno-
rant to how their deaths will be
taken in vain.
The O.J. verdict may not have
brought justice, but “American
Crime Story” shined a light on
something in modern history
that still matters today. And I’ll
be damned if it doesn’t sweep the
Emmys.
FX
From ‘Snow Dogs’ to ‘O.J.’
‘Some’ stars talk
By MADELEINE GAUDIN
Daily Arts Writer
Last Thursday, I got the chance
to sit down with Glen Powell,
Wyatt Russell and Quinton John-
son, the stars of “Everybody Wants
Some!!” the latest ode to youth
from Texas filmmaker Richard
Linklater (“Boyhood”).
The film has been billed as a
“spiritual sequel” to Linklater’s
1993 cult classic “Dazed and
Confused,” but there wasn’t any
pressure for “Everybody Wants
Some!!” to live up to its big brother.
“If you try to be Matthew
McConaughey or Ben Affleck or
Parker Posey … then you’re setting
yourself up for failure,” Powell,
who plays Finn, a veteran player
who takes the awkward freshman
under his wing said.
Russell, who plays senior trans-
fer student Willoughby, added that
“almost everything is a spiritual
successor to everything [Linklat-
er] does. When you go back and
you watch all his movies there’s
a through line in them that’s his
mind.”
Much like “Dazed” however,
many of the actors in “Everybody
Wants Some!!” were behind the
camera for the first time. Johnson,
who plays eager freshman Dale,
was studying musical theater at
the University of Texas when he
got cast in the film. It was his first
project outside of student films, but
it won’t be his last.
“When you work with someone
like Richard Linklater and when
he takes notice of you, other people
notice that notice,” he said.
Johnson plans on taking that
momentum and running with it,
whether that means more films or
going back to the stage.
“If I could be in ‘Hamilton’ for
the next 40 years I would do it,” he
said.
The boys bickered back and
forth for a minute about Johnson’s
passion for “Hamilton,” showing
me a Snapchat video of Johnson
performing “Guns & Ships” from
the musical much to the dismay of
his castmates. As they tease and
joke with each other, they fall into
a rhythm similar to that of their
characters.
“Everybody had about five
percent of who they were in their
character,” Russell said. “But we’re
actors. Sometimes people forget
that tapping into that part of your
personality is something that is
important for the character.”
The cast had much of the same
chemistry on and off screen, due in
large part to extended time spent
in rehearsals at Linklater’s ranch.
“Most of the time you’re film-
ing, people are meeting on day one.
Rehearsal is such a luxury,” Powell
said.
During rehearsals, the cast
played baseball, read scripts, went
to dance lessons and, of course, re-
watched “Dazed and Confused.”
Powell noted that the time spent
together before shooting “allowed
for a lot of collaboration and a lot of
trust.”
Despite
the
unprecedented
comradery and the abundance of
party scenes in the film, the actors
weren’t drinking as much Lone
Star as their characters.
“You can’t get wasted and go do
a scene. It doesn’t work,” Russell
said.
“I mean this is a job, we’re doing
a job,” Johnson added. “But, when
you get this kind of comradery
together and you get someone like
Richard Linklater … it’s nothing
but fun.”
Despite the decades of separa-
tion, the college experience of the
film felt very authentic to Powell.
“The more things change, the
more they stay the same,” he said
with a laugh.
The three said a lot of that
authenticity can be attributed to
collaboration between Linklater
and the cast on scenes like a party
at the baseball house.
“Rick (on the party stuff) really
let us collaborate,” Powell said.
“He was like OK … what were your
favorite memories of college, what
did you do in college, what did he
do in college … and you start to real-
ize that nothing’s really changed.”
They are glad some things have
changed, however.
“You don’t see dudes wearing
short shorts anymore,” Johnson
said.
“Don’t bring that back. Nobody
wants that,” Russell said. The boys
all laughed in agreement.
But for them, the short shorts
and mustaches aren’t really the
takeaway from this movie.
“In college … there are paths
that are open to you, and who are
you going to become,” Powell said.
“That’s the nature of being in col-
lege, you kind of think you know
who you are, but you really don’t.”
“I think mistakes are the
essence of life, you know,” he con-
tinued, a mantra that seems to ring
especially true for this film. “A lot
of the best things you see in this
movie are outright mistakes.”
However, he also had a note of
caution — make mistakes but put
down your phone.
“In college, with these phones,
mistakes aren’t really forgivable,”
he said.
And Russell’s parting advice for
college students, “No nudes, no
nudes.”
Alright, alright, alright.
FILM INTERVIEW
Student films shown
By REBECCA LERNER and
MADELEINE GAUDIN
Daily Film Editor and Daily Arts
Writer
On Thursday night, students
trekked through an unusual and
annoying April snowstorm to con-
gregate in the lobby of the Michi-
gan Theater. M-agination Films,
an entirely student-run production
company at the University, was
celebrating their 15th year of film-
making with a festival showcasing
12 original short films.
M-agination prides itself on
being one of the most open film
groups on campus — they’ll consid-
er any project and people from any
major, not solely English or Screen
Arts and Cultures. The myriad of
genres represented in the festival
illustrated this academic diversity,
as the films ranged from sketch
comedy to dance-based footage.
Some filmmakers used the short
film format to experiment with
less conventional technical ele-
ments, while others were more
interested in achieving a narrative
arc in a short span of time. Notably,
a film directed by LSA sophomore
Gabriel Wolfe titled “Corridor”
was shot as one long take, using
sound to carry its single character
through time and space.
The use of silence was a com-
mon trend among the more tra-
ditionally narrative films. Films
like “Bass” or “After” used edit-
ing rather than dialogue to tell
their stories. “After” follows the
relationship between two women
from when they first start dating
to their breakup, without having
the characters speak to each other
once.
LSA
sophomore
Jennifer
Emery, a Screen Arts and Cultures
major and an associate producer
at M-agination, helped choose the
scripts to be produced the semes-
ter. But Emery also got the chance
to work on some of the projects
herself.
Emery particularly enjoyed the
short she worked on, called “Mid-
night Snack,” also directed by
Wolfe.
“Midnight Snack … was a really
cool concept,” Emery said. “It was
all shot from inside a fridge. It was
great seeing the audience’s reac-
tions.”
Another one of the stand-out
films, “February 14th, 1992,” truly
exhibited the distinctive nature
of the festival. The senior thesis
project of director and LSA senior
Joe Biglin, the experimental film
flashed quickly through time
and space without concern for
traditional narrative or continu-
ity. It felt vaguely like a film you’d
watch in a theory class, with obvi-
ous cultural value and messages
that feel clear but also sometimes
totally out of intellectual reach.
It jumped through stretches of
the life of a college-aged man in
seconds, intriguing us with small
tastes of the film’s strong and bit-
tersweet emotions. The shortened
teaser shown at M-agination was
just part of the larger film that will
be shown at The Michigan The-
ater April 19th as part of the U-M
Screen Arts and Cultures student
thesis screening.
LSA sophomore Fahim Rah-
man, also an M-agination associ-
ate producer, felt that “February
14th, 1992” achieved the complex-
ity in nature that it set out to do.
“I loved Joe Biglin’s piece,” Rah-
man said. “I heard other people
saying that it was experimental
film that was actually enjoyable.”
The last project shown was
“Interns,” a hilarious group of
sketches revolving around several
college kids at an unpaid intern-
ship at a production company. In
its dynamic and absurd humor,
“Interns” felt like a younger, more
hopeful “Workaholics.” At 18 min-
utes, it was by far the longest proj-
ect, but it seemed to speed by at an
entertaining pace that some of the
three- to five-minute films could
not match.
“I think ‘Interns’ was the most
recognizable to audiences,” Rah-
man said, referencing other office-
based
mockumentary
shows
and webseries. “The Office” and
“Workaholics” have a similar
energy, but “Interns” distinguish-
es itself through the well-written
intrigue brought by its characters.
When the last film finished, the
filmmakers, clearly distinguished
by their formal attire and lack of
snow-filled backpacks, gathered
to received highly deserved con-
gratulations. The difficulty of bal-
ancing student life with an attempt
to make a film to show at The
Michigan Theater is a stressful,
but beautiful and rare opportunity.
Rahman said the uniqueness of the
club’s flexible structure is what
lends to its allure.
“You pick the (films) you want
to work on, and then you see them
on the big screen, The Michigan
Theater,” Rahman said. “Seeing
them in a theater is pretty special
if you’re a student.”
EVENT REVIEW
A
American
Crime
Story
Season Finale
FX