The Michigan Daily — michigandaily.com 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 1327 WILMOT ‑ 1 & 2 Bedroom Apts Avail Fall 2016‑17 $975 ‑ $1575 Plus Electric to DTE Coin Laundry Access, Free WiFi Parking Avail $50‑$80/m CALL DEINCO 734‑996‑1991 NEAR CAMPUS APARTMENTS Avail Fall 16‑17 Eff/1 Bed ‑ $750 ‑ $1400 2 Bed ‑ $1050 ‑ $1425 Most include Heat and Water Parking where avail is $50/m Many are Cat Friendly CAPPO 734‑996‑1991 www.cappomanagement.com ARBOR PROPERTIES Award‑Winning Rentals in Kerrytown, Central Campus, Old West Side, Burns Park. 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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