13 posts tagged “los angeles”

It surprises me that O. J.: the Untold Story, the BBC documentary about the likely murderer of Nicole Brown Simpson and Ron Goldman, has never aired in the US, though it has aired in other nations.
   I am no fan of O. J. Simpson (admittedly he was good in Capricorn One) and there was a lot that emerged in the 1995 trial that showed the guy was a slimeball.
   The latest Las Vegas incident shows a man who has flouted the law so many times for other acts that he has become arrogant and callous.
   However, the documentary convinced me that Jason Simpson was the real killer, as I have said on this blog before.
   Perceptions are very different among different groups of people. The majority of white Americans thought O. J. was guilty. The majority of black Americans thought O. J. was innocent.
   As it has come up a few times during the last few days, here is a link to the BBC preview on its website.
   I paste from that article and I admit to taking a lot more than what is reasonable below, but it’s only out of concern that the BBC won’t keep some of these older pieces online, especially as it bears the old layout. (I’ll remove the below on request and I ask readers to click on the above link for the original.)

Wednesday, 4 October, 2000, 11:46 GMT 12:46 UK
New clues in OJ Simpson murder mystery

By Malcolm Brinkworth, producer of a BBC programme which sheds new light on the case of former American football star OJ Simpson.

… OJ—The Untold Story reveals that clues that some believe pointed away from Simpson as the killer were dismissed or ignored …

Dr Lee: Crime scene was "contaminated"

Our film shows that the court only heard part of the real picture—that crucial evidence was tampered with and destroyed, the police so contaminated the crime scene that the evidence was unsafe and that six months before her murder, someone was offered money to kill Nicole.

Dr Henry Lee, one of the world’s most respected forensic scientists, states … that the crime scene was “out of control”, was contaminated and that the police had destroyed so much at the murder scene that it was impossible to reconstruct what happened that night.

Dr Lee also reveals that the police failed to take crucial blood samples from Nicole’s back which might have helped solve the case.

Who did kill Nicole Simpson?

We also commissioned two independent British scenes of crime experts to review and analyse the Los Angeles Police Department (LAPD) procedures at the crime scenes. Their testimony reveals a host of errors which caused them to have no faith in the integrity of the crime scenes.

It is their view that the evidence was seriously compromised and would have been rejected by the UK’s Crown Prosecution Service.

Potential new suspect

The film also explores new areas, which have not been fully investigated by the authorities. It features private investigator Bill Dear and follows his enquiries into Jason, Simpson’s son from his first marriage …

Jason: History of violence

Jason had a history of violent outbursts, including attacking people with a knife and had a criminal record.

The programme examines the evidence that shows that six months before her murder, Nicole was put under surveillance.

A man called Bill Wasz, who he says, had supplied cocaine to Simpson, Nicole and friends, had been hired by one of Simpson’s friends to follow her and take photographs of Nicole with any man she might meet.

He recorded his surveillance in a notebook. In an interview from prison, where he is currently serving a jail term for armed robbery, Wasz explained that 10 days after handing over the photographs, he had been asked by Simpson's same friend to a meeting for a new assignment.

At that meeting, Wasz says, Simpson’s friend then hired him as a hitman to kill Nicole.

Police ignored ‘hitman’ claims

The programme reveals that the police were made aware of Wasz’s story just a few weeks after the murders and … the prosecution decided to dismiss it.…

However, the programme also goes on to show that four years later, the Wasz story was re-investigated again. The police and the District Attorney’s office accepted that the notebook was genuine and that Wasz had been telling the truth.

However, after further investigation, the District Attorney’s office dismissed the matter once more, despite promising leads that pointed to a possible plot to kill Nicole …

I thought this was awesome news in that the photographer, Giuliano Bekor, shot regularly for Lucire. From the Lucire ‘Insider’ section.

Giuliano Bekor, whose credits include numerous Lucire shoots, photographed Hayden Panettiere for her 2008 Candie’s print campaign.

Hayden Panettiere will star in Candie’s back to school 2008 television, print and online advertising campaign, according to the company. Hayden, who is known as an award-winning actress, activist and star of NBC’s hit television series Heroes can now add recording artist to her résumé.
   Following last year’s marketing campaign with Grammy-award winning artist Fergie, the new fall TV commercial will be a direct lift from Panettiere’s first music video, ‘Wake Up Call’, which was styled using Candie’s apparel, footwear and accessories.
   This is Panettiere’s second season with the brand.
   To coincide with TV, a print campaign will feature Panettiere in a variety of sexy and sweet vignettes as she playfully poses with a piano, behind a beaded curtain and in a club-like setting among others. The ‘Wake Up Call’ video and the Candie’s commercial were shot in Los Angeles by famed music video director Chris Applebaum and the print campaign was shot by fashion photographer Giuliano Bekor, whose credits include Lucire, and created by the Iconix in-house marketing team.
   Fans can listen to ‘Wake Up Call’ exclusively at www.candies.com and www.kohls.com/inspire (streaming only) beginning today. The single will be available for download on iTunes beginning August 5. The single is being released by Hollywood Records.

I’ve rewatched the Life on Mars American pilot (the one which will not air) and it’s improved slightly on a second viewing, but not much. Some general comments:

• Colm Meaney as Capt Gene Hunt: Meaney is a terrific actor—he was brilliant in Layer Cake—and I thought he would bring that sort of demeanour to his Gene Genie. But apart from the orientation scene when he tells Sam it’s 1972, and threatening a witness, he’s plain nice. Even though he knows Sam claims he’s from 2007, he asks him nicely to interview a witness. He also doesn’t smoke, there’s no hint of him being the high sheriff of his domain, nor is there any hint of racism or homophobia. I had hoped he would evoke John Wayne in McQ or Gene Hackman’s Popeye Doyle but the man is given no room to be a “licensed hood” in the script. He’s certainly not ‘an overweight, over-the-hill, nicotime-stained borderline alcoholic homophobe with a superiority complex and an unhealthy obsession with male bonding’ as was described in the original series;
• Jason O’Mara as Det Sam Tyler: rigid, and never feeling that much confusion over being back in 1972. With John Simm, we felt a sense of disorientation, but we don’t with O’Mara’s performance. O’Mara is a great leading man but shows none of the vulnerability here that I think the Sam Tyler role needs. I don’t know much of his work, but I believe he has that Celtic edge that’s needed to pull off the role well—but he needs better direction;
• 

  Rachelle Lefevre as Det Annie Cartwright

  2 comments
  Rachelle Lefèvre as Det Annie Cartwright: playing the straight woman to Sam Tyler, it’s not hard to see why she was cast first by David E. Kelley. Her performance is about the only one I would rate highly, and it’s on a par with Liz White’s PW Annie Cartwright without being an attempt at copying her. Although her publicity shots are rather glamorous, the Rachelle Lefèvre in the programme looks more down-to-earth and real. Perfect.

   My other comments about the overall storyline in the earlier post stand. It is missing something in the first half, but the second half and, in particular, the last act where Sam is in the diner to the rooftop scene with Annie are quite well done.

   It’s still mostly inconceivable that everyone in the department knows Sam thinks he’s from the future, yet no one throws him into the funny farm. There’s a veiled threat, not much more. The story lacks humour and there is little “how far we have come” about it other than in technology and location—the social commentary seems to have disappeared for a straight twenty-first-century cop show that just happens to be set in 1972. There is only one sexist line—but in a 1972 police department, one would expect much more misogyny. Heck, there was more in The Mary Tyler Moore Show.
   I normally complain about network tinkering, but in this case I think it’s needed. I just hope the remake of the remake fixes the problems in Kelley’s Life on Mars, as some network types tend to worsen things. Simply having more dialogue with the creators—Graham, Pharoah and Jordan—might help, rather than the two hours Kelley reportedly spent. Even The Office in the US had the hand of Gervais and Merchant. Life on Mars needs help, because, put simply, it lacks life.

Life on Mars USA—well, let’s say it’s little wonder ABC wants it reshot and the leak is a great way to get comments from fans, many of whom have downloaded the unscreened pilot as made by David E. Kelley and directed by Thomas Schlamme.
   The storyline is identical to the original, which is not a bad thing, but the British media comments about the American version lacking something are not far off the mark. They are not being anti-American or unduly negative.
   First, some neutral comments: the LA setting does not annoy me. To me, New York City, especially Manhattan, is not different enough between 1972 and 2008 unless one heads down to Battery Park and some of the reclaimed-land bits. It should also shut up all those who moaned about the Bowie song not being on the TVCs (a “duh moment”—of course it would be in the programme but not in ads, and since when was the song in the British ads?).
   Now, the good points:

• the second half does draw you in, even when you know what is happening;
• re-elect Nixon posters on the high street;
• no Nelson, replaced by a waitress pouring coffee at a cafeteria—good character, but Sam needs someone whom he can chat to;
• a reference by Colm Meaney to Klingons;
• Annie being a detective actually works; and Rachelle Lefèvre gives a good performance;
• the briefing scene with Sam and Annie and the camera going around the performers;
• sexism by a detective during Sam’s briefing (responding, ‘Her titties’);
• the musical score (by Edmund Butt?);
• Sam’s realization that Colin Raimes lives next door to Kenmore—well acted and directed;
• final shot of Sam and Annie on the hotel roof with ‘Life on Mars’ playing is a different take on the original—and is quite nicely done.

   And the bad points:

• dull first act;
• Sam tells everyone in the police station that he’s from 2007 so it gives no reason for him to have a closer relationship with Annie;
• bad special effects for 1972 Los Angeles (though I assume these are temporary) and I can see modern cars in the high street scene where Sam goes into the record store;
• Stephanie Chaves-Jacobsen is very pretty but I felt no chemistry between her and Jason O’Mara—while they are meant to be distant, I never felt Jason’s Sam Tyler cared for Maya before her abduction;
• Gene Hunt is not foul-mouthed and not even politically incorrect except for the orientation (punching Sam) and abusing a woman helping with police enquiries;
• generally no sexism other than the scene mentioned earlier—contrast this to, say, the movie The Taking of Pelham One Two Three, from 1974;
• no racism (an Obama-for-president reference might be interesting if it’s remade);
• Gene Hunt asking Sam nicely to join him for an interrogation—and lack of tension between the two beyond unconvincingly trading a few punches;
• absence of humour;
• no Chris and Ray, and Lenny Clarke is no substitute (I expect he will be recast);
• not much in the way of contrasting 1972 and 2007 methods;
• Sam’s 1972 arrival does not seem particularly tormenting to him and I was not drawn in to his feeling any confusion. Jason O’Mara almost seems too rigid and suffers in comparison to John Simm;
• bland performances from O’Mara and Meaney—watch the scene when Beryl Raimes tells them about the music next door ceasing to annoy her and contrast it to the original—which can be blamed in part on direction;
• certain lines copied verbatim from the original.

   I know the majority of people who will see the US one will not have seen the original. However, I believe it lacks a lot of sparkle and even cohesiveness and it could harm the series’ chances Stateside. The comparisons do need to be made: the success of Life on Mars was based on how deeply we were drawn in to Sam Tyler’s predicament. The American producers need to understand (if they don’t already) that it is possible to create that effect, but possibly with another director (with respect to Mr Schlamme).
   This first US version lacks that depth—and it is nothing to do with it being American.
   A remake prior to the fall début in ABC might not be a bad idea because there is room for improvement, especially for the underdeveloped Gene Hunt character and O’Mara’s rigidity.

Some reports in on US Life on Mars are emerging. ABC says that the programme is actually ahead of schedule with new scripts for the series, according to Mediaweek, while Den of Geek has leaked information about the pilot (which will be reshot anyway, so it might be worth holding back on judging what Americans will see till later). No wonder the new producers and the network have ordered a near-carte blanche remake of the remake if we learn that the American version has a ‘1972 oddly free of sexism and racism it seems’ and is a ‘litigation-friendly homogenous [sic] 70s cop show that’s not remotely evocative of anything’. It summarizes, ‘this is a version of Life on Mars where everything that made the original worthwhile has been bleached out, leaving a hollow husk to twist in the wind.’
   It also believes the Americanized Gene Hunt is not funny, there are no Chris and Ray, and Annie Cartwright is a love interest for Sam almost straight off.
   The Guardian’s blog also has a review of the rejected pilot, though it notes that it will be remade. It gives a thumbs-down to Irish actor Jason O’Mara, which does not bode well for the series.

US Life on Mars looks like it’s in some sort of Hollywood hell, because of all the back-room deals that have gone on. The only new drama from ABC TV in the US this fall, there’s a lot riding on it. The pilot was already made, but now the network wants to tinker. David E. Kelley, who wrote the adaptation and executive-produced it, has departed. In fact, there’s talk of scrapping the pilot and starting from scratch, shifting the story from Los Angeles to New York. Somehow it’s all got to work out before the series débuts.
   Scott Collins of the Los Angeles Times tries to summarize what has been going on and it looks like a mess. One excerpt:

The network and producers are talking about tossing out the pilot and starting over. Or not; maybe they’ll just tweak a few details. Some of the actors might get canned. Not necessarily, though. One thing we know for sure: Over the last few days, the decision was made to move the series out of Los Angeles—in both its setting and its production—to shoot on location in New York City, giving it a very different look.

   What I thought was funny was that the network felt Kelley departed too much from the original.
   I do agree that New York is a better venue for the show; I always felt Seattle would have suited the theme more. But if they are retooling the show before the première, they had better work fast.

The Futon Critic has an in-depth review of the American Life on Mars pilot, but notes that it will be reshot because of the producers replacing David E. Kelley wanting to recast. It doesn’t look too bad, and contrary to all those fans moaning because they didn’t hear the Bowie song in the trailer (do you guys know how much is paid to get a song into an ad? And was it used in any of the British trailers?), it is worked in to the story in exactly the same way as the UK one: it’s on Sam’s Ipod.
   Some names are changed, there’s a character called George Randall (played by Lenny Clarke) who seems to be neither Chris nor Ray, it’s LA 1972 and not Manchester 1973 (probably to allow for the story to cover the presidential election, fitting for 2008 in the US). Sam hears or sees Maya through the TV, and Annie Cartwright is already a detective, not a PW. We knew all of this already, but the Critic has a few more incidental details of the pilot.
   The author of the review, Brian Ford Sullivan, believes the show will likely be successful, rather than follow the route of the American version of Coupling.
   Now, it Brits really want to get upset, wait till the Americans redo The Vicar of Dibley next year.

Here’s the full publicity picture from US Life on Mars, including the American Gene Hunt himself (Colm Meaney), Sam Tyler (Jason O’Mara) and Annie Cartwright (Rachelle Lefèvre).

   What is American for ‘You great, soft, sissy, girly, nancy, French, bender, Man. United-supporting poof!’?
   Here’s another pic from the network:. Question: who’s the old dude on the left? Is this the American Ray?    And, finally, the trailer, which is of great interest to me. Fans of the original, you’ll notice many things are repeated from the first episode in the UK, except the Americans drive on the wrong side of the road—so Sam stops his Jeep on the right side. (He is, interestingly, struck from left to right, too.) The suspect’s name, Colin Raimes, is the same, Sam’s girlfriend in the present is called Maya, and even the Life on Mars title card looks very much like the original with a few changes for US tastes. IMDB says Edmund Butt, who scored the original, has the same job this time around.
   Gene seems less tough in this incarnation though. Maybe Philip Glenister desensitized us?
   I was laughing through most of it (note the American VO with ‘Back in the nick of time’, used in the second series) but unlike most Brit fans, I am looking forward to this.     Un pub pour la nouvelle série américaine Life on Mars, avec les photographies de publicité. Il y a beaucoup de similitudes avec la série originale britannique du BBC.

I wouldn’t be happy being an American taxpayer right now.
   The Los Angeles Times says Britney Spears’ hospital motorcade, probably smaller than the one Dick Cheney has for his annual heart attack, cost the LAPD $25,000.
   There were motorbikes, cruisers and even at least one helicopter escorting the ambulance carrying the singer.
   The last time I saw a motorcade-with-ambulance that huge was in the fictional film Dave, where the President of the United States was driven to hospital.
   In fact, satirical site The Spoof wrote, ‘White House Press Secretary Britney Spears was rushed to a hospital early Thursday morning while riding with President Bush in his presidential motorcade, a White House spokesman said.’
   I can understand, for her public safety, having some police presence but considering that a few cops on duty at the courthouse were enough the last time she had to embarrass herself in the public eye, this is excessive.
   She only went in for a psych. evaluation, for goodness’ sake.
   This woman managed to get more cops escorting her than, say, a fallen US soldier who paid the ultimate price serving her or his country.
   I still vote for leaving Spears alone, and let her get her treatment in peace. She might actually get better if we treated her as a normal person and that means keeping her out of the headlines.
   I’d rather hear about someone making a difference to our world. I mean a real difference. Marrying a dude with the same name as the guy who played George Costanza does not count.
   And, if I may follow the order of the news here: ‘in other news,’ Microsoft has offered to buy Yahoo! for $44·6 billion.