Yep, John Mayer Knows His Hair Looks Like That
Is there nothing John Mayer won’t do for us?For the sake of, you know, our generation, Mayer has decided to grow out and feather his bangs. Citing '80s-era Michael J. Fox, Mary Lou Retton and Kristy McNichol as his inspirations, Mayer also seems poised to bring back the wavy mullet. And he hopes other hapless cats cop his coiffure.
"I'm very excited to bring this amazing look into today's pop culture landscape. The feathered cut projects an attitude of ease and quiet confidence that seems to have all but eluded our generation."
So do '50s-era hats, Johnyou might want to invest in a few. For all our sakes.
TV Summer School: How to Be an Actor-Director
If you're a child of the '80s, you'll remember Jerry Levine as Stiles, Michael J. Fox's pal in the movie Teen Wolf…and if you're a child of the '90s, you may have seen him guesting as Joe on Will & Grace. But what you might not know is that Jerry Levine is also one of TV's busiest directors out there—and that he's married to CBS president Nina Tassler! We caught up with Jerry to find out about the life of a TV-biz hyphenate…
You started out as an actor. What was your first directing job?
I had directed a play here in Los Angeles called Big Al, which Showtime saw. Then they asked me to direct it as a movie for Showtime, which I did. And the transition took place as a result of having a piece of film for people to see. It's very hard to get a job as a film director if you don't have any film to show. But when I had film, Michael Pressman—who was the pilot director and show runner of Chicago Hope, a David Kelley series, quite a while ago—saw that I had an ability to work with actors. So, I became a hyphenate, and then opportunities just started to roll in.
Was there any particular moment when you realized you were "in demand" as a director?
Every show that I ever directed on television, I ended up doing multiple episodes of their show—unless the show was canceled—which is a pretty clear indication that you're bringing something to the table. And that happened pretty early on with me.
How did you accumulate the technical knowledge a director needs to do his job?
I've been an actor for 35 years, and I've been in over 100 episodes of television, been a series regular four times, and I've worked with some of the greatest directors out there. But my experience is that you can't learn directing theoretically—you have to stand on a stage and do it. You try to explain the technical aspects of it, where to put the camera, "crossing the line," things like that, but directing is a verb. Acting is a verb. You just have to do it.
In television, what distinguishes the work of a director from the work of a director of photography from the work of an acting coach?
Well, the best acting class I ever had was directing, and the best directing class I ever had was acting. They inform each other. Everybody has an area of expertise, and what I think a really good director does is learn how to inspire those people to step forward and tell the story. There are times when I'm working with an editor where I'll say, cut here and cut there, but I find it's more interesting to say, "Here's what this scene is about…" My approach is not a technical approach—the actor in me approaches everything from the inside out.
What's your working relationship with the writers of the shows you direct?
I have a tone meeting with someone like Ali LeRoi, the show runner on Everybody Hates Chris. I sit down with the piece of material, and ask questions, I'll break the script down in terms of its tone. My questions led to a job as a producing director on Everybody Hates Chris because I was asking the writers things they might not have thought about.
What does a producing director do?
I direct most of the episodes of the show, though not all, but I work with the writers and Ali in terms of breaking down the script. I'll read it through and go, "Well, the net worth of what I am getting at in this particular scene is this—what are we trying to do for here?” Basically I am a dramaturge, in a way, for the scripts for this show.
And when you do go from show to show, where they may have a new director every week—what's the hardest part of moving around like that?
It's a new first date every week. Have you ever been on a first date?
When you do that, what do you need most from the permanent crew members?
They can be kind to you and understand that you are on a first date. They can treat you hospitably and respectfully. It's like inviting someone over: You want to be courteous and make them feel at home.
What advice would you give to someone who wanted to be you—who wanted to be a director in 20 years?
Write your own script. If you are trying to get hired onto a movie as a hired gun, you're auditioning to get this movie just like an actor, but if you could control the script and the script is good…As far as breaking into television goes, do something cool on film, and get it seen by executive producing/show running people that can see what you've got, and hopefully someone will give you a shot.
Family Guy: Long John Peter (season finale) - VIDEO
(S06E12) As a result of adopting (and by adopting, I mean bird-napping) a parrot from the veterinarian’s office, Peter becomes a pirate. The sad part was that it wasn’t even International Talk-Like-A-Pirate Day.
Actually, that’s not really what the episode is about. It’s more about Chris’ pursuit of a vet intern named Anna. While Chris’ pursues Anna, he gets advice from Peter and the gang (which, as the history of the show has proven, is never a good idea).
The pirate segment of the episode wasn’t very good and seemed out of place. Fortunately, it was very short. Despite its use in the promos, it was kind of forgettable. I did enjoy the car chase bit involving “sugar cane, tobacco and spices”. The car chase itself seemed like something of a cross between a pirate movie and a video-game.
I did like the fact that the British driver was on the left side of the road, which is the correct side in England. It made for a better sword fight that way.
Once the episode focused more on Chris and Anna’s attempt at a relationship, things got interesting and the show was more like the style from before it’s cancellation.
It was nice to see the whole gang of Cleveland, Quagmire and Joe appear in the episode, even though they had minor roles. Enjoy your Cleveland appearances now since he’ll be having his own show soon.
Segments from the show that were funny:
- When Chris, upon seeing Anna, breaks out into the song “Crazy For You” from the movie Vision Quest that was performed by Madonna.
- The vet’s name “Doctor Jewish”.
- “Over the next 90 minutes, all your problems can be solved by my penis”.
- Peter attempting to get rid of the dead frog.
- Stewie showing up in drag on Chris’ blind date.
- Chris’ method of finding a way back to the vet’s office.
- Brian’s completely messed up face and body after Chris used aforementioned method of getting back to the vet.
Segments from the show that crossed the line of good taste:
- Michael J. Fox as Zorro.
- The Family Guy reason behind the murders of Nicole Simpson and Ron Goldman.
- The first attempt to get Brian sick by lifting up Meg’s shirt.
I would like to see Anna again as a recurring character. I like her and think she’s much better for Chris than Jillian was for Brian.
This episode marks the end of this season of Family Guy. This was probably as a result of the writer’s strike. Only 12 episodes were in the season and the remainder of the ones written but not produced are being used for the next. On a positive note, the DVD set for the season should be cheaper. As a result of all this, the episode didn’t feel so much like a season finale as rather just another mid-season episode (albeit a good one).
With that in mind, this season finale was a high note. While it certainly wasn’t as strong as the opening Star Wars parody episode (which, truthfully, is pretty hard to beat as the season’s best), I’m hoping this episode is a sign of the show going back to its roots of using more character development and fewer free-associative gags.
Justine Bateman coming to Wisteria Lane
There’s going to be a new lady swinging down Wisteria Lane this spring. Entertainment Tonight reported that Justine Bateman has signed onto Desperate Housewives for a few episodes. The actress, who will forever be remembered for playing Alex P. Keaton — Michael J. Fox’s — sister Mallory on Family Ties, will be playing “a hip artist living with Gabby and Carlos.”
Hmm…knowing Desperate Housewives creator Marc Cherry’s penchant for using Stephen Sondheim songs as episode titles, I think the song “There’s Always A Woman” might be a good one to describe Justine’s role, assuming she’s there to muck up the Solis’ reconciliation.
It wouldn’t be the first time Justine’s played the other woman. Last season on another ABC dramedy, Men In Trees, she was Lynn, Jack’s long-lost love who showed up out of nowhere — just as Jack and Marin were ready to commit to their relationship. Lynn was preggers — by another guy — and stuck around long enough to be a bother.
Desperate Housewives will be back with new episodes on April 13. The date for the Bateman arc has yet to be announced.