Take a peek at the show business lexicon and you’re not likely to find the word “guaranteed”; if you do, it’s a misprint. Kevin Bacon knew he wanted to be an actor before he even knew what the word meant, and after scoring a string of iconic films almost right off the bat, his success as a leading man seemed assured. That is, until a couple of missteps guaranteed it was most assuredly not. Even a budding pop idol is only as good as his last project, right? But if you’re smart and/or incapable of doing anything but what you were born to do, you take a few knocks, loosen your grip on your self-image and get back to doing what you do best. In Bacon’s case, his work in films like JFK, Mystic River and Cop Car demonstrate his specialty is making even the most difficult characters not only human, but sympathetic – for brilliant proof, watch The Woodsman and be prepared to find yourself rooting for a pedophile. If Bacon’s career is a textbook example of how the business of illusion can often disillusion, at least he’s learned a few lessons along the way: 1. Sometimes you do need some stinkin’ advice; 2. Sometimes your biggest hurdle is your own definition of success; 3. Sometimes it’s wise to accept unsolicited Christmas gifts from strangers you meet on a beach; and 4. Always put yourself at artistic risk – just be sure to bring a guitar tuner.
Take a peek at the show business lexicon and you’re not likely to find the word “guaranteed”; if you do, it’s a misprint. Kevin Bacon knew he wanted to be an actor before he even knew what the word meant, and after scoring a string of iconic films almost right off the bat, his success as a leading man seemed assured. That is, until a couple of missteps guaranteed it was most assuredly not. Even a budding pop idol is only as good as his last project, right? But if you’re smart and/or incapable of doing anything but what you were born to do, you take a few knocks, loosen your grip on your self-image and get back to doing what you do best. In Bacon’s case, his work in films like JFK, Mystic River and Cop Car demonstrate his specialty is making even the most difficult characters not only human, but sympathetic – for brilliant proof, watch The Woodsman and be prepared to find yourself rooting for a pedophile. If Bacon’s career is a textbook example of how the business of illusion can often disillusion, at least he’s learned a few lessons along the way: 1. Sometimes you do need some stinkin’ advice; 2. Sometimes your biggest hurdle is your own definition of success; 3. Sometimes it’s wise to accept unsolicited Christmas gifts from strangers you meet on a beach; and 4. Always put yourself at artistic risk – just be sure to bring a guitar tuner.
Take a peek at the show business lexicon and you’re not likely to find the word “guaranteed”; if you do, it’s a misprint. Kevin Bacon knew he wanted to be an actor before he even knew what the word meant, and after scoring a string of iconic films almost right off the bat, his success as a leading man seemed assured. That is, until a couple of missteps guaranteed it was most assuredly not. Even a budding pop idol is only as good as his last project, right? But if you’re smart and/or incapable of doing anything but what you were born to do, you take a few knocks, loosen your grip on your self-image and get back to doing what you do best. In Bacon’s case, his work in films like JFK, Mystic River and Cop Car demonstrate his specialty is making even the most difficult characters not only human, but sympathetic – for brilliant proof, watch The Woodsman and be prepared to find yourself rooting for a pedophile. If Bacon’s career is a textbook example of how the business of illusion can often disillusion, at least he’s learned a few lessons along the way: 1. Sometimes you do need some stinkin’ advice; 2. Sometimes your biggest hurdle is your own definition of success; 3. Sometimes it’s wise to accept unsolicited Christmas gifts from strangers you meet on a beach; and 4. Always put yourself at artistic risk – just be sure to bring a guitar tuner.
Rashida Jones’ revenge fantasies are working out better than she expected. A serious student who spent a lot of time feeling lonely and somewhat geeky, her biggest ambition beyond Harvard Law School was to be liked, which makes acting a funny choice of profession. Sure enough, Hollywood doled out rejection with its usual generosity, unable to figure out where she fit in. The Office and Parks and Recreation got it partly right, snatching her back from brink of quitting acting, but she finally realized the best way to show the industry what she was made of and ensure it couldn’t keep saying no to her was to create her own opportunities. Writing and starring in the critically acclaimed Celeste and Jesse Forever resulted in the development of her confidence and unique voice – and in more projects than it seems possible for any one person to undertake. If revenge is sweet, it’s also incredibly busy. Jones talks to Off Camera about her relationship with her iconic parents, her uncertain transition from academia to acting, scripting Toy Story 4, regulation in the post-digital porn industry, and her ball- and apartment-busting lead in the upcoming Angie Tribeca. The most surprising thing you’ll learn in this interview is how much you didn’t know about Rashida Jones; and the more you know, the more you’ll want to see from her – we guarantee it. Join us for a wide-ranging and inspiring conversation, in which the roles of both host and esteemed guest will be played by finger puppets.
Rashida Jones’ revenge fantasies are working out better than she expected. A serious student who spent a lot of time feeling lonely and somewhat geeky, her biggest ambition beyond Harvard Law School was to be liked, which makes acting a funny choice of profession. Sure enough, Hollywood doled out rejection with its usual generosity, unable to figure out where she fit in. The Office and Parks and Recreation got it partly right, snatching her back from brink of quitting acting, but she finally realized the best way to show the industry what she was made of and ensure it couldn’t keep saying no to her was to create her own opportunities. Writing and starring in the critically acclaimed Celeste and Jesse Forever resulted in the development of her confidence and unique voice – and in more projects than it seems possible for any one person to undertake. If revenge is sweet, it’s also incredibly busy. Jones talks to Off Camera about her relationship with her iconic parents, her uncertain transition from academia to acting, scripting Toy Story 4, regulation in the post-digital porn industry, and her ball- and apartment-busting lead in the upcoming Angie Tribeca. The most surprising thing you’ll learn in this interview is how much you didn’t know about Rashida Jones; and the more you know, the more you’ll want to see from her – we guarantee it. Join us for a wide-ranging and inspiring conversation, in which the roles of both host and esteemed guest will be played by finger puppets.
Rashida Jones’ revenge fantasies are working out better than she expected. A serious student who spent a lot of time feeling lonely and somewhat geeky, her biggest ambition beyond Harvard Law School was to be liked, which makes acting a funny choice of profession. Sure enough, Hollywood doled out rejection with its usual generosity, unable to figure out where she fit in. The Office and Parks and Recreation got it partly right, snatching her back from brink of quitting acting, but she finally realized the best way to show the industry what she was made of and ensure it couldn’t keep saying no to her was to create her own opportunities. Writing and starring in the critically acclaimed Celeste and Jesse Forever resulted in the development of her confidence and unique voice – and in more projects than it seems possible for any one person to undertake. If revenge is sweet, it’s also incredibly busy. Jones talks to Off Camera about her relationship with her iconic parents, her uncertain transition from academia to acting, scripting Toy Story 4, regulation in the post-digital porn industry, and her ball- and apartment-busting lead in the upcoming Angie Tribeca. The most surprising thing you’ll learn in this interview is how much you didn’t know about Rashida Jones; and the more you know, the more you’ll want to see from her – we guarantee it. Join us for a wide-ranging and inspiring conversation, in which the roles of both host and esteemed guest will be played by finger puppets.
Did you know Chris Moore is the producer behind Good Will Hunting, The Adjustment Bureau, American Pie, Project Greenlight, and Promised Land? Well, he thinks you should – for your own good as a consumer of media, and probably for the future of the business at large. His passion for telling great stories drove his switch from successful agent to independent producer, and now fuels his efforts to get those stories to an increasingly fragmented audience with too many places and too little guidance to find the entertainment they like. The consummate storyteller-salesman pulls back the curtain on how projects get made, walking the fine line between the business and creative sides of filmmaking, how good movies go haywire and The Chair – probably the best play-along Hollywood parlor game on TV. Long on ideas and even longer on opinions, the iconoclast believes producers should be brands, independent films need evangelists, studios need loyalty programs and oh yeah, Last Action Hero needs a re-make. We know a man for the job. How do ya like them apples, Sony?
Did you know Chris Moore is the producer behind Good Will Hunting, The Adjustment Bureau, American Pie, Project Greenlight, and Promised Land? Well, he thinks you should – for your own good as a consumer of media, and probably for the future of the business at large. His passion for telling great stories drove his switch from successful agent to independent producer, and now fuels his efforts to get those stories to an increasingly fragmented audience with too many places and too little guidance to find the entertainment they like. The consummate storyteller-salesman pulls back the curtain on how projects get made, walking the fine line between the business and creative sides of filmmaking, how good movies go haywire and The Chair – probably the best play-along Hollywood parlor game on TV. Long on ideas and even longer on opinions, the iconoclast believes producers should be brands, independent films need evangelists, studios need loyalty programs and oh yeah, Last Action Hero needs a re-make. We know a man for the job. How do ya like them apples, Sony?
