San Francisco Chronicle - (Sunday)
Ask Mick LaSalle:
Do trailers affect how you watch a movie?
Dear Mr. LaSalle: Do you watch movie trailers and, if so, do they ever add to any anticipation prior to reviewing a film?
Dear Mr. Manning:
I generally don’t see them because I don’t watch TV except for news stations, and news stations mostly have commercials concerning catheters and erectile dysfunction. Curiously, MSNBC has the catheter advertisements, while Fox News has the ones about erectile dysfunction. I don’t know what this means, but as a precaution, I’ve been gravitating toward CNN.
As for trailers in general, they can create anticipation or dread, but both impressions fade within five minutes of seeing the actual movie.
I’ve created my Mount Rushmore of rock music: Bob Dylan, John Lennon, Daryl Hall, Stevie Wonder, Pete Townshend and Boz Scaggs. What say you?
Dear Music Man Mick:
Dear Music Man Robert:
I say Mount Rushmore has four slots: Ray Davies, Pete Townshend, John Lennon and Mick Jagger.
But if the new Rushmore has six, then add Paul McCartney. And then Elton John. Or Jimmy Page. Or Bowie. Or Prince. And does Eminem count?
Of the women: Aretha, Stevie Nicks, Joan Jett, Diana Ross, Patti Smith, Madonna, Linda Ronstadt, Kathleen Hanna, Lady Gaga ... lots of great people.
Dear Mr. LaSalle:
Suppose the editors of The Chronicle said you can keep your job, but you would only review television shows, plays or music. No more movies. Would you stay or would you go?
Dear Mr. Oertel:
Those call for different answers:
1. Compared to what I do, a TV critic is a soft job. In normal times, I’m going to screenings two or three nights a week and getting home at 10 o’clock at night. By contrast, TV critics get everything on Blu-ray, make their own schedule and never have to leave the house. The only downside is that they actually have to watch TV shows.
2. Bad theater isn’t like bad cinema. Bad theater is torture. At the same time, theater critics can’t fully vent about it, because they write about real people in the community, who hang on the word of the critic as though on trial awaiting sentence. I’m not enough of a sadist — or a masochist — for that gig.
3. As for being a music critic, it depends. If we’re talking pop music, I did that job for one summer when I was 30, and I was too old for it The crowds. The noise. The pushing and shoving. And then, worst of all, you have to sit through the concerts!
However, if you mean music — that’s the best job ever. Beautiful buildings, beautiful music, plus you have an excuse to buy a tuxedo. The only downside is you almost never get to write a pan. But I’ve had years to work through my hostility, so I could live with that.
True, I have no qualifications for the job, but apparently in your fantasy scenario, my editors don’t know this. So I’d fake it. For example, one week I’d say something has a “lovely legato.” But then, the week I’d throw them a curve: I’d say, “Davies Symphony Hall — no lovely legato in
joint.” Of course, I have no idea what a legato is.
Dear Mr. LaSalle:
What is your view, now, of Robert Altman?
Dear Mr. Colman:
He made bad movies and great movies. In the end, he made more good movies than bad. He was distinct and did work that will last.
What more can we ask of a guy?
Have a question? Ask Mick LaSalle at mlasalle@sfchronicle.com. Include your name and city for publication, and a phone number for verification. Letters may be edited for clarity and length.