Bet you thought this blog would never top “What’s with Bradley Whitford’s Hair?” For those of you who weren’t part of that historical blog entry, it was the glittering moment where I wondered what’s with West Wing star Bradley Whitford’s hair. Good times.
However, tonight, while watching the current series (in Australia) of CSI :Original Recipe, I was forced to witness the unpleasantness of George Eads’ new(ish) 'do and I felt compelled to blog on’t.
George plays the part of Nick Stokes and has spent some 5 or 6 seasons with a haircut “you could set your watch to,” as Grandpa Simpson might say. It was always short; it always had that US Marine Corps vibe; it was always as dependable as the ebbing and flowing of the tides.
Now in something of an El Nino effect, I note that someone in Jerry Bruckheimer’s organization has decided to mess with the length of George’s crowning glory.
Okay, Zeitgeisters, that’s as shallow an attention-grabbing start as one could ever want, but I really want to know. And sure, I’m really talking about Josh Lyman’s hair. (I’m like one of those people who insist on calling an actor by their character’s name – only in reverse. e.g. “Go Knight Boat!”)
Oh, and Whitford’s married to the awesome Jane Kaczmarek who plays mom, Lois, in the series Malcolm in the Middle. So Mr Whitford’s your regular pop-cultural icon and yardstick for excellence. We’re here in this, frankly, puzzling cultural landscape, because I’ve just finished watching season four of The West Wing on DVD. And Josh Lyman’s hair has bothered me throughout. It’s…
you’re here, you were connected with Perth’s Film and Television Institute at
some point. The FTI in the form that we know it, is being wound up and some of
its functions are being taken over by ScreenWest. This is my idiosyncratic
tribute to the FTI as it was formerly. I’m not
someone who plans things. Depending on how well you know me, you might be saying
“Amen to that” right about now. There was no plan to have anything to do with
filmmaking when my friends and I entered our first efforts in the WA Film and
Video Festival almost 35 years ago (forerunner of the WASAs). We made experimental
films on Super 8 movie film; in-camera editing, falling down sand dunes, raw
meat and tomato sauce representing the terrible effects of our filmic violence.
Super-8 was the cheapest type of movie
film. 8 millimetres in width. You could shoot two-and a-half to three-and-a-half
minutes depending on your frames-per-second. We had no money, so shot “longer”
at 18 fps. Our tiny epics, like “Mea…