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The Hooksexup Insider
A daily pick of what's new and hot at Hooksexup.
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Your daily cup of WTF?
Hooksexup@SXSW 2006.
Blogging the Roman Orgy of Indie-music Festivals.
Coming Soon!
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The Daily Siege
An intimate and provocative look at Siege's life, work and loves.
Kate & Camilla
two best friends pursue business and pleasure in NYC.
Naughty James
The lustful, frantic diary of a young London photographer.
The Hooksexup Blog-a-log: kid_play
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A bundle of sass who's trying to stop the same mistakes.
The Hooksexup Blog-a-log: The_Sentimental
Our newest Blog-a-logger.
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Gay man in the Big Apple, full of apt metaphors and dry wit.
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Naughty and philosophical dispatches from the life of a writer-comedian who loves bathtubs and hates wearing underpants.
The Hooksexup Video Blog
Deep, deep inside the world of online video.
The Hooksexup Blog-a-log: charlotte_web
A Demi in search of her Ashton.
The Prowl, with Ryan Pfluger
Hooksexup @ Cannes Film Festival
May 16 - May 25
ScreenGrab
The Hooksexup Film Blog
Autumn
A fashionable L.A. photo editor exploring all manner of hyper-sexual girls down south.
The Modern Materialist
Almost everything you want.
The Hooksexup Blog-a-log: that_darn_cat
A sassy Canadian who will school you at Tetris.
Rose & Olive
Houston neighbors pull back the curtains and expose each other's lives.
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The name says it all.
merkley???
A former Mormon goes wild, and shoots nudes, in San Francisco.
chase
The creator of Supercult.com poses his pretty posse.
The Remote Island
Hooksexup's TV blog.
Brandonland
A California boy capturing beach parties, sunsets and plenty of skin.
61 Frames Per Second
Smarter gaming.
The Hooksexup Blog-a-log: Charlotte_Web
A Demi in search of her Ashton.
The Hooksexup Blog-a-log: Zeitgeisty
A Manhattan pip in search of his pipette.
Date Machine
Putting your baggage to good use.

The Screengrab

  • That Guy! Special "Godfather" Edition, Part Three

    This week, "The Godfather--The Coppola Restoration", a DVD and Blu-ray set consisting of newly remastered editions of the three "Godfather" films directed by Francis Ford Coppola, hits the stores. To honor the release of the home video set, That Guy!, the Screengrab's sporadic celebration of B-listers, character actors, and the working famous, is devoting itself this week to the backup chorus of these remarkable films.



    LEE STRASBERG: Co-founder of the Group Theatre and a director of the Actors Studio, Strasberg was a legendary acting teacher and Method guru but had barely had an acting career of his own when his former studio Al Pacino suggested that, at 72, he might be the right man to incarnate Hyman Roth, the ancient Mafia rainmaker who is said to have earned Vito Corleone's respect but never his trust. There may have been a bit of sly mischief mixed in with Pacino's worship when he put the actor and the character together; Strasberg had inspired a fair amount of gossip over the years about his manipulation of those under his sway--particularly Marilyn Monroe, who left him the bulk of her estate in her will--and there are moments when it's easy to see in Roth an old actor who's used to playing up both his accumulated wisdom and his infirmities to get attention, and also to gull those around him into thinking that he's as harmless as he seems. Yet Strasberg, handed this unexpected opportunity to show what he could do with rich material after many years of talking the talk, really dove in and acted the hell out of the role.

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  • OST: "Psycho"

    Bernard Herrmann was one of the most legendary film composers of all time.  One of his first major compositions was the score to The Devil and Daniel Webster, in which he showed both his innovative approach and his playfully subversive nature by by double-tracking a violin to play a jaw-droppingly complex rendition of "Pop Goes the Weasel", and then claiming the solo was the work of a teenaged violin prodigy he'd discovered.  He composed a number of memorable movie scores over the years, from the towering, epic sweep of Orson Welles' Citizen Kane (his very first project) to the moody, dark tension of Martin Scorsese's Taxi Driver (his very last).  But it is with Alfred Hitchcock's name that Herrmann's will be foreever linked.

    Hitchcock knew he was playing with dynamite when he made Psycho.  The movie that buried noir and ushered in the age of the maniacal slasher was a risky venture for him on many levels:  with its shocking violence, infamous mid-film twist, and horror plot, it was a massive deviation from the big-budget hit mysteries that had made so much money for his studio bosses in the late 1950s.  Fearing disaster, Hitch -- who was nothing if not determined -- tried as much as possible to make the film on the cheap, and he wasn't afraid to capitalize on personal relationships to do so.  Some stories have it that he strong-armed Herrmann, who had turned in incredibly monumental work for him before on such movies as The Man Who Knew Too Much, North by Northwest, and Vertigo; but Herrmann wasn't one to be cowed so easily.  He agreed to work on the soundtrack for Psycho at less than his normal pay, but Herrmann -- a rarity amongst film composers insofar as he retained near-total creative control over the final product of his labors -- made it clear he was going to do things his way.  Most famously, he ignored Hitchcock's foremost prerogative when writing the score:  the director insisted that, for maximum shock value, there be total silence on the soundtrack during the murders, most especially the infamous shower scene.

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