Arrested Development, Season 4 begins with Michael entering a skiing contest in an attempt to make some money for the Bluth family.
I loved “Arrested Development.” Loved it. I own the entire series on DVD. It was one of the few shows (“Seinfeld,” “Lost,” “Andy Richter Controls the Universe”) that never jumped the shark during its TV run. It also was a rarity in that every single character was terrific. There wasn’t one actor or storyline or character that got tiresome or dull or un-watchable (See: Urkel, Steve).
Even the supporting characters were awesome. I’m sure I wasn’t alone in laughing out loud (remember when you actually had to write that entire phrase out?) when I first heard the name of Scott Baio’s attorney character: Bob Loblaw.
The few of us who loved the show while it was on have grown to love it even more since it went off the air, and plenty more fans have come to appreciate the genius humor of the writing, acting and zaniness. Too bad it never got the love it deserved while it was on.
But I think the biggest reason that so many more people have come to love it, and the reason that its popularity has grown is because it ended so soon. We were left wanting more. The writing and characters hadn’t gotten old, no one had gotten fed up with them yet. (See: Tribiani, Joey)
And so many of us had resigned ourselves to the fact that there would be no more “Arrested Development.” And that was okay. It was good. Despite the years of rumors of a possible film or another season, it never came to be, and so it couldn’t spoil the memories of the show that we had.
Wally Lurz receiving the presidential award for being The Best Photojournalist.
TDQ: Is there a photojournalist hierarchy? Is the ultimate goal to be in New York or DC working “for the network” filming Brian Williams or Diane Sawyer, or is the best work done in the trenches?
Lurz: I’m the best. That’s all you need to know. There’s a hierarchy in terms of being cool and not being a douche. And, being a good shooter of course. As far as going to NY, LA, or CHI it’s basically a preference. Finding the right fit for what you like and what you wanna do. I know people who’ve gone to bigger markets and those that have gone to smaller ones, as well as people that have gone into film or production of some sort. Then there are those that have gotten out completely. There’s a pretty big turnover rate in television. I know as many people in TV as I do that have gotten out. Overall it just depends on your talent, goals, determination and a lot of patience. It can be difficult to get a job in the big cities because they’re usually union shops and the guys in those jobs stay there ‘til they die. You do seem to have a little more control of your product in the trenches though. Which is nice.
TDQ: What’s a typical work day like for you in South Florida news?
Lurz: Take the best sex you’ve ever had, add it with winning the lottery, and you’re nowhere near it…really. You’re nowhere near it. Continue reading
The Fire Project, 8th Avenue Studios
Here is Part 2 of our TDQ Q&A with filmmaker Bryan Smith:
Read Part 1
TDQ: Apart from the lack of a hundred million dollars or so from a huge studio, what’s been the biggest challenge you’ve faced with “The Fire Project” so far?
Smith: Honestly the biggest challenge with this, or any micro-budget project for that matter, is getting people to take you seriously. Unfortunately, without a multi-million dollar budget, a lot of folks think you’re just “jerking around with a camera.” Luckily, I have a great crew, a supportive family and friends who are willing to act for free. Oh yeah, and trying to manage a shoot schedule with a full time job and two kids under age five makes it tough, too. Continue reading