Drawing I did of my father, 1983

My father was an incorrigible name dropper. He called famous actors and directors by their first names, suggesting an intimacy that didn’t always exist. He had met a lot of celebrities when he worked as a unit production manager on The Tonight Show. One chance encounter with Richard Pryor and he was “Richie” forever. Dad reached the heights of chutzpah when he went to the theater with a friend one night and spotted the actress Gwen Verdon. He walked down to her, introduced himself, and kissed her on the cheek as if they’d known each other for years. Ms. Verdon was delighted. Dad’s friend was amazed.

I remember watching “12 Angry Men” with the old man when I was a kid. “It’s almost as good as the original,” he said, referring to the TV production. “You see how exciting a movie can be even if it takes place in one room?”

I was captivated and by the end, I felt intelligent, finally on the right side of the line that separates boys and men. It was directed by “Sidney,” Sidney Lumet. They had crossed paths once; Dad had wanted to turn “Fail Safe” into a movie, a project that Lumet eventually directed. The old man admired Lumet not just because he was a fellow New Yorker but also because they shared a similar aesthetic, a love of the theater and actors. Dad was an avid theatergoer starting in his early teens through his mid thirties when he became an independent documentary producer. He revered Lumet’s quick and efficient approach to shooting a movie.

“Sidney always comes in under budget and has it in his contract that he keeps the difference,” he told me, raising his eyebrows. “Now, that is a smart man.”

The Old Man with Senator Sam Ervin

Not long after my mother kicked him out, Dad saw “The Verdict” and raved about the performance Lumet got out of Paul Newman as a lawyer who became an alcoholic when he got screwed over, then sobered up when the chance for redemption arose. His clients got justice, he got back his self-respect, and I got squat because I was 11 and Dad said that was too young to watch the movie. The closest I got was the commercials on TV. Everything looked dark brown, courtrooms and bars alike, and Newman seemed so frail I didn’t even notice his famous blue eyes.

Dad holed up on his own in Weehawken, across the Hudson, after his next girlfriend gave him the boot as well. There were two things that he liked about New Jersey: the view of New York City from his bedroom window, and that the liquor store down the block opened before noon on Sundays.

I remember visiting him without my brother or sister one time in January 1983, shortly after “The Verdict” came out. It was a late Saturday afternoon, almost dark, and the sun reflected off the tall buildings overlooking 12th Avenue. The old man was lying on his bed in his underwear and t-shirt smoking a Pall Mall. The heating pipes clanged. The windows were sealed shut around the edges by duct tape but still rattled when it got windy. A glass of vodka sat next to the ashtray on his night table. I used to fantasize about emptying his Smirnoff bottle in the kitchen sink and filling it back up with water. But I never had the nerve.

Most of the time he’d make me entertain myself on the other side of the apartment, in the room without a view of the city. He didn’t want me reading comic books but I did anyway. Or I’d trace the movie ads from the Sunday paper. “The Verdict” was nominated for five Oscars including best actor and best picture. The movie ad showed Newman in a rumpled white shirt, tie loosened, his eyes half closed looking down. The light from a window washed over his face. He looked defeated. The text above read: “Frank Galvin Has One Last Chance at a Big Case.” I traced the movie poster and then drew it freehand. I felt the seriousness of the title “The Verdict.” I didn’t know what that term meant and didn’t ask.

Now I was content to sit next to Dad on his bed and look out the window at the orange light bouncing off the New York skyline. The view reminded us of how far we were from where we wanted to be.

There was a small black-and-white TV on the chest at the foot of the bed. An episode of M*A*S*H, the old man’s favorite show, ended. The familiar and mournful theme song, “Suicide is Painless” filled the room. Dad was talking about his girlfriend. He didn’t seem too bothered by their breakup. Leaving Manhattan was the bigger issue. With Mom, he was devastated. He still believed she was foolish to divorce him and was convinced that one day she’d come to her senses and have him back

Soon enough Dad returned to the subject of Sidney  because Lumet directed the Saturday Afternoon Movie. “He always comes in under budget, do you know why? Because Sidney is not stupid, that’s why.”

“Dog Day Afternoon” was on TV: an Al Pacino movie for grown-ups, but Dad let me watch it with him anyway. Maybe the vodka he was drinking softened his resolve. I knew enough not to question why. Pacino—Dad called him “Al”—played Sonny, a little guy who robbed a bank in Brooklyn. The movie was about what happened in the inside of the bank with Sonny and the hostages. It was tense but parts were funny and I laughed when Dad laughed.

During a commercial break, I saw that his eyes were closed. I studied him. His stomach inflated and deflated in short, hard spurts. Dad was forty-five, almost six years removed from a heart attack, and his deep, uneven breathing worried me. He flexed his right foot and his big toe cracked so I knew he wasn’t asleep. Maybe he was meditating. He opened his eyes and smiled at me, put his hand over mine and looked back at the TV. When he took it away, it was to reach for another cigarette. I stared at the movie until I heard him start to snore. So I slipped out of bed, moving like a cat on the branch of a tree, and butted out his cigarette in the ashtray sitting on a table covered with burn marks. Then I climbed back into bed, careful not to rouse him. I wasn’t sure what was going to happen to the old man. He didn’t have a job and wasn’t in show business anymore. If only he would quit drinking.

I checked to see the progress of the light on the skyscrapers during the commercials. The orange glow began to fade as the sun set, turning softer, then pink as the sky darkened to a purplish blue. I thought of what Dad said when Channel Five ran the same public service announcement every night: “It’s 10:00 p.m. Do you know where your children are?” He’d say, “No, I don’t know where they are. I know they are not with me and that makes me very sad.” He told me so himself.

In “Dog Day Afternoon,” things were only getting worse for Al. It was nighttime in Brooklyn in the middle of summer and the air conditioning in the bank was turned off. The cops brought his boyfriend, Leon, to speak with him on the phone. Al was robbing the bank so he could afford a sex-change operation for the guy. That made sense to me. It was the right thing to do.

At last, the cops agreed to give him an airplane to escape. I imagined what the inside of the plane looked like and where they were going to go. But when they got to the airport, the FBI nailed him, the hostages were freed, and the movie was over.

I put my hands behind my head, lay back and looked at a water stain on the ceiling. I thought about Al, pushed onto the hood of the car at the airport, the loud sounds of planes taking off and landing in the background. His eyes looked like they were going to bug out of his head and he was on his way to jail which didn’t seem fair even though he was a criminal. Then I imagined Paul Newman. I was happy the old man had let me be a grown-up with him for a little while.

The white lights of Manhattan were twinkling on the other side of the Hudson when he woke up and refreshed his drink. I didn’t want to say anything stupid so I kept my mouth shut. Another cigarette smoldered in the ashtray. He picked up the New York Times crossword puzzle and said,  ”Good old Sidney. He never left New York.”

One of the enduring images I have of my grandfather on my father’s side is of him leaning against the window of Zabar’s. It was a Saturday afternoon in the early 1980s, a time of day when nobody in their right mind would venture inside. Grandpa was a pragmatic man. He waited outside while my grandmother bought Nova and was throwing bolos inside.

I’ve always tried to be practical like him but sometimes I’ll throw caution to the wind. Like last night, when I thought it’d be fine to stop by Fairway on the way back uptown to the Bronx. Late afternoon, Sunday. Brilliant. In no time, I was sweating like a madman, navigating around the crowded store. I couldn’t have just gone to the market a few blocks north, owned by Fairway no less. No, I had to be clever.

As I came to the end of my shopping list, I was standing in the organic department. I realized that I had to go back downstairs for English muffins. I wanted to throw a punch or at least a punchline. Some gallows humor was called for. I looked up and there was Tina Fey and her family, a daughter with big, beautiful eyes, and her husband, a short, nice-looking guy. Who else would appreciate a good Fairway joke but Tina Fey? But I was dripping with sweat and had bad breath. And I didn’t have anything funny to say. If I tried to say anything to her I’d come across even dorkier than Liz Lemon. I didn’t want to blow up her spot but even more than that, I just wanted to get my English muffins and vamoose.

Anyhow, it was a New York moment.

Dig this interview with me over at Gelf. I’ll be part of the next Varsity Letters Reading Series, this Thursday at 7:30 in Brooklyn.

Part One of “The 10th Inning,” Ken Burn’s two-part follow up to “Baseball” aired on PBS last night. “The Bottom of the 10th” is tonight.

I reviewed the show for SI.com. There’s a lot of good stuff in there. The Yankee Dynasty is represented nicely though I’m sure most of you wanted more (and there’s no sugar-coating Ken’s allegiance to the Red Sox, though it should also be noted that co-writer, producer and director, Lynn Novick, is a Yankee fan). The focus is on the ’96 Yanks, not ’98, a fair choice in terms of drama, though they didn’t mention Frank Torre.

There’s a ton on the Sox in “The Bottom of the 10th,” but Burns is never vicious–he doesn’t show the infamous slap play by Alex Rodriguez, for instance. I’d forgotten that David Ortiz won both Games 4 and 5 in ’04, man, totally blacked that out. This was the first time I’ve watched replays. Ortizzle’s name is noticeably missing from a list of stars associated with taking PEDS (Manny’s on it).

The baseball stuff is good. Plenty to debate, of course, but that’s fun part. Jonah Keri will be pleased that the ’94 Expos made the cut. I didn’t know from Mike Barnicle before watching the show and enjoyed his talking head interviews, even if they were ham-handed in spots. Then I read up on him and feel guilty for liking him so much.

But something felt off with the filmmaking. The Florentine films style—panning and fading over still photographs–is commonly known as “The Burns Effect.” I was talking to a friend recently who said, “How can you not jump the shark after you become a pre-set on iMovie?” I get his point but the Burns style doesn’t bother me because it works. You don’t look for every artist to be innovator, after all. I wouldn’t want Elmore Leonard to be anything but Elmore Leonard.

But I’m not sure that the Burns style  is ideally suited to journalism. Nothing is more frustating than the music. In “The 8th Inning” and “The 9th Inning,” Burns used period source music as a character in the story. But here, over and over again, I was distracted by the music selections. I thought they got in the way of the story. Most of the tracks aren’t bad pieces of music on their own, but they just don’t have much to do with the topic at hand. And they have nothing to do with what was on the radio at the time.

Burns does use James Brown and Tower of Power. This record from The Incredible Bongo Band opens the show:

P.E. and The Beastie Boys and the White Stripes are used but otherwise, there’s too much smooth jazz and strumming guitars, where songs like “Nothing Shocking,” by Jane’s Addiction or the Red Hot Chili Peppers version of “Higher Ground,” or any number of radio hits would have been interesting choices. There’s cool cuts from the Red Garland Trio and Wynton Marsalis, but Burns misses out on using Metallica’s “Enter Sandman” in the Mariano Rivera segment, an oversight than can only be excused by budget considerations And even when music choices work thematically like with David Bowie’s “Fame,” they are obvious, not to mention dated.

But that’s me. And I expect fireworks from Burns and company every time out. Still, “The 10th Inning” is certainly worth watching.

I’m curious to know what you think. Charlie Pierce weighed in this morning, and here is the Times’ review (which borders on being mean).

Oh, and over at Deadspin, dig this memoir piece I wrote about working for Burns back in the spring of 1994:

Ken got a kick out of turning people on to the things that moved him. When Willie Morris appeared in episode five of Baseball, talking about listening to games on the radio, I asked Ken who he was, and that was my introduction to Morris and his classic memoir, North Toward Home. I found a copy immediately and the book made a lasting impression on me. Ken was an avid music fan and hipped me to Lester Young and Booker T and the M.G.’s. During our car ride north, I tried to get him to dig some rap records — I remember playing him “Passin’ Me By” by the Pharcyde — but he couldn’t get past the lack of melody. Then, he took out a cassette and played what he called the best version of “The Star-Spangled Banner.” It was Marvin Gaye, singing at the 1983 NBA All-Star Game, and Ken was right.

[Photo Credit: J. Parthum]

The summer before my senior year in high school I got a job as a messenger in a post-production house in Manhattan. Martin Scorsese was editing “The Last Temptation of Christ” in the building. The movie was scheduled to debut at the New York Film Festival in September but there was so much controversy surrounding it, the date was pushed up. So Scorsese and his team of editors worked around the clock to mix the sound. One Saturday, I came into work to sit next to the projector in the machine room and watch. After an hour, Scorsese invited me inside. I was supposed to go visit my grandfather who was recovering from surgery at Lennox Hill, but I stayed in the dark mixing studio all afternoon. I watched and listened.

Scorsese was approachable that summer. He complimented me on my t-shirt collection, talked to me about movies, and one day when I brought my friends in, trying to show off, Scorsese spotted me and said hello,  a huge thrill.

The next summer, I’d graduated high school and Scorsese was shooting a gangster movie called “Wise Guy” (later changed to “Goodfellas). The Dailies–footage from the previous day’s shoot–were transfered to videotape for Robert DeNiro. Whenever I had down time between a run, I snuck into the transfer room and watched take after take of Joe Pesci, Ray Liotta, DeNiro and the gang. I’d never been so anxious to see a movie in my life. A few months later, I was walking past a studio where they were mixing the sound and I heard “Monkey Man,” my favorite Stones song. I stopped dead in my tracks.

Are you kidding me? This is going to be the best movie ever.

I saw “Goodfellas” the day it opened, the first showing, high noon, over on the east side somewhere. Then, I saw it four more times in the theater.

That was 20 years ago. Check out the oral history of the movie featured over at GQ. It’s not great but it gives you some flavor behind the making of the movie that put Scorsese’s career back on the map and practically annoited him as the Dean of American Directors.

Because I just can’t get me enough of Jeff Bridges, here’s some more on the favorite to win the Best Actor Oscar next weekend…from Manohla Dargis in the Sunday Times:

In the early and mid 1970s he played a wide-eyed boxer, a sly con artist, a moonshiner turned car racer, a squealer turned suicide, a thief and a cattle rustler, working with veterans like John Huston (“Fat City” in 1972) and newcomers like Michael Cimino, who, for his 1974 debut, directed Mr. Bridges alongside Clint Eastwood in the crime story “Thunderbolt and Lightfoot.” The critics had started to pay attention. “Sometimes, just on his own,” Pauline Kael wrote of his performance as a stock-car racer in “The Last American Hero” (1973), “Jeff Bridges is enough to make a picture worth seeing.” Notably, she also compared him to Robert De Niro, who was about to set fire to screens in Martin Scorsese’s “Mean Streets.”

“He probably can’t do the outrageous explosive scenes that Robert De Niro brings off in ‘Mean Streets,’ ” she wrote. “But De Niro — a real winner — is best when he’s coming on and showing off. Jeff Bridges just moves into a role and lives in it — so deep in it that the little things seem to come straight from the character’s soul.”

I worked as an assistant film editor on The Big Lebowski which was cut on film and not a computer. During the shoot, our main responsibility in the cutting room was to mark-up the sound track and the picture and synch the footage that was shot the day before–these are called “rushes” or “dailies”, which would be screened for the directors later that day. We’d check the synch by screening the footage on a Steenbeck.

Watching Bridges work was a revelation–he simply was the Dude. Some actors need a bunch of takes before they really hit their stride but Bridges was that character, and in each take he gave a subtle variation on a line reading or a physical gesture. You could tell that he had a background in TV and film and not the theater. His approach and rhythm was different from most everyone else in the movie. He was so natural and extremely intelligent, providing the directors with all the material they’d need to piece together a winning performance.

Back to Dargis now, writing about Lebowski:

Whether shuffling around in a bathrobe or dropping a lighted joint in his lap, Mr. Bridges’s timing is brilliant. But it’s his ability to convey a profound, seemingly limitless sense of empathy that elevate the Dude beyond the usual Coen caricature. By facing every assault — repeated beatings, a friend’s death, the theft of a rug — with little more than an exclamation (“Man!”) and a toke, he and the Dude affirmed that an American hero doesn’t need a punch, just a punch line, something that Judd Apatow’s merry band of potheads know well.

In some respects “The Big Lebowski” was Mr. Bridges’s “Raging Bull,” a defining movie. He never established a long working relationship with a director as Mr. De Niro did with Martin Scorsese. Mr. Bridges has worked with significant filmmakers, just not necessarily in their finest hour. He has made questionable choices, but he has had a breadth of roles that should be the envy of most, and a depth few achieve. And he has staying power. It takes nothing away from his work in “Crazy Heart” to note that the film’s success and profile probably owe something to “Iron Man,” the 2008 blockbuster in which he pulled a Lex Luthor to play the villain and which gave him his highest-profile role in years. He was hilarious, absurd, necessary, and to watch him in that movie as well as in “Crazy Heart” is to be reminded yet again of how he abides.

Dargis singles-out Cutter’s Way (pictured above) and that’s a movie worth watching if you’ve never seen it. Terrific-look. The only drag is watching John Heard chew-up the scenery, but otherwise, it’s a good movie.

Finally, my boy Joey La P, sent me a link to this interview with Bridges on KCRW.

I’ve spent much of the fall working on new writing assignments, including some freelance work for Variety, not to mention my gig with SI.com. I’m also contributing a few chapters to a forthcoming Baseball Prospectus book as well as editing a compilation of Pat Jordan’s best journalism. I’ve read over a hundred of Pat’s articles and profiles over the past six weeks, material which covers almost forty years. Picking out the best 30 or so is not easy but is a tremendous amount of fun–it’s like making a literary mix tape. In addition to selecting the pieces, I’m also contributing an introductory essay, and I’ve conducted a Q&A which will appear in some way, shape or form, at the back of the book.

Yo, when I started doing lengthy interviews with baseball writers back in 2003, Pat was one of the guys I most wanted to speak with. Now, I’m responsible for proposing, pitching and selling a project devoted to his best writing. I can’t tell you how stoaked I am about this. Yup, Bronx Banter has been a great launching pad for me, and it is still rewarding to blog about living in New York and following the Yankees with you guys.

Keep comin’ back. We’ll leave the light on.

A Year with the Coen Brothers

Part 1-6

VII

I wasn’t prepared for how overwhelming the return to New York would be. I had gotten accustomed to the wide open spaces, and the freedom it gave my mind to wander. Immediately, New York was an assault on that sense of liberty. The greys (from the sidewalks and streets) and browns (from the brick buildings) were binding. It was still cold, and it would take my eyes some time to adjust to the beauties that can be found in the harsh angles and imposing structures of the city. It was great to be walking the streets again, especially since I wasn’t in the slightest way weighed down by the winter malaise; I floated through pedestrian traffic with a permanent smile, feeling both at home and broadened. I had a perspective now that distanced me from the eye-for-an-eye squabbles I could see festering in others; I didn’t take any of it seriously.

And though this grace period would eventually expire, I felt like the experience of being away for so long had given me a confidence, a sense of myself, that would have been impossible to achieve had I never left. I had much catching up to do with family and friends, and for the first few weeks it was like a homecoming. Inertia did set in, however, and I found myself in a position of re-evaluating relationships, and just how I planned to live my life. The lightness of living out of a bag for five months was a great training ground for the serious work I now had to attend to at home, where the gravity of old patterns soon returned. But I continued to draw and paint and that helped the transition plenty.

NYC model, charcoal on paper

Before the troops returned there was good news out of the west. In recognition of his valiant and noble service in the field, Joel and Ethan had offered Schoolcraft a fulltime position with the firm in New York. Holding the fabric together during an Oscar race is no little accomplishment. Schoolcraft, who had been wetting himself for weeks at the prospect of having no work, was thrilled and delighted. He called me fully damp one night, cooing like a schoolgirl after her first session of heavy petting, and he asked if I could put him up for a couple of days while he looked for a place to live.

I was happy to oblige and found his optimism touching (of course he wound up a month at my place). We were four deep in an apartment ideally suited for two, and yet the gang was genuinely sorry to see Schoolcraft go. That’s what a force the kid is; I can’t blame the Coen Brothers for wanting to hire him. He’d walk through fire to save a kitten, let alone two of the most respected film-makers in America today. The Coen Brothers are the only high-profile celebrities who can boast, “Our personal assistant can whup the stuffins outta your latch-key suck-boy anyday.”

I set up the cutting room on the sixth floor of the Brill Building in midtown Manhattan. It was a landmark building because of its importance in the music business dating from the Tin Pan Alley heyday through the Carol King 196os. Now, it had become an eleven-story anomaly, surrounded by huge skyscrapers, some less than ten years old. Inside, the building is split between two companies: Lorne Michael’s Broadway Video and Sound One. The only remnant of the music business was St Nicholas on the sixth floor. It’s an old-style office, with a long window of glass on the front door, with St Nicholas in painted lettering, and it was run by Benny (Time stands still for no one) Ross, who has been around since before the good old George M. Cohan days.

When I first worked for Sound One, in the summer of 1988, I was seventeen. My cousin Deborah, who was an ADR editor, hooked me up with a messenger’s job with the company that owned half of the Brill Building. It was the largest post-production house on the East Coast, and not only did it have transfer rooms and mixing studios, but it had editing suites as well. Benny Ross used to take all the new messengers down to his office and load them up with scores of horrible promotional records. His claim to fame was that his St Nicholas Music had published ‘Rudolph the Red-nose Reindeer’.

Benny was always a mensch. His wife passed away three or four years ago, and yet he’s always saying, hushing his voice, “You know, my wife recently passed.” He also is fond of telling the story about when he met Frank Sinatra in 1960. ..or was it 1958? Benny still wears the standard Sunshine Boys uniform: floppy fishing hat; wide collared shirt, about thirty-five years old; slacks hitched up half-way between his breasts and his waist, suspenders holding them up; a clear foot between the cuff of the pants and his ankles; dress shoes.

He’s up on the eighth floor of Sound One each morning like clockwork for his coffee, carrying his poundcake. Everyone knows and likes Benny. If you wander into him, it’s a sin not to take a few minutes out with him. He holds his hand out, gives you the gravelly, direct from Forest Hills greeting, “Hiihowareya?” He says it as one word, but lets it come out slow and syrupy. He’s got one of the sturdiest handshakes in the business. It breaks the mould: it’s firm, yet friendly. He is honest in telling you that he is a sad man and that he misses his wife greatly. But he shows up to work each day, with a resigned imperturbability and a fetching glide in those clunky shoes.

I safely transported the boys’ equipment from uptown and set up shop in the same rooms they cut the Hudsucker Proxy in. In one room, Joel and Ethan would work with Tricia, cutting the picture, and I’d be in the other room with an apprentice. Most of the editing world has graduated to the non-linear format of computer editing systems, but the guys have continued to work the old-fashioned way: they use a moviola and a Kern flatbed to cut. Actually, the three big shots I’ve worked for–Ken Burns, Woody Allen and now the Coens’–all used the antiquated technique of cutting on film. Tricia was actively lobbying for their graduation to an Avid system, which may be inevitable. But there is a defense for the guys’ system: if it ain’t broke. .. When they all made it back to New York and started cutting, there was a joy with which they took in the idiosyncrasies of the ancient machinery that approached adoration.

They went through the picture chronologically, first screening a complete scene and taking notes on which takes they preferred. Then after I broke down the picture and sound track into Moviola rolls (which simply means that the two pieces of film, held together with a rubber band, are wound into a roll on a flange), Ethan would pick the selected take and mark the head and tail of the shot, and then hand it to his right, where Joel was sitting in his Captain Kirk orthopaedic chair before the battleship Kern.. Joel would then cut the film into pieces. Hanging from the ceiling above Ethan’s station by a series of linking rubber bands was his grease pencil, the infamous ‘Jumpin’ Greaser’.

Joel’s pencil remained stationary in a groove just under the control panel on the Kern. It was known as ‘Senior Greaser’. Although ‘Senior Greaser’ had the senority and respect of Willis Reed, ‘Jumpy’ sold all the tickets, much like Julus Erving or Earvin Johnson. (I didn’t want to be left out, so I named mine, ‘Lil’ Weezer Greaser’, as well as knighting our apprentice Karyn’s pencil ‘Ms. Weezy Greazy’.)

These were the salad days. In no time the boys were back to their usual routines, back in their homes. Regularity being the key to a man’s happiness, both of the guys were relaxed and happy. As they went through the picture, chose the performances they liked, they started quoting lines. On some days they were chatty, and others pensive and introverted; no matter which, they maintained a workmanlike approach to the process, and kept liberal bankers’ hours. Some scenes would cut together seemlessly. Others took days and were finished with dissatisfaction.

The editing process seemed a lot like painting. Any time you want to change one section, you have to consider the effect on the whole; so where Bridges might have done a beautiful little turn in the close-up, if it didn’t match the wide shot, it had no meaning. Ultimately you are at the mercy of your materials; in film, what you’ve shot is what you’ve got. Most often I would hear them laughing over the rattle of the Moviola engine, like eager kids; their own best audience. I think the reason the boys like working on film is because it is labour-intensive, and time-consumming. The downtime you are granted while physically assembling the material gives you time to ruminate and think out exactly what you want to achieve with the scene. The Avid gives you instant access to all the material and when you want to rewind a scene five minutes, one click of the mouse takes you instantly back to the first shot. On a Kern, you have to wait as it’s rewinding. During these moments of boredom, you can see the picture moving backwards, and I believe it makes you more familiar with the pacing of the whole thing. This is intangible and for the most part, subconscious, but I think it’s accurate.

My only problem in adjusting to their behavior in the cutting room was a nasty habit of getting myself fired. Shit, in the first eight days of July, I got canned four times. Actually, the first time they canned me was not when I injured my foot but in late December, when I mistakenly put through a phone call that distinctly should not have been.

During July, a typical incident ran like this. I had already been fired once earlier in the day for failing to send a package overnight, when Joel calls me into the room. They were trying out a jump cut in a medium shot of Bridges. They had cut maybe two feet off Bridges. I walked in tentatively. They played it back and the jump cut was mistimed, as they lost a line of dialogue. They asked what I thought.

So I said, “Bridges started talking and nothing came out.” Joel smiled approvingly. “That’s right,” to Tricia and Ethan, “that’s exactly what he did. It’s called a ‘jump-cutí. For failing to identify it. .. You’re fired.”

“Can’t I just be grounded for once?”

“No, there’d be no fun in that,” says Ethan, and I left the room slumping.

I walk over to Karyn at her bench, still unbelieving. “It’s a good thing I got nine lives on this job, these guys are tearing the ass right outta me.”

“Alex,” she smiled, “I think it’s a sign of affection, man.”

When I first went to work for the Coen brothers in the fall of 1996, they had already cast Jeff Bridges as “The Dude” for their next movie, “The Big Lebowski.” For the first couple of weeks I was with them, they agonized over who would play “Lebowski.” The trouble was, most of the actors on their wish list were dead: Fredy Gywnne, Raymond Burr, Orson Welles. Ultimately, it came down to two actors, one of whom was British. I thought the Brit was the better choice, but for Joel and Ethan it was important that the actor was American, preferably of the midwest variety.

Thinking back on it, George Steinbrenner would have been an ideal choice. I was reminded of this after reading that Boss George got all choked up in front of a group of stunned reporters after yesterday’s exciting win over the Red Sox. As Lebowski would say, “Strong men also cry.” Veteran New York reporters Bill Madden and Joel Sherman were genuinely surprised at Steinbrenner’s reaction. That is saying something. Jack Curry reports in the Times:

The tears were visible beneath his sunglasses soon after Pride delivered for the second straight game. Steinbrenner depicts himself as a tough guy and a tough owner, a man who has avoided tears after winning some World Series titles. But on this emotional day in an emotional rivalry, when two of his best players wound up at a hospital for X-rays, Steinbrenner turned softer than pudding.

“I’m just proud of the way Mussina pitched,” Steinbrenner said. “You know, I’m getting older. As you get older, you do this more.”

According to Madden:

With a security guard behind him looking on in astonishment, Steinbrenner briefly excused himself from the group of reporters that had surrounded him in the press box as the Yankees were loading the bases against the new Red Sox closer, Byung Hyun Kim, with none out in the ninth. Moments later, as jubilation reigned from the 55,000 fans exiting the Stadium and Sinatra was kicking into “New York, New York,” Steinbrenner came back, still teary-eyed, only this time with a tone of defiance to his voice.

“Did you think Martinez was deliberately throwing at your guys?” he was asked.

“I have no idea what’s going on in his head,” Steinbrenner said, “except that it didn’t look too good to me. Two hitters? One of whom, Soriano, is on his way to the All-Star Game. … If he did deliver a message, he delivered the wrong — message!”

The postgame interviews featured relatively tame he-said/she-said accounts of Martinez’s drillings.

Naturally, the Sox left town vexed that they couldn’t win the series. Bob Ryan has a terrific summary of the game in the Globe this morning:

…Of course the Yankees found a way to win by a 2-1 score, and when it was over Niagara Falls took up residence on Steinbrenner’s face. The Boss bawled some serious tears of joy. Seriously. He was really crying. When it comes to this rivalry, there is never any need to make things up. Fact has been kicking Fiction’s butt now for nigh onto nine decades.

Ryan points out how the Red Sox wasted a great opportunity to take the series with Martinez pitching and the Yankees fielding their B (or C?) team.

The journalistic temptation is to get melodramatic when discussing the ceaseless Red Sox fan frustration against the Yankees, but how can you not when you see games like this? Losing this game, and falling back to the same situation the team was in when it arrived here in the wee smalls Friday (i.e. four games behind), on a day when they were playing the junior varsity and your team was suiting up the full varsity is, what? Galling? Humiliating? Exasperating? Oh, God forbid, and worst of all, predictable? Was there a seasoned Red Sox fan out there who didn’t know with 1 trillion percent certainty in his or her heart of hearts that as soon as Giambi’s single tied the game off Martinez that this game was a lost cause and more than likely would end in some messy fashion?

What did we have in the ninth? We had two singles on two-strike pitches, a hit batsman to load the bases with none out, and a botched grounder that had inning-ending 4-2-3 written all over it.

And then we had George opening up the facial faucet.

When the subject matter is the Red Sox and their ongoing battle to slay the big, bad dragon from the Bronx, no mere sportswriter is equal to the task. But Homer is dead, and we are all you’ve got.

Weep on, George. History remains on your side.