- THE OFFICE SCRIPT COLLARED GREENS MOVIE
- THE OFFICE SCRIPT COLLARED GREENS PLUS
- THE OFFICE SCRIPT COLLARED GREENS SERIES
I suppose this is no tremendous accomplishment given the hoards of followers dedicated to some other more substantial and varied (and clearly more well written Blogs.) Nevertheless, I am gratified that there are enough readers of my gibberish to make up a Century in the Roman Army. When crafting a post the other day I was astonished to note that I now have 100 followers. These exchanges are part of the memory and the enjoyment of hunting as much as the sweet crossing shot at thirty yards on a wood duck or the two geese you drop with two shots when a group of 5 has their gear down and is dropping into the spread. It is the talk of sportsmen and fathers and sons and friends. The quiet talk in the blind is comfortable and genuine. In this era of smart phones and Blackberries and text and tweets and other electric connective artificial urgency and static, it is a treat to be in the blind in the outdoors where the sounds eminate fom nature and from the hushed offering of your blind mates.
You talk about books and movies and game recipes you talk about dog training and marital issues(perhaps the similarities of same) and you talk about sports and upcoming hunts and maybe even work.
Talk ranges from politics to ribald jokes to child rearing and hunting stories. You have a couple of hours in the blind with your son or your buddies. At those moments the only words you want to hear are "Take 'em."īut in the interludes, you can talk. You wait for the honk of geese or the dark shape zipping by that is a group of mallards circling for a look. Once you are set up in the blind, once the decoy spread is just so, once the guns are loaded and ready, once the dogs are settled, you wait. Unlike Turkey or deer hunting, where being still and quiet is paramount, duck and goose hunting affords the hunters a chance to talk.
THE OFFICE SCRIPT COLLARED GREENS SERIES
In 2009, The New Yorker’s TV critic Nancy Franklin, speaking about the TNT series Men of a Certain Age, observed that “Levinson should get royalties any time two or more men sit together in a coffee shop.” She got it only half right. Diner’s groundbreaking evocation of male friendship changed the way men interact, not just in comedies and buddy movies, but in fictional Mob settings, in fictional police and fire stations, in commercials, on the radio.
THE OFFICE SCRIPT COLLARED GREENS PLUS
Leave aside the fact that Diner served as the launching pad for the astonishingly durable careers of Barkin, Paul Reiser, Steve Guttenberg, Daniel Stern, and Timothy Daly, plus Rourke and Bacon-not to mention Levinson, whose résumé includes Rain Man, Bugsy, and Al Pacino’s recent career reviver, You Don’t Know Jack. Diner has had far more impact on pop culture than the stylistic masterpiece Bladerunner, the indie darling Sex, Lies, and Videotape, or the academic favorites Raging Bull and Blue Velvet.
THE OFFICE SCRIPT COLLARED GREENS MOVIE
Yet no movie from the 1980s has proved more influential. The film itself, though, is rarely accorded its actual due. But Diner has suffered the fate of the small-bore sleeper, its relevance these days hinging more on eyebrow-raising news like Barry Levinson’s plan to stage a musical version-with songwriter Sheryl Crow-on Broadway next fall, or reports romantically linking star Ellen Barkin with Levinson’s son Sam, also a director. Critics did love it indeed, a gang of New York writers, led by Pauline Kael, saved the movie from oblivion. "Made for $5 million and first released in March 1982, Diner earned less than $15 million and lost out on the only Academy Award-best original screenplay-for which it was nominated.
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