In the latest clip, Vivica A. Fox reflected on being cast in The Wayans Brothers’ “Don’t Be Menace.” While speaking about projects she was excited about but failed to really react, she said she felt good about the film because the Wayans were behind it and had a good budget to work with. She later talked about her appearance in “Independence Day” and said she was told she didn’t have a big enough name for the role before one of the producers’ wives suggested her. To hear her explain how she landed the career-changing role, check out the above clip.
Producer, director & personality Eddie Huang sat down with Ebro in the Morning for an honest conversation about racism against the Asian community following the shooting at massage parlors in Atlanta. He also discussed some of the experiences he has had himself, and its effects in the community.
He also spoke about the passing of Pop Smoke, solidarity among different races in Los Angeles, his decision to leave the show ‘Fresh off the Boat,’ and more.
He directs the film, ‘Boogie’ which is in theaters now.
Make friends: The hardest part of making a movie is paying for it. Every person in your life becomes a potential investor or contributor. I enlisted all my friends. My assistant became my lead, my mom played a fortune teller, [the rapper] Despot was hanging out on set and became a character, half my rec-league basketball team is in the film. I made two of the songs for the soundtrack in Taiwan with dudes I met in the club, others donated locations, and friends of friends became heads of departments. Make friends, then make movies—together.
Practice working with actors:There’s a lot to keep track of as a director, but you can be terrible at everything as long as you do one thing well, and that’s working with actors. Every other department has a dedicated leader who is already incredible at what they do. You can get caught up trying to impress your DP with your knowledge of lenses or your production designer with your collection of fine china, but the only thing you actually have to handle is actors. That is the one thing you can’t fuck up.
The Ja Rule:As Ja once said, “Always there when you call, always on time.” I’ve heard horror stories about production delays, things running over budget, and directors being replaced. Growing up in restaurants, it was never okay to be late, short on the register, or wasteful with food. I brought that restaurant mentality to Boogie and told everyone that the schedule is the schedule and the days are the days. This is what is budgeted and this is what has to get done today. We’re all artists, but we’re also a business. The only way I get to make another film is if this one makes money. We finished principal photography on time and under budget—despite losing an actor to a threesome, where he got cracked over the head with a champagne bottle, amongst other unconscionable circumstances—because we said we would.
Go crazy: On the day you’re shooting a scene, it doesn’t matter how many movies you’ve watched or how many times you’ve storyboarded it, you have to be in it. You have to be with your actors, and on the journey, as a participant. One of my favorite scenes was written on set. One day, we finished early, so I threw Taylor [Takahashi, who plays the title character] and Jorge [Lendeborg Jr.] back on set, and gave them a deck of Monopoly Deal cards. I told Taylor, “You want to play cards instead of working on this school project because you don’t think school matters.” I told Jorge, “Boogie has basketball, you don’t. The only way you get to college is if you get him to work on this project with you.” It was my favorite scene to shoot because it reaffirmed the magic that can happen when a group of people put aside their fears and get after it.
Go away: After you shoot it, forget it. I spent way too much time editing and only figured the movie out once I stopped watching it. I’ve never had kids, but I do remember telling my parents over and over since the age of 12 to leave me alone, and I imagine that’s how my movie felt.
Source: Interview Magazine
The study of memory has always been one of the stranger outposts of science. In the 1950s, an unknown psychology professor at the University of Michigan named James McConnell made headlines—and eventually became something of a celebrity—with a series of experiments on freshwater flatworms called planaria. These worms fascinated McConnell not only because they had, as he wrote, a “true synaptic type of nervous system” but also because they had “enormous powers of regeneration…under the best conditions one may cut [the worm] into as many as 50 pieces” with each section regenerating “into an intact, fully-functioning organism.”
In an early experiment, McConnell trained the worms à la Pavlov by pairing an electric shock with flashing lights. Eventually, the worms recoiled to the light alone. Then something interesting happened when he cut the worms in half. The head of one half of the worm grew a tail and, understandably, retained the memory of its training. Surprisingly, however, the tail, which grew a head and a brain, also retained the memory of its training. If a headless worm can regrow a memory, then where is the memory stored, McConnell wondered. And, if a memory can regenerate, could he transfer it?
Shockingly, McConnell reported that cannibalizing trained worms induced learning in untrained planaria. In other experiments, he trained planaria to run through mazes and even developed a technique for extracting RNA from trained worms in order to inject it into untrained worms in an effort to transmit memories from one animal to another. Eventually, after his retirement in 1988, McConnell faded from view, and his work was relegated to the sidebars of textbooks as a curious but cautionary tale. Many scientists simply assumed that invertebrates like planaria couldn’t be trained, making the dismissal of McConnell’s work easy. McConnell also published some of his studies in his own journal, The Worm Runner’s Digest, alongside sci-fi humor and cartoons. As a result, there wasn’t a lot of interest in attempting to replicate his findings.
David Glanzman, a neurobiologist at the University of California, Los Angeles, has another promising research program that recently struck a chord reminiscent of McConnell’s memory experiments—although, instead of planaria, Glanzman’s lab works mostly with aplysia, the darling mollusk of neuroscience on account of its relatively simple nervous system. (Also known as “sea hares,” aplysia are giant, inky sea slugs that swim with undulating, ruffled wings.)
Eddie Huang has just announced the official closing of the bao shop that started it all. Opened in 2009, Huang and his close friends/partners set out to tell their story through food, via delicious pork belly buns (gua bao) to be exact, and Baohaus in New York City‘s Lower East Side was born. Two years later, Baohaus moved to a larger location in East Village where they remained up until now.
The popularity of his New York establishment has aided in catapulting Huang into the fields in which he has always believed saw the least bit of Asian-American presence — Television, film, and literature — to which he has now all successfully offered his voice to. Huang points out that it was not an easy decision with, “We held out as long as we could, but we have decided to close. Shouts to the customers that ran in thinking we were open, it means a lot. It’s been a wild and fulfilling 10-year ride with Baohaus but I’d be lying if I said ‘I can’t believe what’s happened.’”
In the Instagram post, Huang shouted out his team, plugged his upcoming film Boogie, quoted Raekwon, and paid his respects to Prodigy and Anthony Bourdain. And with that, Baohaus turned on their glowing-blue neon sign for the last time. It’s on to the next adventure for the Human Panda.
But what makes it all worse is that one of the things Eater has done is help push a kind of restaurant consensus around that monoculture, which goes a little like this: notable chef, must speak English, must be media-savvy, must have design-driven dining room, must kowtow to the scene, must have small plates, must push diverse histories through French ricers, must have toast points, must love dogs. Eater’s not alone in doing this — plenty of others do, too (including Grub Street). But the result is a formula that has basically condo-ized New York’s food culture with some ultimately pretty conservative, even intolerant, values. Which means maybe it shouldn’t be a surprise that there’s a penitent skinhead near the top of Eater’s food chain. But it is a reason to try and shake things up. Food is so essential to our lives and social ecosystem that this news should be a signal not just to question the people in these positions of power but to question the positions themselves.
Source: Grub Street