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Sting Donates “First Stratocaster I Could Ever Afford” to the Smithsonian In Honor of Dreamers: “those who feel excluded from society need to feel that we are with them”

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Friday night saw a remarkable honor bestowed on rock star activist compoer Sting. The Smithsonian in Washington honored him for his contributions to both music and philanthropy– specifically his nearly four decades as a musician who has used his success as a platform for social and political activism.

As part of the proceedings Sting donated one of his favorite and most iconic guitars to the Smithsonian’s National Museum of American History.  Also being saluted for his own body of work and philanthropy was composer J. Ralph – who collaborated with Sting on the Academy Award-nominated song “The Empty Chair” from the documentary “Jim: The James Foley Story.”

There were two events held at the Washington museum as part of the dedication.  An early-evening soiree held for a small group of major Smithsonian donors and close friends of the two honorees – and a sit-down panel discussion about music and philanthropy.  Sting was accompanied by his wife Trudie Styler wearing a stunning multi-hued Gucci dress with the word “loved” embroidered on the back.

Sting’s acceptance speech referenced the current prominence in the national conversation about the “dreamers” in the cross-hairs of the DACA debate.  “I feel art is about dreaming. We are all dreamers and I know that’s very pertinent at the moment. All of us here are dreamers.  And those who call themselves dreamers this week and who are in some danger of being excluded from society – they need to feel that we are with them.”

The speech was followed by a Q&A and then a performance by Sting of “The Empty Chair.” Sting explained that he selected his 1978 Fender Stratocaster guitar to donate to the Smithsonian for several reasons including that he had played it at the first solo performances he ever gave – a precursor to his solo career – at a benefit show for Amnesty International titled “The Secret Policeman’s Other Ball” which was also the start of his decades long support for the human rights organization.

He said:  “That concert really started a relationship with Amnesty that has carried on to this day.  I’ve described Amnesty as being the most civilized organization in the world. They get people released from jail who shouldn’t be there in the first place.  I’ve done many many tours with Amnesty to promote their work and to try and promote membership. That performance also gave me an idea that perhaps I could set out on my own and not be in a band anymore.  So I thank Amnesty for that feeling of independence that I have now.”

As the event ended there was a flurry of goodbyes.  Sting was flying out to Europe for the next leg of his successful “57th and 9th” tour with his son Joe Sumner. Trudie Styler back to her intensive film producing duties with an upcoming premiere at the Toronto International Film Festival of the film “Novitiate” starring Melissa Leo – which she co-produced.

Summarizing the occasion Sting pronounced that “this dreamer is very happy to be here at the Smithsonian.”   And then referring to the Institution having being inspired and funded by the 18th century British scientist James Smithson, added “I’m happy to know that an Englishman started the whole thing!”

Paul McCartney, Now 75 Going on 50, Wows Crowd with Beatles, Solo Hits in 3 Hour Show

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You do know that it isn’t 1964.  It’s 2017 and Paul McCartney is 75 years old but no one has told him. The once and former Beatle, the most successful songwriter in history, put on a three hour show last night at the Prudential Center in Newark. It was an uninterrupted three hour show. He didn’t even take a sip of water. He actually didn’t seem to perspire. He played 38 songs from the first ever Beatles song to a number he wrote for Rihanna last year.

Looking eons younger than 75, Sir Paul– clad in a white dress shirt, slim fitting jeans, his shaggy hair over his collar–led a four piece band on guitar and piano and simply defied gravity. It was his second show in Newark before heading to Madison Square Garden, the Barclays Center and Nassau Coliseum for six more shows. And if this was a “preview” night before opening in New York, I can only imagine what’s coming. God bless Paul McCartney.
paul 2 pru
The range of material is astounding, too, from the classic Beatles hits to the solo best sellers, there isn’t a clinker in the set. He does include two songs, “New” and “Queenie Eye” from his most recent album. They’re very good but even Paul knows the fans want they want. (He said so, ruefully.)

Otherwise, it was a repertoire of songs from a genius. Imagine if George Gershwin had lived long and went out occasionally to play his hits. That’s what this was like. From the first Beatles recording– “In Spite of All the Danger”– through classics like “Eleanor Rigby” and “Yesterday”— McCartney inhabits a rare place in Western Culture. He does tributes to John Lennon, George Harrison and George Martin, mentions “Maybe I’m Amazed” was written for his late and beloved wife Linda. He also plays the lovely song he wrote for current wife Nancy (“My Valentine”). All bases are covered.

At 75, he’s throwing in a bit of Hendrix, all of “Helter Skelter,” and rocking the roof off a 20,000 seat arena. There is nary a pause between guitar solo and piano lead. “Hey Jude” is one big party. “You Won’t See Me” is more contemporary sounding now than ever. “I’ve Just Seen a Face” solidifies the Everly Brothers.  During the majestic “Let it Be” I wondered what it must eb like to be 75 and still singing about your mother’s untimely death 60 years ago.

The voice remains. Sometimes it grows hoarse, and then it recovers. Even with infelicities it shines. Paul tells more stories now, about the early Beatles days, about John, about how they were really pals with Mick and Keith and even wrote the Stones’ first hit — “I Wanna Be Your Man”– which he then plays. (Ringo sang it originally, and performs it with his All Starr Band on the road.)

The Prudential Center is a little more intimate than Paul’s coming venues– I’m glad I saw him there. In 1976 I slept outside the then Capitol Center in Largo, Maryland to see his first American Wings tour. Forty one years have passed. So much has happened in our lives. And yet, Paul McCartney remains unchanged as an artist if not just better.  Don’t miss this tour. It probably won’t be the last. But see a an artist who’s still in his prime, whose prime never ends.

Broadway: “Hello, Dolly!” Crashes Again During Bette Midler’s Week Off, Falls Below $1 Million

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It wasn’t such a great week on Broadway for “Hello, Dolly!” Bette Midler took the week off and grosses fell by 11 percent. The week’s take fell to $913K from $2.3 million the week before. Capacity was down 11 percent.

All this points to why the whole main cast is leaving when Midler goes on January 14th. The show is being re-budgeted to real world box office when Bernadette Peters and Victor Garber take over. It also shows that this has really been Bette Midler on Broadway and not just a Broadway musical.

None of this should reflect poorly on Donna Murphy, who’s done yeoman service when Midler is off. But “Dolly!” is “Dolly!” and without a superstar like Midler, it’s going to chug along like a regular revival. Will the new team be able to keep the weekly grosses over $1 million? If they can’t we’ll see closing notices befoe winter 2018 is over.

Meanwhile producer Scott Rudin is closing one of his two other shows currently on the boards–“A Doll’s House Pt. 2.” And “1984” should shutter soon after.

Melissa McCarthy Picks Up an Emmy for Her Hilarious Sean Spicer Routine on “Saturday Night Live”

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Sunday night’s Creative Arts Emmys were a precursor to this Sunday’s big Emmy Awards show. Melissa McCarthy received an Emmy for Guest Actress in a Comedy Series for her amazingly hilarious Sean Spicer routine on Saturday Night Live. Will we ever forget the first time she did it? It was just brilliant. Dave Chapelle won Best Guest Actor in a Comedy Series also for “SNL.” Here’s the full list of winners:

 

Guest Actor in a Drama Series
Gerald McRaney (“This Is Us” — “The Big Day”)

Guest Actress in a Drama Series
Alexis Bledel (“The Handmaid’s Tale” — “Late”)

Guest Actor in a Comedy Series
Dave Chappelle (“Saturday Night Live” — “Host: Dave Chappelle”)

Guest Actress in a Comedy Series
Melissa McCarthy (“Saturday Night Live” — “Host: Melissa McCarthy”)

Actor in a Short Form Comedy or Drama Series
Kim Estes (“Dicks”)

Actress in a Short Form Comedy or Drama Series
Jane Lynch (“Dropping the Soap”)

Casting for a Drama Series
Carmen Cuba, Tara Feldstein Bennett & Chase Paris (“Stranger Things”)

Casting for a Limited Series, Movie or Special 
David Rubin (“Big Little Lies”)

Casting for a Comedy Series
Dorian Frankel & Sibby Kirchgessner (“Veep”)

Cinematography for a Single-Camera Series (Half-Hour)
David Miller (“Veep”)

Cinematography for a Single-Camera Series (One Hour)
Colin Watkinson (“The Handmaid’s Tale”)

Cinematography for a Multi-Camera Series
Donald A. Morgan (“The Ranch”)

Cinematography for a Limited Series or Movie
Fred Elmes (“The Night Of”)

Music Composition For A Series (Original Dramatic Score)
Jeff Beal (“House of Cards” — “Chapter 63”)

Music Composition for a Limited Series, Movie, or Special (Original Dramatic Score)
Jeff Russo (“Fargo” — “Aporia”)

Original Main Title Theme Music
Michael Stein, Kyle Dixon (“Stranger Things”)

Single-Camera Picture Editing for a Comedy Series 
Jennifer Lilly (“Master of None”)

Multi-Camera Picture Editing for a Comedy Series
Peter Chakos (“The Big Bang Theory”)

Stunt Coordination For a Drama Series, Limited Series or Movie
James Lew (“Marvel’s Luke Cage”)

Period/ Fantasy Costumes for a Series, Limited Series or Movie
Michele Clapton, Alex Fordham, Emma O’Loughlin & Kate O’Farrell (“The Crown”)

Production Design for a Narrative Period Program (One Hour or More)
Martin Childs, Mark Raggett & Celia Bobak (“The Crown”)

Music Composition for a Limited Series, Movie, or Special (Original Dramatic Score)
Jeff Russo (“Fargo” — “Aporia”)

Children’s Program
“Once Upon a Sesame Street Christmas” (HBO)

Production Design for a Narrative Program (Half-Hour or Less)
Jim Gloster, Andrew Leitch & Kimberly Wannop (“Veep”)

Production Design for a Narrative Contemporary or Fantasy Program (One Hour or More)
Julie Berghoff, Evan Webber & Sophie Neudorfer (“The Handmaid’s Tale”)

Sound Mixing for a Comedy or Drama Series (One Hour)
Keith Rogers, Scott Weber, Roger Stevenson, Kyle O’Neal (“Westworld” — “The Bicameral Mind”)

Stunt Coordination for a Comedy Series or Variety Program
Eddie Perez (“Shameless”)

Creative Achievement in Interactive Media Within a Scripted Program 
HBO, Kilter Films & Bad Robot (“Westworld”)

Commercial 
John X Hannes & Smuggler (“Calling JohnMalkovich.com – Squarespace”)

Special Visual Effects
Jay Worth, Elizabeth Castro, Joe Wehmeyer, Eric Levin-Hatz, Bobo Skipper, Gustav Ahren, Paul Ghezzo, Mitchell S. Drain, Michael Lantieri (“Westworld” — “The Bicameral Mind”)

Special Visual Effects in a Supporting Role 
Thomas Mahoney, Matthew Wheelon Hunt, Alex Gitler, Sina San, Michael Capton, Jon Anastasiades, Ryan Bauer, Mark Anthony Nazal, Randy Little (“Gotham” — “Heavydirtysoul”)

Hairstyling for a Limited Series or Movie
Chris Clark, Ralph Michael Abalos, Wendy Southard & Helena Cepeda (“Feud: Bette & Joan”)

Music Supervision
Susan Jacobs (“Big Little Lies” — “You Get What You Need”)

Sound Editing for a Series
Bradley North, Craig Henighan, Jordan Wilby, Jonathan Golodner, Tiffany S. Griffth, Sam Munoz, Sam Munoz, David Klotz, Noel Vought & Ginger Geary (“Stranger Things”)

Sound Mixing For a Comedy Or Drama Series (Half-Hour) and Animation
Andy D’Addario, Gary Gegan, Marco Fiumara (“Mozart in the Jungle” — “Now I Will Sing”)

Sound Editing for a Limited Series, Movie or Special
Nicholas Renbeck, Marissa Littlefield, Steve Visscher, Ruth Hernandez, Sara Stern, Luciano Vignola, Odin Benitez, Ruy Garcia, Wyatt Sprague, Warren Shaw, Roland Vajs, Heather Gross, Dan Evans Farkas, Grant Conway & Marko Costanzo (“The Night Of”)

Prosthetic Makeup for a Series, Limited Series, Movie, or Special
Eryn Krueger Mekash, Michael Mekash, David Leroy Anderson, James Mackinnon, Jason Hamer, Melanie Eichner, Cristina Himiob,  Maiko Chiba (“American Horror Story: Roanoke”)

Sound Mixing For A Limited Series or Movie
Nicholas Renbeck, Michael Barry, Felix Andrew, Larry Hoff (“The Night Of” — “The Beach”)

Short Form Comedy or Drama Series
“Los Pollos Hermanos Employee Training”: “Better Call Saul” (AMC)

Hairstyling for a Single-Camera Series
Joey Zapata, Pavy Olivarez, Bruce Samia & Donna Anderson (“Westworld”)

Main Title Design
Michelle Dougherty, Peter Frankfurt, Arisu Kashiwagi, Eric Demeusy (“Stranger Things”)

Contemporary Costumes for a Series, Limited Series or Movie
Alix Friedberg, Risa Garcia & Patricia McLaughlin (“Big Little Lies”)

Single-Camera Picture Editing for a Limited Series or Movie
Jay Cassidy & Nick Houy (“The Night Of”)

Makeup for a Limited Series or Movie (Non-Prosthetic)
Eryn Krueger Mekash, Robin Beauschense, Tym Buacharern, Kim Ayers, Becky Cotton, David Williams (“Feud: Bette and Joan”)

Single-Camera Picture Editing for a Drama Series
Dean Zimmerman (“Stranger Things”)

Original Interactive Program
Felix & Paul Studios (“The People’s House – Inside the White House With Barack and Michelle Obama”)

Makeup for a Single-Camera Series (Non-Prosthetic)
Christien Tinsley, Myriam Arougheti, Gerald Quist, Lydia Milars, Ed French (“Westworld” — “The Original”)

Toronto: First It Was Sex with a Peach, Now Sally Hawkins Goes Full Frontal and Has Sex with a Sea Monster in “The Shape of Water”

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We started the Toronto Film Festival with “Call Me By Your Name,” a gay love story in which the characters sexually abuse a peach.

On Monday came Guillermo del Toro’s “The Shape of Water,” in which Sally Hawkins– that nice girl from England– gets it on with a sea monster. She also goes full frontal. That’s not the Sally Hawkins of the past.

Scientists have captured this sea monster but he’s no blob. He looks like a sexed up version of C3PO from “Star Wars.” And although he’s got gills, and kind of monstrous face, it also seems that all that swimming has been good for him. He’s in excellent shape.

Hawkins and Octavia Spencer are the female janitors at the government facility where the monster is being held. Michael Shannon is the evil doctor who wants to perform experiments. Shannon also has it in for the two cleaners because they want to treat the sea monster like a person.

If this sounds familiar it’s because in many ways it is. There are large doses of “ET,” “Splash,” and more recently, “Stranger Things.” But del Toro adds just enough of his signature style to make “Shape of Water” his own. The soundtrack is exceptional, and the tap dancing in kind of a Busby Berkeley number has to be seen. There’s also top notch supporting work from Richard Jenkins and Michael Stuhlbarg.

 

Toronto: Dame Judi Dench Gets 2 Standing Ovations as Queen Victoria Again, 20 Years After Her First Oscar Nomination for “Mrs. Brown”

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Twenty years ago Judi Dench– then 63 years old– made her debut to American audiences playing Queen Victoria in John Madden’s “Mrs. Brown” and received her first Oscar nomination. A year later, she won her  Oscar as Best Supporting Actress for playing Queen Elizabeth I in Madden’s “Shakespeare in Love.” She was on screen for 8 minutes but it was indelible performance. Five more nominations followed through 2014, plus international fame as M in the James Bond movies.

So now what? Yesterday, Dame Judi returned to playing Queen Victoria and premiered at the Toronto Film Festival in “Victoria and Abdul,” Stephen Frears’ show stopping account of Her Royal Majesty’s end of life flirtation with a young man, a Muslim from India who turned her world upside down. It’s a true story drawn from letters discovered in 2010 and published as a best seller.

The story could not be more timely as Abdul Karim (Ali Kazal) was treated like dirt by the royal household for being Muslim. His associate, his wife, her mother all were greeted as servants by everyone except Victoria, who made Abdul her teacher, or “Moonshie,” and valued his friendship ultimately with royal honors. Even her son Prince Bertie (eventually King Edward, grandfather of the current Queen) played beautifully by Eddie Izzard, conspired to do in Abdul.

Dame Judi received not one but two standing ovations on Sunday at the Princess of Wales Theater. The first one was just for coming out and waving. The second was after the screening, for the work of a lifetime. I dare say she will be nominated again for an Oscar, and this time she’ll win to cap off a remarkable career. Her Victoria now is fiery and feisty but also a true Lioness in Winter, trying to hold on to her throne but knowing her 62 year rein will end with the 19th century. It’s a performance of a lifetime.

There are plenty of young actress lined up for the Oscar this year. Emma Stone in “Battle of Sexes,” Jessica Chastain in “Molly’s Game,” Sally Hawkins in “The Shape of Water”– they are all likely candidates with Annette Bening and Meryl Streep in the mix as well. But Dame Judi will not be denied.

“Victoria and  Abdul” opens September 22nd. I expect it will be a crowd pleaser– it’s very funny, extremely lively. Frears is a consummate director. He certainly knows royalty– he directed Helen Mirren to an Oscar as “The Queen.” This film is must see movie going– and you want to see it on a big screen as the production itself– shot in locations not allowed before– is absolutely brilliant with detail, color, and magnitude.

As for Dame Judi, when I even mentioned an Oscar at the tea served for her at Soho House, she almost recoiled. “Oh no!” she cried, “Let’s not get into that!” Well, indeed, Let’s.

Toronto Exclusive: Stand Back Paul, Stella, Mary McCartney Directing Video for Elvis Costello Song for Annette Bening Film

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Yes, you know Paul McCartney. And Stella McCartney, one of his daughters. But here comes Mary McCartney, photographer daughter of Paul and his late and much missed wife Linda. Mary, I can tell you, is now a video director. She’s preparing a video now for Elvis Costello’s “You Shouldn’t Look at Me That Way.” This is the song that plays over the end titles of Paul McGuigan’s excellent new film, “Film Stars Don’t Die in Liverpool,” which premiered here yesterday.

Annette Bening plays Hollywood siren and Oscar winner Gloria Grahame, Jamie Bell is her young lover Peter Turner. The story is based on Peter’s memoir and produced by the James Bond team of Barbara Broccoli and Michael S. Wilson.

The backstory for the song is that McGuigan and Broccoli went to to a Costello show last year at which, by coincidence, Costello mentioned Grahame in his patter. “We knew it was meant to be,” McGuigan told me last night at Sony Pictures Classics’s annual star studded dinner. “We went backstage and told him about the movie. He said, I’ll write you a song. And sure enough, on Christmas Day, it arrived in our emails. And it was perfect. ”

And he’s right. “You Shouldn’t Look at Me That Way” should be a Best Song nominee. Of course, the McCartneys and Costello have a history of collaborations. Paul and Elvis had a hit album together in 1989 with “Flowers in the Dirt.”

As for “Film Stars,” watch for Bening to be a strong contender for Best Actress. She does her usual fine work as Grahame, creating a captivating portrait of the movie star’s tragic life.

No Clowning Around: Stephen King’s “IT” Scares Up $117 Million Over Weekend — Biggest Horror Film of All Time

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There’s a terrifying hurricane in Florida but that didn’t keep the movie audience from paying to be terrified. Over the weekend, Stephen King’s “IT” directed by Andy Muschetti scored a Category 5 $117 million at the box office. That’s the record for a horror film, and a substantial comeback for Hollywood after nearly three months of low numbers.

“IT” is a nice success again for Warner Bros, which has teetered this year between famine– “King Arthur”– and feast — “Wonder Woman,” “Dunkirk.” This one comes under the shingle of Toby Emmerich, who’s one  third of the Warner exec triumvirate and also runs the New Line Cinema banner founded by Michael Lynn and Bob Shaye.

Including the US, “IT” made $179 million all over the world.

Elsewhere– despite awful reviews, Reese Witherspoon and friends raked in around $10 million for “Home Again.” So there was some audience after all, but not enough. “Home Again” will head to cable and other platforms with its tail between its legs.

Showing promise still: “Wind River,” which has turned out to a stealth crowd pleaser.

Surprise Toronto Film Fest Upset: Harvey Weinstein Comes Back Strong with Kevin Hart-Bryan Cranston Comedy

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Day 2 in Toronto started with a disappointment but then all systems were ‘go.’ George Clooney’s “Suburbicon” didn’t work out the way it was supposed to. More on that later.

In succession there were three pretty terrific offerings. First “The Florida Project” starring Willem Dafoe and a cast of newcomers was absolutely charming. Sean Baker’s follow up to “Tangerine” couldn’t be lovelier. The Indie Spirit and Gotham Awards should eat it up. It’s sort of like “Beasts of the Southern Wild” set in Orlando at Disney World.

Then Aaron Sorkin made his directing debut from a script he wrote adapting the memoir “Molly’s Game” by Molly Bloom. Jessica Chastain is simply sensational as Molly, with Idris Elba and Kevin Costner doing excellent supporting work. Chastain should reap an Oscar nomination– and maybe a win. Sorkin’s writing is actually musical. His screenplay shines as usual. What a thrill all the way around.

But then the big surprise was Harvey Weinstein’s rabbit out of a hat. Neil Burger directs the American version of “The Intouchables,” now called “The Upside.” Bryan Cranston, Kevin Hart, and Nicole Kidman star, with a disarming cameo by Julianna Margulies. No one thought this remake would work, and no one believed Kevin Hart could act. But guess what? Harvey Weinstein has a potentially huge hit here.

Big news: this film will have an Oscar qualifying run the last week of December. It’s that rarest of hybrids– a commercial and critical success, and a comedy to boot. “The Upside” has no downside. Wonderful work by all involved. Burger, whom I’ve always admired, hits every right note. Cranston and Hart have a wonderful rapport. Kidman is luminous– and she dances in the film!

Value added: I’m not sure she knows this, but three Aretha Franklin tracks are heard, she’s referred to in the film as The Queen. Her recording of “Nessum Dorma” is a big part of the movie.

Bad News, Good News: HBO is Ending “Veep” But Starting “The Deuce” with James Franco, Maggie Gyllenhaal

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Bad news good news for HBO: “Veep” is ending. “The Deuce” is starting.

Julia Louis Dreyfus and pals will film just one more season of “Veep” and call it a day. Presumably Selina Meyer will somehow end up back in the White House after spending a funny but frustrating season in exile. “Veep” reaped a huge amount of awards but was not a ratings success– partially because of its late time — 10:30pm–and also because it was a hard R in the real world for language especially. It was one of the funniest shows in history, however. I so looked forward to it every week! We will savor every one of the final episodes.

Meanwhile, “The Deuce” begins on HBO this weekend with an excellent if rambling pilot episode. David Simon and George Pelecanos have recreated Times Square and all of New York in 1971 to show how seedy it was. James Franco plays twin brothers (why, I have no idea)– one runs a dive bar in Times Square, the other is hustling everything. Maggie Gyllenhaal is sublime as a prostitute with a heart of gold and a head for money. There are dozens of characters and I guess in time we will see how they fit together. For right now, just meet all of them and get  the pace and tone. “The Deuce” is eminently watchable.