He just needs to be cast as something other than a sniveling kid
When Aaron Gell, a reporter for Details magazine, asked Shia LaBeouf, the star of three Transformers movies,
whether the actor had hooked up with former co-star Megan Fox, LaBeouf answered yes. When Gell asked about Fox's current husband, the young actor replied:
don't know, man. I don't know. I don't know. I don't know ... " --
repeating the phrase exactly 12 times with various intonations, as if
trying to get it just right. Finally, he says, "It was what it was."
most readers, this passage might have sounded like another swell of idiosyncrasy from LaBeouf, an international celebrity sadly becoming known more for his impolitic disrespect
for directors and actors than his performances. But maybe this wasn't another burst of
rudeness. Maybe it was ... acting!
called the Meisner technique. Developed by American theater teacher
Sanford Meisner, the method requires actors to repeat phrases to each
other, over and over and over, to find honesty and impulse in
the words. It might go something like this:
"I love you."
"No, you don't."
"I LOVE YOU!"
"No! You don't."
"I love you."
"No. You don't."
get the gist. The point is to force actors to stop acting with
preordained readings and instead to react based on the partner's
tone. Repeating a phrase "exactly 12 time with various intonations, as
if to get it just right" is exactly what Meisner repetition is all
about. Except Shia LeBeouf isn't practicing with another actor in this interview. He's
practicing with himself.
was never the world's biggest Even Stevens fan. I watched that show
maybe once every two weeks when I was younger. The simple reason was
that the show was only OK. The deeper reason was that it made me feel
college, the only thing I wanted to be was an actor. Watching Even
Stevens inspired in me the kind of feeling that teenage gymnasts must
feel when they watch the Olympics women's team, or ambitious brainiacs
might feel when they watch a 13-year old win Jeopardy Teen Tournament or
the spelling bee. It's a certain nausea, a kind of stomach sickness with a
hint with exhilaration, that somebody out there is much, much better
than you at the thing you love most. I loved acting. I thought I was
good at acting. But it was obvious to me that Shia LaBeouf, the star of Even
Stevens, was terrifically, and devastatingly, better.
say this now that Shia LaBeouf has made the dubious leap from
precocious TV child star to blockbuster bad boy is to invite a
fair amount of blowback. You'll ask, Didn't you see the monstrosity
that was Transformers 2, the less monstrous but still monstrous Transformers 3, the unforgivable disaster Wall
Street 2, or Indiana Jones and the Alien Skull Thing? I saw them all. I hated most of them. Shia LaBeouf is still an extremely talented actor.
difficult to explain exactly what makes an actor good, especially when
his most famous role is an annoying kid running away from machine-cum-Mack-Trucks
from outer space. But I'll try. Bad actors often fidget, and good actors are often still and focused, but LaBeouf is focused about being fidgety. His acting has frenetic precision,
something he shares with Robert Downey Jr.He moves his whole body,
smartly accentuating small details that look seamless in the course of a
scene, but most actors would never think to include. His voice, low and
sharp, is permanently tuned to barely concealed sarcasm, which makes
his line readings sound knowing, if occasionally
grating over time.
is a video of Shia LaBeouf that stitches together the infinity times he
has said "no, no, no" in a movie. This is supposed to serve as mockery. Instead, it demonstrates LaBeouf's ability the wring disbelief, agitation, angst, fear, desperation, and exhilaration from a single word. YouTube user skywalkerpotter21 might be laughing. But Meisner would be proud.
A friend suggested that the video reveals LaBeouf's dependence on stuttering as a means of creating realistic dialogue. I
agree, but that's a good thing. Real people don't talk in complete
sentences. They mutter, start a sentence, stop, pick up a thought
mid-word. LaBeouf gets this intuitively. Since Even Stevens, he's been
conspicuously slicing up dialogue like a Benihana chef until the
sentences fall out in pieces. If you don't agree that this is not
annoying, I'd at least ask you to agree that this is, in fact,
how most people talk.
Too often, however, LaBeouf's distinctive, chop-suey dialogue wrestles attention from the scene. He has mastered the art of talking, but not the art of having a conversation. He's like a devoted student of Meisner technique who learned to play the repetition game by practicing with himself.
But that's not his biggest problem.
acting had a universal constitution, a strong contender for Article One might be:
Draw strong contrasts.* Think about the most famous performances in
recent memory and how they smartly play against, and supplement, the
actor's natural instincts rather than ingratiate them. Russell Crowe, a
barrel-breasted warrior, plays a soft-spoken and reluctant fighter in Gladiator. Denzel Washington, a good-guy and thinking man's hero, plays a crooked cop in Training Day. Forest Whitaker, with his sad
wilting eyes, plays a monstrous dictator in The Last King of
Scotland. Sean Penn bulked up physically to accentuate his breaking
down emotionally in Mystic River; and then cannily used his macho
instincts to give power to an effeminate turn in Milk.
The problem with Shia LaBeouf is that he's an ostensibly smug, precocious kid consistently cast as a smug, precocious kid. There's no contrast to draw. It's like buying a
black canvas and painting it black. Black-on-black is obviously working
out for studios, since LaBeouf is reportedly the best
"bang-for-the-buck" actor in Hollywood. But it's a disaster for the
Feeling trapped by his success, LaBeouf is reportedly
turning down promising features because he wants to parlay his talents
into indie movies. I wish him the best of luck. That kid from Even
Stevens is still one of the best actors of his generation, whose
preternatural glibness obscures a profound preternatural talent.
Shia LaBeouf has one thing going for him, it's that he's very good at
talking. It's time for somebody to give him something worth saying.
________ *Acting thrives in complications, both broadly in characters and
acutely in moments. Here's a classic example. Self-pity is dull. But Marlon Brando in On the Waterfront, swollen for the
role like a Giants linebacker, whimpering "I coulda' been a contender"
from the backseat of a car, is interesting precisely because, from the looks of him, he's a contender with
nothing to be ashamed of.
The technology has been used to create sped-up videos that falsely depict a response to stimulus.
One of the first measures that Republicans in the 115th Congress proposed was the “Heartbeat Protection Act.” On January 11, a group led by Steve King of Iowa introduced a bill that would require doctors nationwide to “check for a fetal heartbeat” before performing an abortion, and prohibit them from completing the procedure if they found one. In December, Republicans in the Ohio state legislature put forth a similar measure. Governor John Kasich vetoed it, observing that such a law would almost certainly be struck down as unconstitutional, but approved a 20-week abortion ban.
Opponents of the heartbeat bills have pointed out that they would eliminate abortion rights almost entirely—making the procedure illegal around four weeks after fertilization, before many women realize that they are pregnant. These measures raise even more elementary questions: What is a fetal heartbeat? And why does it matter?
The NSA is relaxing its privacy rules, allowing more information on the private communications of Americans to be sent to 15 different intelligence agencies.
Long before Donald Trump entered politics, I fretted about ongoing mass surveillance on Americans powered by technology beyond what’s found in some dystopian novels. We have no idea who the president will be in 2017, I wrote, “nor do we know who'll sit on key Senate oversight committees, who will head the various national-security agencies, or whether the moral character of the people doing so, individually or in aggregate, will more closely resemble George Washington, Woodrow Wilson, FDR, Richard Nixon, Ronald Reagan, John Yoo, or Vladimir Putin.” Whoever is in charge, I declared, “will possess the capacity to be tyrants––to use power oppressively and unjustly––to a degree that Americans in 1960, 1970, 1980, 1990, or 2000 could've scarcely imagined. To an increasing degree, we're counting on having angels in office and making ourselves vulnerable to devils.”
White House Press Secretary Sean Spicer’s assertion that the National Mall was "full when the president took the Oath of Office" is demonstrably false.
On January 21, White House Press Secretary Sean Spicer issued a statement criticizing journalists for their coverage of President Trump's inauguration. Some media outlets, Spicer claimed, were using photographs of the event in misleading and deceptive ways. To back this claim up, Spicer made a number of assertions that turned out to be false. He offered incorrect D.C. Metro-ridership numbers, and said that white ground coverings had never been used on the Mall during Inauguration before, when they had been employed in 2013. Two days later, during his first press conference, Spicer blamed the bad Metro numbers on an "outside agency" and stated that his claim about the "largest audience to ever witness an inauguration, period," was meant to include all viewership, in person and online, rather than referring to the in-person crowd specifically.
Overshadowed by headlines about chaos and infighting, the new administration is notching a string of early victories.
From some angles, the Trump presidency is off to a rocky start. There were the somewhat disappointing crowds at the inauguration, and then the needless lies about them, presented as “alternative facts.” There’s the controversy over Trump’s remarks to the CIA, and precisely who in the crowd cheered his visit. On Monday, the president repeated a dumb and unnecessary lie about illegal ballots having cost him the popular vote during a meeting with members of Congress. The Washington Post reports in detail on White House infighting and an attempted reboot—just four days into the administration. ABC’s The Notefrowns, “He can’t help himself, and he isn’t helping himself.”
But what if the Trump presidency is actually off to a surprisingly effective start? For months, Trump has shown a perverse ability to overshadow his own message with chaos and disorder, and the first five days of his administration fit right into that pattern.
The Trump administration seems wedded to a political strategy of lying to the public, challenging the media to adjust.
Kellyanne Conway, Trump’s senior counselor, called Press Secretary Sean Spicer’s first official press conference a “tour de force.” That’s not strange, because Trump advisers’ main rhetorical approach is to reflect their boss’ penchant for exaggeration. What’s strange is that much of the media seemed to agree.
Two days earlier, reporters from mainstream outlets had panned a bizarre appearance by Spicer in which, flanked by photographs of the inauguration, he loudly berated the media, saying that the press had “engaged in deliberately false reporting” for failing to note that “this was the largest audience to ever witness an inauguration––period––both in person and around the globe.” Spicer also berated a reporter for erroneously reporting that Trump had removed a bust of Martin Luther King Jr. from the White House, even though the reporter had apologized on social media, an apology Spicer accepted.
The White House didn’t release the text of the executive order at first.
Updated on January 24 at 2:45 p.m.
On Tuesday afternoon, President Donald Trump signed a memorandum ordering the Secretary of the Army to expedite approval of the Dakota Access Pipeline, a 1,100-mile pipeline linking the North Dakota oil fields to a river terminal in Illinois. The U.S. Army Corps of Engineers denied final approval to the project late last year, after months of protests from the local Standing Rock Sioux tribe and from Native people nationwide.
Narcissism, disagreeableness, grandiosity—a psychologist investigates how Trump’s extraordinary personality might shape his possible presidency.
In 2006, Donald Trump made plans to purchase the Menie Estate, near Aberdeen, Scotland, aiming to convert the dunes and grassland into a luxury golf resort. He and the estate’s owner, Tom Griffin, sat down to discuss the transaction at the Cock & Bull restaurant. Griffin recalls that Trump was a hard-nosed negotiator, reluctant to give in on even the tiniest details. But, as Michael D’Antonio writes in his recent biography of Trump, Never Enough, Griffin’s most vivid recollection of the evening pertains to the theatrics. It was as if the golden-haired guest sitting across the table were an actor playing a part on the London stage.
“It was Donald Trump playing Donald Trump,” Griffin observed. There was something unreal about it.
The president repeated his belief that the U.S. should have taken Iraq’s oil, ominously adding that the CIA may “have another chance.”
Every American, regardless of who they voted for in the election, should be furious with President Donald Trump for what he told the CIA during a recent meeting at its headquarters. I do not mean his digressions about the size of the crowd at his inauguration and the number of times he has appeared on the cover of Time magazine, although it does not inspire confidence to see the president waste fleeting time with national-security employees on his vanity rather than our security.
It’s his comments on Iraq that ought to make Americans apoplectic, for in the space of seconds, Trump managed to utter words that are 1) morally repugnant, 2) certain to be exploited as a recruiting tool by America’s terrorist enemies, and 3) likely to help foreign adversaries diminish America’s reputation and power. For the sake of an indisciplined, self-indulgent riff, Trump made Americans less safe.
A history of the first African American White House—and of what came next
In the waning days of President Barack Obama’s administration, he and his wife, Michelle, hosted a farewell party, the full import of which no one could then grasp. It was late October, Friday the 21st, and the president had spent many of the previous weeks, as he would spend the two subsequent weeks, campaigning for the Democratic presidential nominee, Hillary Clinton. Things were looking up. Polls in the crucial states of Virginia and Pennsylvania showed Clinton with solid advantages. The formidable GOP strongholds of Georgia and Texas were said to be under threat. The moment seemed to buoy Obama. He had been light on his feet in these last few weeks, cracking jokes at the expense of Republican opponents and laughing off hecklers. At a rally in Orlando on October 28, he greeted a student who would be introducing him by dancing toward her and then noting that the song playing over the loudspeakers—the Gap Band’s “Outstanding”—was older than she was.