Note to Aimee: it also features Judy Geeson (in a nude scene), aka the Mean British Neighbor from Mad About You.

Woo! I *love* her!!

Brian Cox is interviewed at the AV Club and had an interesting notion that I'd never considered. I mean, I don't know if it's true or not, but it is an interesting take.

AVC: In the '70s and '80s, you didn't do many films, but from Rob Roy on, you've done a lot. What changed in your career?

BC: I'd always wanted to do movies, but if you grow up in these islands—especially where I grew up in these islands—the theatre is very powerful, very potent. It's a part of our heritage. Our culture is really a theatrical culture, not a cinematic culture. Feudal societies don't create great cinema; we have great theatre. The egalitarian societies create great cinema. The Americans, the French. Because equality is sort of what the cinema deals with. It deals with stories which don't fall into "Everybody in their place and who's who," and all that. But the theatre's full of that. Especially in Shakespeare. So in a way, it behooves you as a British actor to try and master the classics and become a classical player. I got caught up in it. It wasn't something I wanted to do, but I was too late.

And right away, I'm thinking of a counter example, which is Japan. A feudal society with a great cinematic tradition.

The Americans and the French create great cinema because they were the two countries that led the invention of cinema.

England has great theater because it's the country that invented modern theater.

I just pulled this out of my ass, but it's at least as plausible as what he said.

I just pulled this out of my ass, but it's at least as plausible as what he said.

Probably more plausible.

The thing that interested me about his comment wasn't its truth value or insight, so much as the way people work up grand conceits like that. Little cultural creation myths.

le nubian,

I liked Redbelt for the extended philosophy of life/fighting it presented. I also liked the "yes, the game is rigged, the fight is fixed, and there's no hope of winning, but maybe, just maybe, if you make a big enough scene, somebody might give a shit," ending. Which kind of fit in with the philosophy presented in the movie.

Also I though Chewital was fantastic, as was Tim Allen.

I just pulled this out of my ass, but it's at least as plausible as what he said.

For what it's worth, my dissertation would agree with your ass.

megan!

a), I would love to read your diss and b), I was just blabbing to someone about the awesomeness of Asterix et Obelix, which made me think of you.

I would love to read your diss

You're certainly welcome to. Oddly enough, I just pulled my two copies out of a box last week. I think I'm finally at a place where I can think about reworking it into a book. And I actually would like a lay person's opinion about what's interesting or not.

Except for the chapter on trade negotiations, I think it's a fairly easy read.

I was just blabbing to someone about the awesomeness of Asterix et Obelix, which made me think of you.

The movies, or the books?

The movies, or the books?

The animated movies, which got me in to the books when I was a kid. I haven't seen the live-action, and don't particularly want to. But I'd like to re-read the books and re-watch the animations, because I'm sure I'd get a lot more of the jokes now.

I think I'm finally at a place where I can think about reworking it into a book. And I actually would like a lay person's opinion about what's interesting or not.

Also, I'd love to help, then.